Guide Erbarme dich, mein Gott, Aria, No. 39 from St. Matthew Passion (Piano Score)

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Read license Free Uploader Hans Hintz. For organ.

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Sheet music file Free Uploader Ulia Wagner. For viola and keyboard. Viola solo and Piano parts included. Steffan Alabein 15 May Bach is the Temple of music, as i've read in some popular saying, and I keep finding vivid proof to that with every piece that I learn to play. Log in to post a comment.

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For cello and piano Arranged by Roth P. Piano-vocal score For cello and keyboard Arranged by Dvorak K. For six cellos Arranged by Dvorak K. For organ For viola and keyboard Arranged by Dvorak K. Customers who download "No. Two Romance for Cello and Piano, Op. MusicaNeo is a global music platform for online publication and sale of digital sheet music and performance licenses.

For cello and piano — cello part Title by uploader: St. Matthew Passion. Uploader Library. Seller Kevin Dvorak. Uploader Hans Hintz. Uploader Ulia Wagner. Howard Crook. Powerful, sometimes a bit too dramatic. But I adore his vibrato, which is never too much or too heavy, and his pitch centers are always perfect. Kurt Equiluz. Mark Padmore. Excellent and the chorus provides maw mystery, awe and wonder -- particuarly interesting with only one voice per part!

Ernst Haefliger. The slowest of the five feels perfect to my ears early memories? Peter Schreier.

St Matthew Passion, BWV 244, Part 2: No. 39 "Erbarme dich" (Contralto)

This is possibly even a shade more thrilling than the '58 version! Schreier is gorgeous and the choral entries are beautifully hushed and mysterious. All five tenors are magnificent. The tempi are nearly identical in all versions. What's the hurry, Herr Gardiner? This is one case where I feel the tempo is just a little bit too rushed -- period!

Max van Egmond. Very slow.

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Images of molasses and cement come to mind. Otherwise, it's fine Stephan Loges. Slow, but not quite as lead-footed as 2. It doesn't feel like it has the right energy. Dietrich Fischer-Dieskau. Fischer-Dieskau simply has no equal in my opinion.

This aria is perfect in every way. Okay, back to planet Earth Matti Salminen. Salminen has a deep, rich voice -- but he is no Fischer-Dieskau. The orchestra sounds wonderful. Naturally, his is the best of the bunch here … XXX. Chance, the countertenor , blends beautifully with the female soprano.

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The boy sounds unsure at times, and does not blend well with Esswood, but the choir is powerful and everything is -- as usual -- splendidly recorded. The fastest of the five versions. Now this really works for me. The instruments blend so beautifully and when Ms. York comes in, followed immediately by Ms.

The chorus interrupts -- and it is jarring to hear individual voices, but I could get used to it -- and each time is more dramatic than the last! Edith Mathis, Janet Baker Perfect tempo. If you are able to do so -- compare this style of singing with that in 3! I personally think McCreesh has the better idea.

Nevertheless, the powerful choral outbursts here are so effective! The interplay between orchestra sweeping, rising, continuous sixteenth-notes in flutes, oboes, violins and chorus including the soprani, singing the cantus firmus brings the action to a close in the tonic major E … PART II XXXVI. The overall tone is somewhat dark, but there is also a certain clarity here which all five Altos and conductors bring out in one way or another … Gardiner Anne Sofie von Otter -- a few spots of unnecessary rubato … Harnoncourt Janet Baker -- After checking out four faster versions, I believe it is time to admit that Richter might be taking things a little too slow, at times Howard Crook -- very animated.

Tom Sutcliffe -- beautiful performance. James Gilchrist -- from the booklet: " I like that you can hear the organ in the continuo quite clearly. Haefliger has one of the most beautiful tenor voices I've ever heard. I think -- like most of the '58 soloists -- he uses too much vibrato during the arias he nearly completely dispenses with it in his role as Evangelist. Schreier certainly uses less vibrato than Haefliger in this particular aria.

Da hub er an, sich zu verfluchen Then began he to curse and to swear Recitative: Evangelist, Peter The very end of this recitative is amazing. Anthony Rolfe Johnson. Very nice, but too loud. A bit over-the-top, but pretty great! I don't believe it can be done better! But I might have to call this a tie! A fantastic solo violin accompaniment.

Michael Chance The male voice is perfect for this aria. Paul Esswood Perhaps a tad too fast for my personal perference, this version is nevertheless packed with unforgettable attention to detail and of course, that beautiful Esswood voice. Same timing as 2 , but it feels much more relaxed, somehow. Her tone is piercingly pure. The blend with the violin is magnificent.

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It feels like a wonderful dance! I wonder why McCreesh doesn't use a male voice here. The scholarship is all over the place. Janet Baker My preference for slower tempi sometimes reverses itself in situations like this. Compared to 3 , this really feels held back. The violin and voice mix is incomparable, however. There is a sweetness here which is quite magical. The singers sings Gebt mir meinen Jesum wieder! Cornelius Hauptmann Quite good. Max van Egmond Perfect balance, amazing attention to detail. Stephan Loges Not crazy about his tone or timbre here.

The violin's 32nds are lost at this speed-freak tempo. Dietrich Fischer-Dieskau The violin is mixed closer to the front than in other versions. DFD is the king. He helps to create that masterful illusion where it seems that this music is jumping out of the speakers -- KLH or otherwise -- and grabbing you by His voice could melt an iceberg. Matti Salminen Can't compete with DFD, but he is amazing! For once, Gardiner takes his time! It pays. Monoyios is achingly precise and pure.