De Matthäus Passion geldt in Nederland als de favoriete compositie in de passietijd en is verankerd in onze cultuur. The Bach Choir & Orchestra of the Netherlands is als geen ander in staat de symboliek, emotie en troost over te brengen aan u als luisteraar. 

Johann Sebastian Bach bedacht voor zijn magnus opus een unieke opstelling: twee koren en twee orkesten. De compositie vertelt het chronologische lijdensverhaal van Christus waarbij symboliek een grote rol speelt. Bach gebruikt allerlei muzikale middelen om rijke effecten te krijgen. Hij schreef voor zowel instrumenten als solisten specifieke rollen. De verteller: de evangelist, neemt u mee door het verhaal. Hij wordt afgewisseld door het koor, enerzijds intiem en dan weer overweldigend. Iedere solist heeft een eigen emotionele dimensie zoals liefde, smart, troost, beschouwend. 

De musici van the Bach Orchestra bespelen authentieke instrumenten uit Bachs tijd en het The Bach Choir wordt geroemd om haar dynamische en expressieve klank. De (inter)nationale solisten hebben een enorme toewijding wat hoorbaar en zichtbaar zal zijn tijdens de meesterlijke aria’s. Onder leiding van dirigent Pieter Jan Leusink zijn zij als geen ander in staat de symboliek, emotie en troost over te brengen aan u als luisteraar.

30 Aria (Alt) Ach! Nun Ist Mein Jesus Hin  (Koor) Wo Ist Denn Dein Freund

Bach: Partitas Nos. 1 - 6, BWV 825 - 830 by Glenn Gould

Partita No. 3 in A minor, BWV 827 - IV. Sarabande (Remastered 2022, Version 1962)

Buy the album: https://dougthomas.bandcamp.com/album/unity-of-opposites-095-2025

All tracks composed and arranged between Doug Thomas & Sun Griddle

Recorded by Doug Thomas & Sun Griddle
Produced, Engineered, mixed and mastered by Doug Thomas

Artwork by Doug Thomas

www.dougthomas.co.uk/noox

2025 © All Rights Reserved

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谢谢 / Thank You / Gracias / धन्यवाद / ﺷﻜﺮﺍﹰ / ধন্যবাদ / Спасибо / Obrigado / ありがとう / Danke / Merci

05 Before 1

The Masters of the Roll – Claude Achille Debussy

At The Gate Of The Vine - Preludes BK 2 No. 3

Bach: Clavier Übung I

Partita No. 3 in A Minor, BWV 827: VI. Scherzo

Graham Reynolds loves to explore narrative in his work. This tendency makes him a natural fit for the film, theater and dance work that form one of the cores to his composing career. In fusing a loose concerto format with the story of Charles Babbage and his invention the difference engine, Reynolds' composing voice finds itself in a work that is intense and driving, beautiful and intimate, personally expressive and broadly accessible all at the same time. Developed over a course of years, the initial ideas for each movement were introduced and inspired separately before being woven into this one piece.

The musical onslaught of the opening movement came to Reynolds during a lecture by LB Deyo on Babbage and his work, inspired by the ferocious pace of both Babbage's thinking and the calculating speed of his invention. The fourth movement was developed in a very different form for the Rude Mechs play "The Method Gun", now touring the country. The fifth movement started as a solo piano piece, an Austin Museum of Art commission, in response to the work of Sol Lewitt. Reynolds joins other alt-classical voices in a 21st century approach that is no longer in rebellion against tonality and melody, nor desperate to prove their validity through focus on a "unique" extended technique, while folding 20th century ideas from clusters to modal harmonies to polyrhythms into a broad vocabulary.

The completed concerto "The Difference Engine" premiered on February 6th, 2010 with a 35-piece string orchestra in a Golden Hornet Project performance at Ballet Austin’s Austin Ventures Studio Theater. Soloists Leah Zeger on violin, Jonathan Dexter on cello, and the composer himself on piano fronted the debut, with parts written specifically for their skill set and personal voices. Those voices were then captured for this CD. Not fully realized in his lifetime, the difference engine was the masterwork of 19th century inventor and mathematician Charles Babbage, an attempt to create the world's first computer. A remix of each movement forms the album's second half with contributions from DJ Spooky, Octopus Project, Grammy-nominated producer Adrian Quesada of Grupo Fantasma, Golden Hornet Project's Peter Stopschinski, and finally one from the composer himself.

04 Movement IV  Late at Night The Astronomer

More info on https://outhere-music.com/store-ZZT_316/
ZZT 316

Italian Baroque Concertos & Sonatas Ensemble 415 - Chiara Banchini & Gli Incogniti, Amandine Beyer

J.S. Bach: Solo Works for Marimba

Cello Suite No. 1 in G Major, BWV 1007: IV. Sarabande (Arr. for Marimba)

Past Tense (Bach's BWV 528 adaptation)

Bach: 'Meins Lebens Licht' Cantatas BWV 45-198 & Motet BWV 118

Cantata in B Minor "Laß, Fürstin, laß noch einen Strahl", BWV 198: I. Coro "Laß, Fürstin, laß noch einen Strahl"

Celebrating Bach

Double Concerto in C Minor, BWV 1060: III. Allegro

Cello Suite No. 1 in G Major, BWV 1007: IV. Sarabande (Arr. for Marimba)

Kuniko