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Podcast #21-2 Help ik heb een blokkade

Luisteren naar je lieve lijf.m4a

Verbind lichaam en geest.m4a

Onze vader.m4a

In the early 80's some very odd findings started to occur during a massive weight loss intervention program in Souther California. The researchers were finding that those who are losing the most weight (like 100 lbs per year) were also the ones who were dropping out of the study and who didn't want to continue. It didn't make sense to them because if you were obtaining your goals, you'd think you'd want to continue. Right?! So it stumped them. 

But, as most solid science unfolds... the curiosity of the researchers and their questioning led to what might very well be the biggest health epidemic to be uncovered in a very long time. (and I'm not exaggerating!)

Origins of *The ACE Study*

Sung LIVE by the Mezzo Soprano Marianne Lihannah as part of her LTCL Diploma Singing Recital. 
Steven Kings is the pianist.  www.stevenkings.co.uk
Steven's work as a musician encompasses composing and arranging, performing as piano soloist and accompanist, teaching, training choirs and conducting.

‘Erbarmes Gott’ (Rezit.) & 'Können Tränen meiner Wangen' (Aria)
by J. S. Bach  (St. Matthew Passion). 
In the Rezitative, Erbarm, es Gott (O Gracious God! Behold the Savious standeth bound), the alto addresses the executioners; which follows the scenes of the scourging of Christ, the accompaniment of strings and continuo conjures up a vivid picture of the chastisement by means of a sharp dotted rhythm which puts us in mind of the lashes from a whip, or at a metaphorical level, the incessant dotted rhythm might be said to express the hardness of Jesus' tormentors' hearts, which is referred to in the text.
The tonal centre of the music is constantly shifting; in only twelve bars the music passes through ten different keys.There is a motif of falling in the rhythm to represent the blows of the scourging, which Bach continues into the following aria which also has dotted rhythms as a main feature.

The following aria "If the tears on my cheeks can achieve nothing", presents the striking image of a faithful follower offering up his/her heart as a sacrificial cup to receive the blood gently flowing from Jesus' wounds.
It begins with a repeating figure in which ascending melodic leaps and dotted rhythms are set against a descending chord progression to create a tension that magnifies the text.

When we recollect that a setting such as Bach's St. Matthew Passion lasts by itself over three and a half hours in performance, we cannot but marvel at the powers of endurance displayed by Lutheran congregations in the early 18th century.
Much of the greatness of his Passion lies in the wonderful fusion of dramatic and meditative elements which exist as distinct entities and are yet blended with perfect artistry.
The Passion is a type of oratorio, setting to music the Gospel accounts of the events leading up to Christ's crucifixion. Bach's St. Matthew Passion is one of the grandest in scale.
The text operates on 3 levels, which interact to produce a sort of biblical opera-with-commentary.
The original Gospel text is set as semidramatic recitative.
These recitatives are interrupted at strategic moments, just as they are in opera, by reflectice arias. These arias are not sung by characters but by “voice-personas” who give utterance to the poet's own meditations on the events of the biblical narration. All the arias are adapted from a single long Passion poem in 'Erbauliche Gedanken' (Edifying thoughts), a cycle of texts for music by a friend of Bach's, a Leipzig lawyer and playwright named Christian Friedrich Henrici (1700-64), who wrote under the name Picander.

The St. Matthew passion, written in the 1740s, breaks new ground as a mystical musical meditation which is based on the Oratorio style but which is primarily non-dramatic in conception.
Ever since Mendelssohn's legendary revival of the work in 1829, the St. Matthew Passion has been hailed as the greatest setting of the Passion story in western music.
Bach is generally regarded as being the end of a musical epoch, as being, to paraphrase Beethoven's celebrated dictum “the great ocean into which all the streams of earlier musical endeavour flow.”
In Bach's music completely new harmonic language is forged. A superior harmonic sense is the mark of nearly all the great composers, the one thing that sets them off from their more tmid and less inventive contemporaries. Where most composers of his day would confine themselves to the rules, Bach made the rules.
Bach was the last of the great church musicians. He holds a position in the history of the Lutheran church equivalent of that of Palestrina in the Catholic church.

‘Erbarm es Gott’ & 'Können Tränen meiner Wangen'

Erbarm es Gott | Können Tränen meiner Wangen | J. S. Bach | St. Matthew Passion

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