Bach re-works

Johann Sebastian Bach was an unparalleled master of the parody technique, the deliberate use of previously composed music in a new context. For this, he used his own works as well as works by other composers. An example is the famous »Stabat mater« by Pergolesi which he transformed into »Tilge, Höchster meine Sünden«. Large parts of the famous Christmas Oratorio are based on secular cantatas. In the congratulatory cantata »Auf, schmetternde Töne der muntern Trompete« (»Sound, blaring tones of spirited trumpets«) Bach even presents a double parody: he took the arias and choruses from a congratulatory cantata written nearly ten years previously, which itself contains music from the Brandenburg Concerto No. 1, composed in Köthen. Special occasion demand special measures: for the funeral of his former employer Price Leopold, Bach re-worked parts of the St. Matthew Passion and the funeral ode to form a large-scale piece of funeral music.

Original versus Parody I
Thu, 19 June / 5.00 pm / Evangelisch Reformierte Kirche / No 135
G. B. Pergolesi: Stabat mater · J. S. Bach: Tilge, Höchster, meine Sünden, BWV 1083
Michela Antenucci (soprano), Lucia Cirillo (soprano), Lydia Teuscher (soprano), Margot Oitzinger (alto), I Barocchisti, direction: Diego Fasolis
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Original versus Parody II
Thu, 19 June / 8.00 pm / Nikolaikirche / No 137
J. S. Bach: Marche D-Dur, BWV 1177 · Auf, schmetternde Töne der muntern Trompeten, BWV 207.2 ·
Jauchzet, frohlocket, BWV 248.2/I · Lasst uns sorgen, lasst uns wachen, BWV 213
Hana Blažíková (soprano), Maarten Engeltjes (altus), Tilman Lichdi (tenor), Klaus Mertens (bass), Amsterdam Baroque Orchestra & Choir, direction: Ton Koopman
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Original versus Parody III
Fri, 20 June / 17.00 h / Evangelisch Reformierte Kirche / No 150
J. S. Bach: Lass, Fürstin, lass noch einen Strahl, BWV 198 · Klagt, Kinder, klagt es aller Welt, BWV 1143 (früher BWV 244a)
Solomon’s Knot
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