Berlin: Schlesinger'schen Buch- und Musikhandlung. Unter den Linden, No. 34 [PN 1571], 1830. Oblong folio. Modern dark brown quarter calf with marbled boards, black leather title label gilt to spine in gilt-ruled compartments, red edges. 1f. (recto title, verso blank), -3 (list of subscribers), [i] (blank), 1f. (recto index of the 78 numbers contained in the score, verso blank), 5-190 pp. Engraved throughout.
Small monogrammatic stamp of the publisher ("A.S.") to lower corners of title.
Occasional minor foxing and offsetting; small ink stain to lower outer margin of pp. 85-90
A very good, crisp copy overall, with strong impression.
First Edition (first or very early issue), lacking plate number to foot of pages 12, 42, 84, 118, and 176, but with corrected plate number to foot of pages 143 and 157. With the two eighth-note rests missing in the tenth measure of the vocal part on page 37 (Crawford).
Schneider 112. Hoboken I, 27, citing an issue with incorrect plate numbers to the foot of pages 143 (1572) and 157 (1575). Crawford p. 7. Fuld p. 171. Hirsch IV, 1136. Riemenschneider 1999. RISM B436.
The present copy conforms to that cited by Crawford, who describes it as the first issue; there is, however, no mention in his description of the corrected plate numbers to pages 143 and 157.
140 subscribers including 11 royal persons and 129 others, listed by city: Berlin, Brandenburg, Breslau, Cassel, Cöln, Dessau, Dresden, Erlangen, Elberfeld, Frankfurth a.d.O, Frankfurth a.M., Freyberg, Göttingen, Halberstadt, Hamburg, Hamm, Hannover, Königsberg, Leipzig, London, Mainz, Marienwerder, München, Neubrandenburg, Nürnberg, Oels bei Ohlau, Paris, Potsdam, Prag, Rostock, Stettin, Stockholm, Wien, and Würzburg.
With text by the poet "Picander" (Christian Friedrich Henrici, 1700-1764).
The arranger Adolf Berhard (1795-1866), a German music theorist, critic and pedagogue, was "one of the most influential theorists of the 19th century, Marx named and codified sonata form ... [He] had become friends with the Mendelssohn family in 1826, and in 1829 he assisted Felix Mendelssohn with the important performance of Bach’s St Matthew Passion ..." Sanna Pederson in Grove Music Online
The St. Matthew Passion, a sacred oratorio for solo voices, double choir and double orchestra with interspersed chorales and arias, sets chapters 26 and 27 of the Gospel of Matthew. Composed in 1727, it was first performed in Berlin on March 11, 1829 with Mendelssohn conducting. This highly important performance heralded a reawakening of interest in Bach's music.
"It was due to Mendelssohn's unwavering enthusiasm that in 1829, a century after the Leipzig performance, the St. Matthew Passion was produced under his leadership in Berlin. This was a dazzling revelation to the musical world since - apart from infrequent performances of the motets - hardly any of Bach's great vocal works had been heard before. In the following years, as a direct result of the performance, the two Passions and, in 1845, the Mass in B minor were published." Geiringer: Bach, p. 351.
"The St. Matthew Passion is by any standard a remarkable composition - one of the most complex of all Bach's vocal works and for many the most profound. Mendelssohn considered it to be 'the greatest of Christian works', and many other superlatives have continued to be accorded this emotionally powerful music, whihch almost every choral group aspires to perform." Boyd, ed.: J.S. Bach, p. 430.
One of the greatest masterpieces of classical sacred music. Item #31979
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