{"id":42848,"date":"2026-03-06T12:07:59","date_gmt":"2026-03-06T11:07:59","guid":{"rendered":"https:\/\/operakrolewska.pl\/?post_type=repetoire&#038;p=42848"},"modified":"2026-03-25T15:32:56","modified_gmt":"2026-03-25T14:32:56","slug":"jesu-meine-freude","status":"publish","type":"repetoire","link":"https:\/\/operakrolewska.pl\/en\/repetoire\/jesu-meine-freude\/","title":{"rendered":"JESU, MEINE FREUDE"},"content":{"rendered":"\n<p><em>Jesu, meine Freude<\/em>, BWV 227, is one of the four motets that Bach wrote for funeral services held in Leipzig. However, anyone seeking inconsolable grief or poignant despair in this composition would be disappointed. On the contrary, within its reflection on transience lies deep faith and hope for an imminent encounter with God. In the masterful polyphonic setting of the text, in which successive stanzas of Johann Franck\u2019s hymn alternate with passages from the Epistle of St. Paul to the Romans, the emphasis is placed on the deliverance bestowed by Christ. Similarly, the motet <em>Der Geist hilft unser Schwachheit auf, <\/em>BWV 226, which closes the concert program, is also maintained in a bright, radiant character. First performed by the two choirs of the St. Thomas School during the funeral ceremony for its rector, Johann Heinrich Ernesti, it perfectly mirrors the Lutheran belief in an immediate meeting with God following death.<\/p>\n\n\n\n<p>Pomi\u0119dzy motetami zabrzmi\u0105 zadziwiaj\u0105ce r\u00f3\u017cnorodno\u015bci\u0105 ust\u0119py z wybranych kantat Johanna Sebastiana Bacha. Sinfonia z <em>Weinen, Klagen, Sorgen, Zagen<\/em> BWV 12 zachwyca pe\u0142n\u0105 ciep\u0142a i wyrafinowania solow\u0105 parti\u0105 oboju, za\u015b utrzymana w radosnym charakterze Sinfonia z kantaty <em>Am Abend aber desselbigen Sabbats<\/em> BWV 42 ol\u015bniewa dialogiem orkiestry z grup\u0105 instrument\u00f3w solowych. Zabrzmi te\u017c ch\u00f3r z kantaty <em>Wer mich liebet, der wird mein Wort halten<\/em> BWV 59, kt\u00f3ra \u2013 s\u0105dz\u0105c po skromnej obsadzie i niewielkich rozmiarach \u2013 skomponowana by\u0142a na potrzeby uniwersyteckiego nabo\u017ce\u0144stwa. Kontrapunktem dla dzie\u0142 Johanna Sebastiana Bacha b\u0119d\u0105 <em>Trzy psalmy<\/em> op. 78 Felixa Mendelssohna. XIX-wieczny kompozytor, kt\u00f3ry doprowadzi\u0142 do pierwszego po \u015bmierci Bacha wykonania <em>Pasji wg \u015bw. Mateusza<\/em>, pozostawa\u0142 pod g\u0142\u0119bokim wra\u017ceniem tw\u00f3rczo\u015bci lipskiego kantora, a tak\u017ce innych barokowych i renesansowych mistrz\u00f3w. Fascynacje te wp\u0142yn\u0119\u0142y na ukszta\u0142towanie jego dojrza\u0142ego j\u0119zyka d\u017awi\u0119kowego, kt\u00f3rego ciekawym przyk\u0142adem s\u0105 psalmy stworzone w latach 1843-1844 na potrzeby lutera\u0144skiej liturgii sprawowanej w berli\u0144skiej katedrze. Czerpi\u0105c z tradycji \u015bpiew\u00f3w responsorialnych i antyfonalnych, a tak\u017ce osi\u0105gni\u0119\u0107 dawnych mistrz\u00f3w polifonii, Mendelssohn tworzy oryginalne ch\u00f3ralne dzie\u0142a, w kt\u00f3rych przesz\u0142o\u015b\u0107 rezonuje z tym, co dla kompozytora wsp\u00f3\u0142czesne.<\/p>\n\n\n\n<p>Between the motets, we will hear diverse fragments from selected cantatas by Johann Sebastian Bach. The Sinfonia from <em>Weinen, Klagen, Sorgen, Zagen<\/em>, BWV 12, delights with its warm and refined solo oboe part, while the joyful Sinfonia from the cantata <em>Am Abend aber desselbigen Sabbats, <\/em>BWV 42, dazzles with the dialogue between the orchestra and the solo instrument group. We will also hear the chorus from the cantata <em>Wer mich liebet, der wird mein Wort halten<\/em> BWV 59, which \u2013 judging by its modest instrumentation and compact form \u2013 was composed for a university church service. As a counterpoint to the works of Johann Sebastian Bach, the program includes the <em>Three Psalms<\/em> Op. 78 by Felix Mendelssohn. This 19th-century composer, who led the first performance of Bach\u2019s <em>St. Matthew Passion<\/em> after the composer\u2019s death, remained deeply impressed by the legacy of the Leipzig cantor as well as other Baroque and Renaissance masters. These fascinations influenced the development of his mature musical language, an interesting example of which is the psalms written in 1843\u20131844 for the Lutheran liturgy celebrated in the Berlin Cathedral. Drawing from the traditions of responsorial and antiphonal singing, as well as from the achievements of the old masters of polyphony, Mendelssohn created original choral works in which the past resonates with what was contemporary to the composer.<\/p>\n\n\n\n<p class=\"has-text-align-right has-cyan-bluish-gray-color has-text-color has-link-color has-small-font-size wp-elements-5af144a26c44d018e29c9e83b7b41835\">Marta Dziewanowska-Pachowska<\/p>\n\n\n\n<div style=\"height:50px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h4 class=\"wp-block-heading has-text-align-center\">PROGRAM<\/h4>\n\n\n\n<p class=\"has-text-align-center\"><strong>Johann Sebastian Bach (1675-1750)<\/strong><\/p>\n\n\n\n<p class=\"has-text-align-center\"><em>Jesu, meine Freude<\/em> BWV 227 &nbsp;<\/p>\n\n\n\n<p class=\"has-text-align-center has-small-font-size\"><em>Jesu, meine Freude<br>Es ist nun nichts Verdammliches<br>Unter deinem Schirmen<br>Denn das Gesetz des Geistes<br>Trotz dem alten Drachen<br>Ihr aber seid nicht fleischlich, sondern geistlich<br>Weg mit allen Sch\u00e4tzen!<br>So aber Christus in euch ist<br>Gute Nacht, o Wesen<br>So nun der Geist<br>Weicht, ihr Trauergeister<\/em><\/p>\n\n\n\n<p class=\"has-text-align-center\">Sinfonia from the cantata <em>Weinen, Klagen, Sorgen, Zagen<\/em> BWV 12 &nbsp;<\/p>\n\n\n\n<div style=\"height:20px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p class=\"has-text-align-center\"><strong>Felix Mendelssohn (1809-1847)<\/strong><\/p>\n\n\n\n<p class=\"has-text-align-center\"><em>Drei Psalmen<\/em> op. 78 &nbsp;<\/p>\n\n\n\n<p class=\"has-text-align-center has-small-font-size\"><em>Warum toben die Heiden<br>Richte mich, Gott<br>Mein Gott, warum hast du mich verlassen<\/em>?<\/p>\n\n\n\n<div style=\"height:20px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p class=\"has-text-align-center\"><strong>Johann Sebastian Bach<\/strong><\/p>\n\n\n\n<p class=\"has-text-align-center\">Sinfonia z kantaty <em>Am Abend aber desselbigen Sabbats<\/em> BWV 42 &nbsp;<\/p>\n\n\n\n<p class=\"has-text-align-center\"><em>Komm, Heiliger Geist, Herre Gott! <\/em>BWV 59\/3 &nbsp;<\/p>\n\n\n\n<p class=\"has-text-align-center\"><em>Der Geist hilft unser Schwachheit auf <\/em>BWV 226 &nbsp;<\/p>\n\n\n\n<p class=\"has-text-align-center has-small-font-size\">Der Geist hilft unser Schwachheit auf<br>Du heilige Brunst, s\u00fc\u00dfer Trost<\/p>\n\n\n\n<p class=\"has-text-align-center has-small-font-size\"><\/p>\n\n\n\n<div style=\"height:50px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p class=\"has-text-align-center\"><strong>PERFORMERS<\/strong><\/p>\n\n\n\n<p class=\"has-text-align-center\"><strong><a href=\"https:\/\/operakrolewska.pl\/en\/the-chorus-of-the-polish-royal-opera\/\">THE CHORUS OF THE POLISH ROYAL OPERA<\/a><\/strong><\/p>\n\n\n\n<p class=\"has-text-align-center\"><strong><a href=\"https:\/\/operakrolewska.pl\/en\/the-period-instruments-ensemble-of-the-polish-royal-opera-capella-regia-polona\/\">THE PERIOD INSTRUMENTS ENSEMBLE OF THE POLISH ROYAL OPERA CAPELLA REGIA POLONA<\/a><\/strong><\/p>\n\n\n\n<p class=\"has-text-align-center\"><strong><a href=\"https:\/\/operakrolewska.pl\/en\/artysci\/krzysztof-garstka\/\">KRZYSZTOF GARSTKA<\/a><\/strong> HARPSICHORD \/ POSITIVE ORGAN, PREPARATION OF THE PERIOD INSTRUMENTS ENSEMBLE OF THE POLISH ROYAL OPERA CAPELLA REGIA POLONA<\/p>\n\n\n\n<p class=\"has-text-align-center\"><strong><a href=\"https:\/\/operakrolewska.pl\/en\/artysci\/karol-knapinski\/\">KAROL KNAPI\u0143SKI <\/a><\/strong>CONDUCTOR<\/p>\n\n\n\n<div style=\"height:50px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<p>Duration: approx. 1h 20 mins<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Jesu, meine Freude, BWV 227, is one of the four motets that Bach wrote for funeral services held in Leipzig. However, anyone seeking inconsolable grief or poignant despair in this composition would be disappointed. On the contrary, within its reflection on transience lies deep faith and hope for an imminent encounter with God. In the [&hellip;]<\/p>\n","protected":false},"author":15,"featured_media":42911,"template":"","meta":{"_acf_changed":false,"_kad_blocks_custom_css":"","_kad_blocks_head_custom_js":"","_kad_blocks_body_custom_js":"","_kad_blocks_footer_custom_js":"","footnotes":""},"categories":[],"cykle":[],"sezon":[105],"class_list":["post-42848","repetoire","type-repetoire","status-publish","has-post-thumbnail","hentry","sezon-2025-2026-2"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v26.2 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>JESU, MEINE FREUDE - Polska Opera Kr&oacute;lewska<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/operakrolewska.pl\/en\/repetoire\/jesu-meine-freude\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"JESU, MEINE FREUDE - Polska Opera Kr&oacute;lewska\" \/>\n<meta property=\"og:description\" content=\"Jesu, meine Freude, BWV 227, is one of the four motets that Bach wrote for funeral services held in Leipzig. 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