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Reviews of St Matthew Passion Choral ""O Haupt voll Blut und Wunden""

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5 review(s)

St Matthew Passion Choral ""O Haupt voll Blut und Wunden"" Rating: 5.00 out of 5 based on 5 reviews.
    • This is the sxhönste melody, I repeatedly hear...

    • Helmut Gerwers · 7 August 2013
    • JS Bach sublime

    • Ana Maria · 24 August 2011
    • I contacted this song for 12 years, and now has 83 excites me as it always moved me, I do not understand the German language, I heard it for the first time. Mario Quintana held a version of this hymn, which begins: "Oh, bloody face of Christ, our brother," and thus ends: "Pledge of eternal luck, Turn around to face me." - Digital opportunities throughout the text by Mario Quintana. He put into words this feeling of solidarity with any and all suffering, human or not, and that is in tune, older than Bach. But in versions of Bach's harmony that gives us the resonance per se are human and evangelizing. Bach summarizes the musicians of the past and anticipates their future colleagues, with this melody, harmonies and counterpoints in the most different, the anticipated Wagner's leitmotiv, underlining the presence of Jesus in evangelizing the most significant moments of the Passion St. Matthew, and my admiration for later in the Christmas Oratorio. In short: Whoever sees me sees the Father, Jesus said in Chapter XIV of John, who hears the Haupt voll Blut und Wunden, has the vision of divine mercy, the first and final quality of the immense love of God, Father and Mother of us all .I contacted this song for 12 years, and now has 83 excites me as it always moved me, I do not understand the German language, I heard it for the first time. Mario Quintana held a version of this hymn, which begins: "Oh, bloody face of Christ, our brother," and thus ends: "Pledge of eternal luck, Turn around to face me." - Digital opportunities throughout the text by Mario Quintana. He put into words this feeling of solidarity with any and all suffering, human or not, and that is in tune, older than Bach. But in versions of Bach's harmony that gives us the resonance per se are human and evangelizing. Bach summarizes the musicians of the past and anticipates their future colleagues, with this melody, harmonies and counterpoints in the most different, the anticipated Wagner's leitmotiv, underlining the presence of Jesus in evangelizing the most significant moments of the Passion St. Matthew, and my admiration for later in the Christmas Oratorio. In short: Whoever sees me sees the Father, Jesus said in Chapter XIV of John, who hears the Haupt voll Blut und Wunden, has the vision of divine mercy, the first and final quality of the immense love of God, Father and Mother of us all .I contacted this song for 12 years, and now has 83 excites me as it always moved me, I do not understand the German language, I heard it for the first time. Mario Quintana held a version of this hymn, which begins: "Oh, bloody face of Christ, our brother," and thus ends: "Pledge of eternal luck, Turn around to face me." - Digital opportunities throughout the text by Mario Quintana. He put into words this feeling of solidarity with any and all suffering, human or not, and that is in tune, older than Bach. But in versions of Bach's harmony that gives us the resonance per se are human and evangelizing. Bach summarizes the musicians of the past and anticipates their future colleagues, with this melody, harmonies and counterpoints in the most different, the anticipated Wagner's leitmotiv, underlining the presence of Jesus in evangelizing the most significant moments of the Passion St. Matthew, and my admiration for later in the Christmas Oratorio. In short: Whoever sees me sees the Father, Jesus said in Chapter XIV of John, who hears the Haupt voll Blut und Wunden, has the vision of divine mercy, the first and final quality of the immense love of God, Father and Mother of us all .

    • Agapito Prates Paulo · 7 May 2011
    • Music heaven must s'entrouvent!

    • Philudo51 · 1 February 2011
    • I really like this music!!!
      The score is very clear to play with the piano.

    • Aya Takahashi · 19 January 2011