❤️ If you like CM//RR content, please consider membership at our Patreon page. Thank you :) www.patreon.com/cmrr Johann Sebastian Bach (1685-1750) Matthäus-Passion BWV 244. St Matthew Passion · Passion selon saint Matthieu. 🎧 Find this recording in our Spotify playlist : cutt.ly/zxkvuwX Click to activate the English subtitles for the presentation (00:00-12:35) Part 1 00:00 No. 1 Chorus I & II: “Kommt, ihr Töchter, helft mir klagen” (Soprano in ripieno: “O Lamm Gottes unschuldig”) 06:42 No. 2 Evangelista: “Da Jesus diese Rede vollendet hatte” 07:22 No. 3 Chorale: “Herzliebster Jesu, was hast du verbrochen” 08:06 No. 4a Evangelista: “Da versammleten sich die Hohenpriester” No. 4b Chorus I & II: “Ja nicht auf das Fest” No. 4c Evangelista: “Da nun Jesus war zu Bethanien” No. 4d Chorus I: “Wozu dienet dieser Unrat?” No. 4e Evangelista: “Da das Jesus merkete, sprach er zu ihnen” 11:09 No. 5 Recitativo: “Du lieber Heiland du” 12:09 No. 6 Aria (Alto I): “Buß und Reu” 16:56 No. 7 Evangelista: “Da ging hin der Zwölfen einer” 17:32 No. 8 Aria (Soprano II): “Blute nur, du liebes Herz!” 22:09 No. 9a Evangelista: “Aber am ersten Tage der süßen Brot” No. 9b Chorus I: “Wo willst du, dass wir dir bereiten” No. 9c Evangelista: “Er sprach: Gehet hin in die Stadt” No. 9d Evangelista: “Und sie wurden sehr betrübt” No. 9e Chorus I: “Herr, bin ich’s” 24:28 No. 10 Chorale: “Ich bin’s, ich sollte büßen” 25:20 No. 11 Evangelista: “Er antwortete und sprach” 28:26 No. 12 Recitativo (Soprano I): “Wiewohl mein Herz in Tränen schwimmt” 29:43 No. 13 Aria (Soprano I): “Ich will dir mein Herze schenken” 33:25 No. 14 Evangelista: “Und da sie den Lobgesang gesprochen hatten” 34:33 No. 15 Chorale: “Erkenne mich, mein Hüter” 35:37 No. 16 Evangelista: “Petrus aber antwortete” 36:35 No. 17 Chorale: “Ich will hier bei dir stehen” 37:35 No. 18 Evangelista: “Da kam Jesus mit ihnen zu einem Hofe” 39:23 No. 19 Recitativo (Tenor I): “O Schmerz!” (Chorus II: “Was ist die Ursach’ aller solcher Plagen?”) 41:07 No. 20 Aria (Tenor I): “Ich will bei meinem Jesu wachen” (Chorus II: “So schlafen unsre Sünden ein”) 46:37 No. 21 Evangelista: “Und ging hin ein wenig” 47:21 No. 22 Recitativo (Bass II): “Der Heiland fällt vor seinem Vater nieder” 48:08 No. 23 Aria (Bass II): “Gerne will ich mich bequemen” 52:45 No. 24 Evangelista: “Und er kam zu seinen Jüngern” 53:58 No. 25 Chorale: “Was mein Gott will, das g’scheh allzeit” 55:05 No. 26 Evangelista: “Und er kam und fand sie aber schlafend” 57:29 No. 27a Aria (Soprano I & Alto I): “So ist mein Jesus nun gefangen” (Chorus II: “Lasst ihn! Haltet! Bindet nicht!”) No. 27b Chorus I & II: “Sind Blitze, sind Donner in Wolken verschwunden?” 1:02:23 No. 28 Evangelista: “Und siehe, einer aus denen, die mit Jesu waren” 1:04:43 No. 29 Chorale: “O Mensch, bewein dein Sünde groß” Part 2 1:10:36 No. 30 Aria (Alto I): “Ach, nun ist mein Jesus hin!” (Chorus II: “Wo ist denn dein Freund hingegangen”) 1:14:22 No. 31 Evangelista: “Die aber Jesum gegriffen hatten” 1:15:24 No. 32 Chorale: “Mir hat die Welt trüglich gericht’ ” 1:16:11 No. 33 Evangelista: “Und wiewohl viel falsche Zeugen herzutraten” 1:17:18 No. 34 Recitativo (Tenor II): “Mein Jesus schweigt zu falschen Lügen stille” 1:18:23 No. 35 Aria (Tenor II): “Geduld! Wenn mich falsche Zungen stechen!” 1:21:44 No. 36a Evangelista: “Und der Hohepriester antwortete” No. 36b Chorus I & II: “Er ist des Todes schuldig!” No. 36c Evangelista: “Da speieten sie aus” No. 36d Chorus I & II: “Weissage uns, Christe” 1:23:38 No. 37 Chorale: “Wer hat dich so geschlagen” 1:24:26 No. 38a Evangelista: “Petrus aber saß draußen im Palast” No. 38b Chorus II: “Wahrlich, du bist auch einer von denen” No. 38c Evangelista: “Da hub er an, sich zu verfluchen” 1:26:50 No. 39 Aria (Alto I): “Erbarme dich, mein Gott” 1:32:53 No. 40 Chorale: “Bin ich gleich von dir gewichen” 1:33:56 No. 41a Evangelista: “Des Morgens aber hielten alle Hohepriester” No. 41b Chorus I & II: “Was gehet uns das an?” No. 41c Evangelista: “Und er warf die Silberlinge in den Tempel” 1:35:43 No. 42 Aria (Bass II): “Gebt mir meinen Jesum wieder!” 1:38:41 No. 43 Evangelista: “Sie hielten aber einen Rat” 1:40:52 No. 44 Chorale: “Befiehl du deine Wege” 1:41:56 No. 45a Evangelista: “Auf das Fest aber hatte der Landpfleger Gewohnheit” No. 45b Chorus I & II: “Barrabam!” No. 45c Evangelista: “Pilatus sprach zu ihnen” No. 45d Chorus I & II: “Lass ihn kreuzigen!” 1:44:17 No. 46 Chorale: “Wie wunderbarlich ist doch diese Strafe!” 1:45:04 No. 47 Evangelista: “Der Landpfleger sagte” 1:45:20 No. 48 Recitativo (Soprano I): “Er hat uns allen wohlgetan” 1:46:25 No. 49 Aria (Soprano I): “Aus Liebe will mein Heiland sterben” 1:51:16 No. 50a Evangelista: “Sie schrieen aber noch mehr” No. 50b Chorus I & II: “Lass ihn kreuzigen!” No. 50c Evangelista: “Da aber Pilatus sahe” No. 50d Chorus I & II: “Sein Blut komme über uns” No. 50e Evangelista: “Da gab er ihnen Barrabam los” 1:53:07 No. 51 Recitativo (Alto II): “Erbarm es Gott!” 1:54:13 No. 52 Aria (Alto II): “Können Tränen meiner Wangen” 2:00:16 No. 53a Evangelista: “Da nahmen die Kriegsknechte” No. 53b Chorus I & II: “Gegrüßet seist du, Jüdenkönig!” No. 53c Evangelista: “Und speieten ihn an” 2:01:26 No. 54 Chorale: “O Haupt voll Blut und Wunden” 2:03:35 No. 55 Evangelista: “Und da sie ihn verspottet hatten” 2:04:32 No. 56 Recitativo (Bass I): “Ja, freilich will in uns das Fleisch und Blut” 2:05:11 No. 57 Aria (Bass I): “Komm, süßes Kreuz, so will ich sagen” 2:11:24 No. 58a Evangelista: “Und da sie an die Stätte kamen” No. 58b Chorus I & II: “Der du den Tempel Gottes zerbrichst” No. 58c Evangelista: “Desgleichen auch die Hohenpriester” No. 58d Chorus I & II: “Andern hat er geholfen” No. 58e Evangelista: “Desgleichen schmäheten ihn auch die Mörder” 2:14:52 No. 59 Recitativo (Alto I): “Ach Golgatha, unsel’ges Golgatha!” 2:16:24 No. 60 Aria (Alto I): “Sehet, Jesus hat die Hand”(Chorus II: “Wohin?”) 2:19:05 No. 61a Evangelista: “Und von der sechsten Stunde an” No. 61b Chorus I: “Der rufet dem Elias” No. 61c Evangelista: “Und bald lief einer unter ihnen” No. 61d Chorus II: “Halt, lass sehen” No. 61e Evangelista: “Aber Jesus schriee abermal laut” 2:21:21 No. 62 Chorale: “Wenn ich einmal soll scheiden” 2:22:32 No. 63a Evangelista: “Und siehe da, der Vorhang im Tempel zerriss” No. 63b Chorus I & II: “Wahrlich, dieser ist Gottes Sohn gewesen” No. 63c Evangelista: “Und es waren viel Weiber da” 2:25:11 No. 64 Recitativo (Bass I): “Am Abend, da es kühle war” 2:26:47 No. 65 Aria (Bass I): “Mache dich, mein Herze, rein” 2:32:39 No. 66a Evangelista: “Und Joseph nahm den Leib” No. 66b Chorus I & II: “Herr, wir haben gedacht” No. 66c Evangelista: “Pilatus sprach zu ihnen” 2:35:03 No. 67 Recitativo (Soprano I, Alto I, Tenor I, Bass I): “Nun ist der Herr zur Ruh gebracht” (Chorus II: “Mein Jesu, gute Nacht!”) 2:36:48 No. 68 Chorus I & II: “Wir setzen uns mit Tränen nieder” Christoph Prégardien : tenor (Evangelista) Matthias Goerne : bass (Jesus) Christine Schäfer : soprano I (Ancilla I, Uxor Pilati) Dorothea Röschmann : soprano II Bernarda Fink : alto I Elisabeth von Magnus : alto II (Ancilla II, Testis I) Michael Schade : tenor I Markus Schäfer tenor II (Testis I) Dietrich Henschel : bass I (Judas, Petrus, Pontifex I, Pilatus) Oliver Widmer: bass II Wiener Sängerknaben Chorus master : Norbert Balatsch Arnold Schoenberg Chor Chorus master : Erwin Ortner Soloist : Jan Leibnitz (Pontifex II) Concentus musicus Wien Conductor : Nikolaus Harnoncourt 🔊Find CMRR's recordings on Spotify : spoti.fi/3016eVr 🔊Download CMRR's recordings in High fidelity audio : bit.ly/2M1Eop2 In contrast to Otto Klemperer's legendary version, Nikaulos Harnoncourt conducts the Passion with a concern for simplicity and minimalism. In recent years, under Harnoncourt's leadership, there has been a move towards a return to the roots, on period instruments. This is not a guarantee of success, but here, this bet is successful. The years have passed, the polemics have faded ("a passion is not a Viennese waltz" said a record critic), one will find in this version a great mastery of the discourse, an expression of the direct and sincere feeling of the sacred text. The vocal cast is first rate and contributes greatly to the success of this recording. It is also good to remember that we do not know how the works were conducted at the time of Bach, especially since the metronomic indications do not exist. The true indication is the text of the gospel which one must know how to understand in order to restore all its spiritual significance. We encourage you to read the complete presentation text by activating the subtitles. Good listening and instructive reading :) Bach - Matthäus Passion BWV 244 / St Matthew Passion (recording of the Century : Otto Klemperer) : ruclips.net/video/mc3bS2E7GME/видео.html Johann Sebastian Bach PLAYLIST (reference recordings) : ruclips.net/video/spHBTyagfZ4/видео.html
In contrast to Otto Klemperer's legendary version, Nikaulos Harnoncourt conducts the Passion with a concern for simplicity and minimalism. In recent years, under Harnoncourt's leadership, there has been a move towards a return to the roots, on period instruments. This is not a guarantee of success, but here, this bet is successful. The years have passed, the polemics have faded ("a passion is not a Viennese waltz" said a record critic), one will find in this version a great mastery of the discourse, an expression of the direct and sincere feeling of the sacred text. The vocal cast is first rate and contributes greatly to the success of this recording. It is also good to remember that we do not know how the works were conducted at the time of Bach, especially since the metronomic indications do not exist. The true indication is the text of the gospel which one must know how to understand in order to restore all its spiritual significance. *We encourage you to read the complete presentation text by activating the subtitles.* Good listening and instructive reading :) 🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/2M1Eop2 ❤️ If you like CM//RR content, please consider membership at our Patreon page. Thank you :) www.patreon.com/cmrr
St Matthew Passion by Bach is , no question, a Magnus Opus. The wealth of expression, the beauty of the music, the solemnity of the story, the suffering and the glory of Christ. The tension between human emotion and the divine meaning, the miracle versus the realistic, the intelligence against the fanaticism, everything mades of this story one of the greatest stories ever told. And the music, no doubt, one of the best, most sublime musical scores ever written. The complexity of the music, its structure with double choir, against the sentiment and the beauty of the melodies, the subjectivity of the suffering and the hatred shown by the multitude and the politics of the high priests, the shame of Peter, the guilt of Judas, marvelous arias such as Blute nur. Harnoncourt version is no doubt a reference work. Thanks Classical Music for this marvelous upload.
Su comentario es absolutamente luminoso, ayuda bastante a entender esta obra maestra. Recordemos que Juan Sebastián Bach es un instrumento, un maravilloso instrumento de Dios para ensarzarlo. Alabado sea Jesucristo.
La version d'Harnoncourt est un grand moment de musique et de spiritualité. Sans doute une des versions de référence, même si on doit se tenir à distance de ces compétitions ou le goût de chacun intervient. Le talent des musiciens , des chanteurs, des choeurs , et la grande cohérence de l'ensemble , contribuent à une restitution exemplaire de ce chef d'oeuvre inégalé de la musique. Bravi !
Wunderschöne und tiefempfundene Interpretation dieses großartigen und perfekt komponierten Meisterwerks mit gut harmonisierten Stimmen des ausgezeichneten Chors und herrlichen Stimmen aller genialen Solisten sowie gut phrasierten und perfekt entsprechenden Tönen aller historischen Instrumente. Der intelligente und unvergleichliche Dirigent leitet das ausgezeichnete Ensemle im gut analysierten Tempo und mit perfekt kontrollierter Dynamik. Alles ist wunderbar!
Thank you for sharing. Been hearing a number of different versions of this magnificent peace (the best ever written). With my printed version, from Bärenreiter Verlag, practicing. If God wills it, I'll be singing it next Easter. Our choir is preparing it for months, and we'll be intensifying our preparation in the upcoming months. I cannot wait. I'm pretty sure it will be an unforgetable experience. Best of health to all of you here who are blessed to hear this heavenly music.
Pedro Almeida--Saint Mathew's Passion is my all time favorite. So, I'll be with you in spirit. God Bless you and all those who perform this outstanding Passion of Christ our Lord.
The moment Listened to Hannoncourt's interpretation(s) of Bach or anything he lays his hands on, I was truly converted into a devout Bach and Baroque period music. Bach+Harnoncourt = HEAVEN
Estoy convencido que el maestro Nikolaus Harnoncourt lleva esta obra maestra, a alcanzar lo mas sublime del cosmos... es como estar en plena prencia del Dios altísimo... los prodijios de las voces que se elevan al viento, pareciera que te llevaran por las nubes como si fueras llevado en una asunción, como si los mismos angeles te llevaran sobre sus alas...es magnifico...no tiene comparación, las voces de los solistas es excepcional...gracias maestro Nikolaus Harnoncourt por dejarnos estas joyas...dirigidas por usted... Descsnce en la paz de Dios y que tenga buen regreso a esta vida, en otro tiempo y espacio...bendiciones para usted...
It is. For something different there's a video version on youtube that uses the two orchestras and choruses spread around in the hall. Seeing it adds an extra dimension
Second record of the Saint Matthew Passion. This time with grown up singers... I preferred the first with boys sopranos and male voices. Great cover with the LAMB OF GOD of Zurbarán.
Actually this is Harnoncourt's third recording of the St. Matthew Passion. In 1985 he recorded a live performance on Teldec with the Concertgebouw Orchestra Amsterdam and its associated chorus. The recorded performance was a benefit concert for the orchestra and was available for a very short time on CD, LP and cassette. Harnoncourt expressly stipulated that the recording must never be reissued (for reasons I do not remember - sorry). That is why that recording is so hard to find but may turn up on Amazon or E-Bay. I have the LP version which sounds excellent. It must be said though that as a performance it is a much more traditional sounding account than his two with the Concentus Musicus largely due to the modern orchestra and large choir. But the soloists are excellent and the recording is well worth seeking out for Harnoncourt's somewhat atypical approach to what we are used to hearing from him. However It is still one of the better St. Matthew's on record (literally - good luck finding the CD version!).
Contemplation on Good Friday when the rest of the world seems to take no notice. Harnoncourt, thoughtful reader of his scores and understanding of its relationship to the text: nothing that Bach didn't intend.
Amen to that! But have you heard Paul McCreesh's one voice per part account on Archiv? That is the fastest of any recording of this work - must be heard to be believed even if it does not convince - it won't convince everyone but worth a listen. It is on RUclips.
zahrasi- youce, quote: «Karl Richter is the best rendition.» If you are talking about your personal taste, you are absolutely right. But in a historical context - no. In Bach’s days they practiced «tempo ordinario.» That practice disappeared with the metronome in the 1800s. Richter showed no interest in «tempo ordinario.» Therefore, his tempi is slower than Harnoncourt’s.
On the Klemperer version, Fischer-Dieskau says in his autobiography that he and Peter Pears spoke about how taxing and stylistically wrong the conductor’s tempi were. I think he even names this recording as one of the most dissatisfying projects of his career.
Klemperer's is so heavy, self important and long-winded. For so many years I thought it was the actual work, rather than a wrong-headed interpretation of the work.
Si les publicitaires pouvaient avoir la décence minimale de fermer leur g... pendant la musique de Bach, au lieu de la polluer des excréments par lesquels ils se prennent pour des créateurs qu'ils ne sont pas...
Se llama la "Pasión según San Mateo" ¿no recuerda "el cordero de dios que quita el pecado del mundo? La pasión de Cristo no es otra cosa que la historia de un sacrificio,
Absolutely hate this painting, "Agnus Dei," by Francisco de Zubarán. Poor lamb... The glorification and legitimization of animal abuse with strong speciesist "undertones." So much for religion, and religious fervor!
I wonder if the people objecting to this picture of the lamb would have any objection at all to a gruesome picture of the true Lamb of God beaten, flogged, crowned with thorns, and nailed to a cross. That’s what this Passion is about.
"Agnus Dei" literally means "the lamb of god" in latin. it's not the glorification or legitimisation of anything. in fact youre supposed to feel pity for the poor thing, as it's supposed to represent jesus. and the fact you could name the painting and painter but not recognise the iconography is baffling
I just wanted to see why there was a dead lamb. I love classical music but not the dead little lamb. I don't care what religion one is...animals should not be sacrificed!! Only wicked people!!
@chiara corrado that is no reason to demand from others to remove it. the picture is not supposed to make anyone feel comfortable in the first place. it is supposed to remind us of death, sacrifice and betrayal. if you don`t like it, don`t look at it. if you don`t like the intention and message of st matthew`s passion, don`t listen to it.
The Coach that gave to Ibrahim to sacrifice it instead of his son. Our Muslims and Judas accepted it as a Tradition! And this event is celebrated as a day of the year . TLDR; if god wouldnt send an animal your father would cut your throat :))
@@Umitto Yes, and for christians it is the final covenant with God, the paschal lamb, sacrificed to give us all another chance. Personally I think this de Zurbaran painting is wonderful, up there with Caravaggio. Anyway, best wishes this Passiontide.
I am not sure the image of a tied-up lamb ready for slaughter is the appropriate image for this piece, unless it was indeed a reflection of the particularly German Christian penchant for murder and mayhem.
its the actual album cover for this recording and have you never heard of the concept of the lamb of god? it couldnt be more appropriate for such a piece.
Honestly, I think these people are trolling. His/her profile picture looks like it’s Picasso’s Don Quixote. I don’t believe he/she doesn’t understand what the picture stands for. Anyway, it’s not like Quixote’s horse got an easy ride, is it…
@@anoldretiredelephant Actually, if you have ever read the Bible, it is appropriate for a God described as habitually addicted to genocide and mass murder.
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Johann Sebastian Bach (1685-1750) Matthäus-Passion BWV 244.
St Matthew Passion · Passion selon saint Matthieu.
🎧 Find this recording in our Spotify playlist : cutt.ly/zxkvuwX
Click to activate the English subtitles for the presentation (00:00-12:35)
Part 1
00:00 No. 1 Chorus I & II: “Kommt, ihr Töchter, helft mir klagen”
(Soprano in ripieno: “O Lamm Gottes unschuldig”)
06:42 No. 2 Evangelista: “Da Jesus diese Rede vollendet hatte”
07:22 No. 3 Chorale: “Herzliebster Jesu, was hast du verbrochen”
08:06 No. 4a Evangelista: “Da versammleten sich die Hohenpriester”
No. 4b Chorus I & II: “Ja nicht auf das Fest”
No. 4c Evangelista: “Da nun Jesus war zu Bethanien”
No. 4d Chorus I: “Wozu dienet dieser Unrat?”
No. 4e Evangelista: “Da das Jesus merkete, sprach er zu ihnen”
11:09 No. 5 Recitativo: “Du lieber Heiland du”
12:09 No. 6 Aria (Alto I): “Buß und Reu”
16:56 No. 7 Evangelista: “Da ging hin der Zwölfen einer”
17:32 No. 8 Aria (Soprano II): “Blute nur, du liebes Herz!”
22:09 No. 9a Evangelista: “Aber am ersten Tage der süßen Brot”
No. 9b Chorus I: “Wo willst du, dass wir dir bereiten”
No. 9c Evangelista: “Er sprach: Gehet hin in die Stadt”
No. 9d Evangelista: “Und sie wurden sehr betrübt”
No. 9e Chorus I: “Herr, bin ich’s”
24:28 No. 10 Chorale: “Ich bin’s, ich sollte büßen”
25:20 No. 11 Evangelista: “Er antwortete und sprach”
28:26 No. 12 Recitativo (Soprano I): “Wiewohl mein Herz in Tränen schwimmt”
29:43 No. 13 Aria (Soprano I): “Ich will dir mein Herze schenken”
33:25 No. 14 Evangelista: “Und da sie den Lobgesang gesprochen hatten”
34:33 No. 15 Chorale: “Erkenne mich, mein Hüter”
35:37 No. 16 Evangelista: “Petrus aber antwortete”
36:35 No. 17 Chorale: “Ich will hier bei dir stehen”
37:35 No. 18 Evangelista: “Da kam Jesus mit ihnen zu einem Hofe”
39:23 No. 19 Recitativo (Tenor I): “O Schmerz!”
(Chorus II: “Was ist die Ursach’ aller solcher Plagen?”)
41:07 No. 20 Aria (Tenor I): “Ich will bei meinem Jesu wachen”
(Chorus II: “So schlafen unsre Sünden ein”)
46:37 No. 21 Evangelista: “Und ging hin ein wenig”
47:21 No. 22 Recitativo (Bass II): “Der Heiland fällt vor seinem Vater nieder”
48:08 No. 23 Aria (Bass II): “Gerne will ich mich bequemen”
52:45 No. 24 Evangelista: “Und er kam zu seinen Jüngern”
53:58 No. 25 Chorale: “Was mein Gott will, das g’scheh allzeit”
55:05 No. 26 Evangelista: “Und er kam und fand sie aber schlafend”
57:29 No. 27a Aria (Soprano I & Alto I): “So ist mein Jesus nun gefangen” (Chorus II: “Lasst ihn! Haltet! Bindet nicht!”)
No. 27b Chorus I & II: “Sind Blitze, sind Donner in Wolken verschwunden?”
1:02:23 No. 28 Evangelista: “Und siehe, einer aus denen, die mit Jesu waren”
1:04:43 No. 29 Chorale: “O Mensch, bewein dein Sünde groß”
Part 2
1:10:36 No. 30 Aria (Alto I): “Ach, nun ist mein Jesus hin!”
(Chorus II: “Wo ist denn dein Freund hingegangen”)
1:14:22 No. 31 Evangelista: “Die aber Jesum gegriffen hatten”
1:15:24 No. 32 Chorale: “Mir hat die Welt trüglich gericht’ ”
1:16:11 No. 33 Evangelista: “Und wiewohl viel falsche Zeugen herzutraten”
1:17:18 No. 34 Recitativo (Tenor II): “Mein Jesus schweigt zu falschen Lügen stille”
1:18:23 No. 35 Aria (Tenor II): “Geduld! Wenn mich falsche Zungen stechen!”
1:21:44 No. 36a Evangelista: “Und der Hohepriester antwortete”
No. 36b Chorus I & II: “Er ist des Todes schuldig!”
No. 36c Evangelista: “Da speieten sie aus”
No. 36d Chorus I & II: “Weissage uns, Christe”
1:23:38 No. 37 Chorale: “Wer hat dich so geschlagen”
1:24:26 No. 38a Evangelista: “Petrus aber saß draußen im Palast”
No. 38b Chorus II: “Wahrlich, du bist auch einer von denen”
No. 38c Evangelista: “Da hub er an, sich zu verfluchen”
1:26:50 No. 39 Aria (Alto I): “Erbarme dich, mein Gott”
1:32:53 No. 40 Chorale: “Bin ich gleich von dir gewichen”
1:33:56 No. 41a Evangelista: “Des Morgens aber hielten alle Hohepriester”
No. 41b Chorus I & II: “Was gehet uns das an?”
No. 41c Evangelista: “Und er warf die Silberlinge in den Tempel”
1:35:43 No. 42 Aria (Bass II): “Gebt mir meinen Jesum wieder!”
1:38:41 No. 43 Evangelista: “Sie hielten aber einen Rat”
1:40:52 No. 44 Chorale: “Befiehl du deine Wege”
1:41:56 No. 45a Evangelista: “Auf das Fest aber hatte der Landpfleger Gewohnheit”
No. 45b Chorus I & II: “Barrabam!”
No. 45c Evangelista: “Pilatus sprach zu ihnen”
No. 45d Chorus I & II: “Lass ihn kreuzigen!”
1:44:17 No. 46 Chorale: “Wie wunderbarlich ist doch diese Strafe!”
1:45:04 No. 47 Evangelista: “Der Landpfleger sagte”
1:45:20 No. 48 Recitativo (Soprano I): “Er hat uns allen wohlgetan”
1:46:25 No. 49 Aria (Soprano I): “Aus Liebe will mein Heiland sterben”
1:51:16 No. 50a Evangelista: “Sie schrieen aber noch mehr”
No. 50b Chorus I & II: “Lass ihn kreuzigen!”
No. 50c Evangelista: “Da aber Pilatus sahe”
No. 50d Chorus I & II: “Sein Blut komme über uns”
No. 50e Evangelista: “Da gab er ihnen Barrabam los”
1:53:07 No. 51 Recitativo (Alto II): “Erbarm es Gott!”
1:54:13 No. 52 Aria (Alto II): “Können Tränen meiner Wangen”
2:00:16 No. 53a Evangelista: “Da nahmen die Kriegsknechte”
No. 53b Chorus I & II: “Gegrüßet seist du, Jüdenkönig!”
No. 53c Evangelista: “Und speieten ihn an”
2:01:26 No. 54 Chorale: “O Haupt voll Blut und Wunden”
2:03:35 No. 55 Evangelista: “Und da sie ihn verspottet hatten”
2:04:32 No. 56 Recitativo (Bass I): “Ja, freilich will in uns das Fleisch und Blut”
2:05:11 No. 57 Aria (Bass I): “Komm, süßes Kreuz, so will ich sagen”
2:11:24 No. 58a Evangelista: “Und da sie an die Stätte kamen”
No. 58b Chorus I & II: “Der du den Tempel Gottes zerbrichst”
No. 58c Evangelista: “Desgleichen auch die Hohenpriester”
No. 58d Chorus I & II: “Andern hat er geholfen”
No. 58e Evangelista: “Desgleichen schmäheten ihn auch die Mörder”
2:14:52 No. 59 Recitativo (Alto I): “Ach Golgatha, unsel’ges Golgatha!”
2:16:24 No. 60 Aria (Alto I): “Sehet, Jesus hat die Hand”(Chorus II: “Wohin?”)
2:19:05 No. 61a Evangelista: “Und von der sechsten Stunde an”
No. 61b Chorus I: “Der rufet dem Elias”
No. 61c Evangelista: “Und bald lief einer unter ihnen”
No. 61d Chorus II: “Halt, lass sehen”
No. 61e Evangelista: “Aber Jesus schriee abermal laut”
2:21:21 No. 62 Chorale: “Wenn ich einmal soll scheiden”
2:22:32 No. 63a Evangelista: “Und siehe da, der Vorhang im Tempel zerriss”
No. 63b Chorus I & II: “Wahrlich, dieser ist Gottes Sohn gewesen”
No. 63c Evangelista: “Und es waren viel Weiber da”
2:25:11 No. 64 Recitativo (Bass I): “Am Abend, da es kühle war”
2:26:47 No. 65 Aria (Bass I): “Mache dich, mein Herze, rein”
2:32:39 No. 66a Evangelista: “Und Joseph nahm den Leib”
No. 66b Chorus I & II: “Herr, wir haben gedacht”
No. 66c Evangelista: “Pilatus sprach zu ihnen”
2:35:03 No. 67 Recitativo (Soprano I, Alto I, Tenor I, Bass I): “Nun ist der Herr zur Ruh gebracht”
(Chorus II: “Mein Jesu, gute Nacht!”)
2:36:48 No. 68 Chorus I & II: “Wir setzen uns mit Tränen nieder”
Christoph Prégardien : tenor (Evangelista)
Matthias Goerne : bass (Jesus)
Christine Schäfer : soprano I (Ancilla I, Uxor Pilati)
Dorothea Röschmann : soprano II
Bernarda Fink : alto I
Elisabeth von Magnus : alto II (Ancilla II, Testis I)
Michael Schade : tenor I Markus Schäfer tenor II (Testis I)
Dietrich Henschel : bass I (Judas, Petrus, Pontifex I, Pilatus)
Oliver Widmer: bass II
Wiener Sängerknaben
Chorus master : Norbert Balatsch
Arnold Schoenberg Chor
Chorus master : Erwin Ortner
Soloist : Jan Leibnitz (Pontifex II)
Concentus musicus Wien
Conductor : Nikolaus Harnoncourt
🔊Find CMRR's recordings on Spotify : spoti.fi/3016eVr
🔊Download CMRR's recordings in High fidelity audio : bit.ly/2M1Eop2
In contrast to Otto Klemperer's legendary version, Nikaulos Harnoncourt conducts the Passion with a concern for simplicity and minimalism. In recent years, under Harnoncourt's leadership, there has been a move towards a return to the roots, on period instruments. This is not a guarantee of success, but here, this bet is successful. The years have passed, the polemics have faded ("a passion is not a Viennese waltz" said a record critic), one will find in this version a great mastery of the discourse, an expression of the direct and sincere feeling of the sacred text. The vocal cast is first rate and contributes greatly to the success of this recording. It is also good to remember that we do not know how the works were conducted at the time of Bach, especially since the metronomic indications do not exist. The true indication is the text of the gospel which one must know how to understand in order to restore all its spiritual significance. We encourage you to read the complete presentation text by activating the subtitles. Good listening and instructive reading :)
Bach - Matthäus Passion BWV 244 / St Matthew Passion (recording of the Century : Otto Klemperer) : ruclips.net/video/mc3bS2E7GME/видео.html
Johann Sebastian Bach PLAYLIST (reference recordings) : ruclips.net/video/spHBTyagfZ4/видео.html
Thanks for informstion😊
This is the version I own - it played a key part in switching me from having an occasional interest in Bach to an almost mad obsession
welcome to the club.....
Try Otto Klemperer's version. It can be found on this channel as well. 👍
@@lintflas1183 I may well do - I have Klemperer's Missa Solemnis on vinyl - cheers
If one must have an obsession, how possibly could you improve on this.......
Same here! I didn‘t get the hype for the Matthäus Passion, until i came across this version. I‘ve fallen in love.
In contrast to Otto Klemperer's legendary version, Nikaulos Harnoncourt conducts the Passion with a concern for simplicity and minimalism. In recent years, under Harnoncourt's leadership, there has been a move towards a return to the roots, on period instruments. This is not a guarantee of success, but here, this bet is successful. The years have passed, the polemics have faded ("a passion is not a Viennese waltz" said a record critic), one will find in this version a great mastery of the discourse, an expression of the direct and sincere feeling of the sacred text. The vocal cast is first rate and contributes greatly to the success of this recording. It is also good to remember that we do not know how the works were conducted at the time of Bach, especially since the metronomic indications do not exist. The true indication is the text of the gospel which one must know how to understand in order to restore all its spiritual significance. *We encourage you to read the complete presentation text by activating the subtitles.* Good listening and instructive reading :)
🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr
🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/2M1Eop2
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Thank you :) www.patreon.com/cmrr
Do you listen the Fieder Bernius with the Stuttgart Baroqorchester? In my opinion, is the best of recent years.
St Matthew Passion by Bach is , no question, a Magnus Opus. The wealth of expression, the beauty of the music, the solemnity of the story, the suffering and the glory of Christ. The tension between human emotion and the divine meaning, the miracle versus the realistic, the intelligence against the fanaticism, everything mades of this story one of the greatest stories ever told. And the music, no doubt, one of the best, most sublime musical scores ever written. The complexity of the music, its structure with double choir, against the sentiment and the beauty of the melodies, the subjectivity of the suffering and the hatred shown by the multitude and the politics of the high priests, the shame of Peter, the guilt of Judas, marvelous arias such as Blute nur. Harnoncourt version is no doubt a reference work. Thanks Classical Music for this marvelous upload.
I understood every word of your comment. Respect Sir.
Music for the galaxies.
@@sionehefa3458 warmest regards and many thanks
Thank you Jorge for your comments always written with intelligence and sensitivity.
Su comentario es absolutamente luminoso, ayuda bastante a entender esta obra maestra. Recordemos que Juan Sebastián Bach es un instrumento, un maravilloso instrumento de Dios para ensarzarlo. Alabado sea Jesucristo.
La version d'Harnoncourt est un grand moment de musique et de spiritualité. Sans doute une des versions de référence, même si on doit se tenir à distance de ces compétitions ou le goût de chacun intervient. Le talent des musiciens , des chanteurs, des choeurs , et la grande cohérence de l'ensemble , contribuent à une restitution exemplaire de ce chef d'oeuvre inégalé de la musique. Bravi !
Parfaitement d'accord avec votre avis, justement nuancé. Cette œuvre est *immortelle* .
Wunderschöne und tiefempfundene Interpretation dieses großartigen und perfekt komponierten Meisterwerks mit gut harmonisierten Stimmen des ausgezeichneten Chors und herrlichen Stimmen aller genialen Solisten sowie gut phrasierten und perfekt entsprechenden Tönen aller historischen Instrumente. Der intelligente und unvergleichliche Dirigent leitet das ausgezeichnete Ensemle im gut analysierten Tempo und mit perfekt kontrollierter Dynamik. Alles ist wunderbar!
Thank you for sharing. Been hearing a number of different versions of this magnificent peace (the best ever written). With my printed version, from Bärenreiter Verlag, practicing. If God wills it, I'll be singing it next Easter. Our choir is preparing it for months, and we'll be intensifying our preparation in the upcoming months. I cannot wait. I'm pretty sure it will be an unforgetable experience. Best of health to all of you here who are blessed to hear this heavenly music.
Pedro Almeida--Saint Mathew's Passion is my all time favorite. So, I'll be with you in spirit. God Bless you and all those who perform this outstanding Passion of Christ our Lord.
The moment Listened to Hannoncourt's interpretation(s) of Bach or anything he lays his hands on, I was truly converted into a devout Bach and Baroque period music. Bach+Harnoncourt = HEAVEN
very very rigth...other dirigent were creating a drama....but "drama" is into the music that dont need enphasy
Che bellezza che perfezione....anticipa il paradiso..bravissimi tutti
Harnoncourt - love his Orchestral suites and Christmas oratorio. Thank you for posting this marble as well.
You're welcome :)
El primer coro del oratorio de navidad por harnoncourt es realmente maravilloso
Thanks❤
Estoy convencido que el maestro Nikolaus Harnoncourt lleva esta obra maestra, a alcanzar lo mas sublime del cosmos... es como estar en plena prencia del Dios altísimo... los prodijios de las voces que se elevan al viento, pareciera que te llevaran por las nubes como si fueras llevado en una asunción, como si los mismos angeles te llevaran sobre sus alas...es magnifico...no tiene comparación, las voces de los solistas es excepcional...gracias maestro Nikolaus Harnoncourt por dejarnos estas joyas...dirigidas por usted... Descsnce en la paz de Dios y que tenga buen regreso a esta vida, en otro tiempo y espacio...bendiciones para usted...
Bach is the stronghold of my soul
The first chorus is so beautiful...
The best ever recorded.
It is. For something different there's a video version on youtube that uses the two orchestras and choruses spread around in the hall. Seeing it adds an extra dimension
@@canman5060 Someone says this every time.
bach es el maestro de los maestros psu tecnica y sentidido del ritmo aun hoy nos sorprende y admira .
Second record of the Saint Matthew Passion.
This time with grown up singers...
I preferred the first with boys sopranos and male voices.
Great cover with the LAMB OF GOD of Zurbarán.
Actually this is Harnoncourt's third recording of the St. Matthew Passion. In 1985 he recorded a live performance on Teldec with the Concertgebouw Orchestra Amsterdam and its associated chorus. The recorded performance was a benefit concert for the orchestra and was available for a very short time on CD, LP and cassette. Harnoncourt expressly stipulated that the recording must never be reissued (for reasons I do not remember - sorry). That is why that recording is so hard to find but may turn up on Amazon or E-Bay. I have the LP version which sounds excellent. It must be said though that as a performance it is a much more traditional sounding account than his two with the Concentus Musicus largely due to the modern orchestra and large choir. But the soloists are excellent and the recording is well worth seeking out for Harnoncourt's somewhat atypical approach to what we are used to hearing from him. However It is still one of the better St. Matthew's on record (literally - good luck finding the CD version!).
El Agnus Dei de Zurbarán, una imagen perfecta: tragedia, amargura, barroco. Una conexión subliminal con ese desenlace que todos conocemos.
01:35:43
Bien pillado!!
Thank you so much for this update! I'd been waiting and looking for the great Maestro's performance of the St. Matthew's Passion!
Una de las más bellas composiciones corales , muchas gracias por compartir Guillermo Delgado de Perú
So serene sweet flow with burst of beautiful high soprano coming in......
Che meraviglia Bach...!
Contemplation on Good Friday when the rest of the world seems to take no notice. Harnoncourt, thoughtful reader of his scores and understanding of its relationship to the text: nothing that Bach didn't intend.
I remember the third CD in this St Matthew Passion includes a Mp3 file performance with Bach orginal manuscript to go along.
:)
CUANTOS.HERMOSOS.RECUERDOS.DE.MI.NIÑEZ.CUANDO.EN.SEMANA.SANTA.ESCUCHABA.ESTO.GRACIAS.POR.COMPARTIRLO..MI.SER.SE.LLENA.DE.GOZO.ANTE.ESTE.RECUERDO.RAN.SUBLIME
A Lot of Thanks!❤
¡Amazing! ¡Millions of thanks!
Wunderbar, Perfekt
You realise the tempi differences between this and the Klemperer when you notice it's an HOUR shorter!
In heaven, where this music seems to come from, there is no hurry....
which version is shorter? this one or Klemperer?
@@artivism4068 this one
Amen to that! But have you heard Paul McCreesh's one voice per part account on Archiv? That is the fastest of any recording of this work - must be heard to be believed even if it does not convince - it won't convince everyone but worth a listen. It is on RUclips.
Klemperer tempo is superb. Richter is a good compromise.
Thanks God for so gracious melody memorizing You~ .♩♪♬♤♪♩♬♪♩.
Great reference.
How can you interrupt such a supreme spiritual masterpiece with advertisements?
Money. The god of this world.
No hay nada que supere esta obra
The Gardiner and this one are my 2 favourites
Bach composed for the church's services before all. Karl Richter (a pastor) is the best rendition.
zahrasi-
youce, quote: «Karl Richter is the best rendition.» If you are talking about your personal taste, you are absolutely right. But in a historical context - no. In Bach’s days they practiced «tempo ordinario.» That practice disappeared with the metronome in the 1800s. Richter showed no interest in «tempo ordinario.» Therefore, his tempi is slower than Harnoncourt’s.
Thank you very much! When it was performed/recorded?
Köszönöm :)
2:36:50
In the end, Vegas get to us.
Perfetto!
What about Harnoncourt's Kings College Matthews-Passion ?
Die Matthäus Passion ist wunderschön!
Hier stört mich nur das Bild / Foto vom Schafbock!
Die Schriften, der hl. Schrift erzählt von Liebe!
Das Lamm, das zur Schlachtbank geführt wird. Genau so ist das Bild auch gemeint. Wer das nicht erkennt, hat es nicht ergriffen.
I Cor 5/7b
Where is this picture from???
Caravaggio? Jesus reveals Himself to the disciples. I think..................
Lo mas grande ,de lo mas grande.
The production is lit
Masterpiece
no.52 아리아는 "카운터-테너"가 부르기도 합니다....(^^)
Империя мафии. 1. Нарушение Клятвы. Документальный фильм про мафию
I love Wayne and Garth, but why are they interrupting Bach?
1:01:11
❤️❤️❤️
PETIT MOMENT D'ALLEGRESSE.....MERCI....
Very beautiful, but I could do without the picture of the lamb.
Fede: THE POOR LAMB!!!
💗
👏
On the Klemperer version, Fischer-Dieskau says in his autobiography that he and Peter Pears spoke about how taxing and stylistically wrong the conductor’s tempi were. I think he even names this recording as one of the most dissatisfying projects of his career.
Klemperer's is so heavy, self important and long-winded. For so many years I thought it was the actual work, rather than a wrong-headed interpretation of the work.
I love both. They bring very different things to the listener - and this all music is large enough to "contain multitudes".
It really is interminable. Just unlistenable, unless you have a penchant for masochism.
je prefere largement la version avec des voix d'enfants et des contreténors
I don't want to be the best, because I am already the best, ever. !!!!! .... Non-existent.
Whys everyone become hyper christian the moment they listen to a bach piece in every comment section? Shut up!!!!
Were you born an idiot or did you have a bad experience growing up?
Njegova muzika je upravo ono što je sinonim za Boga
Thomas Brenda Hernandez Frank Martin Carol
Si les publicitaires pouvaient avoir la décence minimale de fermer leur g... pendant la musique de Bach, au lieu de la polluer des excréments par lesquels ils se prennent pour des créateurs qu'ils ne sont pas...
"강추"....(^^)
NON PLUS ULTRA
A música de Bach é algo genial, mas o carneiro com as patas amarradas é um quadro fora do contexto.
Se llama la "Pasión según San Mateo" ¿no recuerda "el cordero de dios que quita el pecado del mundo? La pasión de Cristo no es otra cosa que la historia de un sacrificio,
@@rodolfoporras555 nunca preste atenção em comentários de língua portuguesa rsrs
Das Thumbnail erinnert an grausame Osterriten des Christentums. Da möchte man keine Musik zu genießen. Danke. Auf Wiedersehen 🤮🤮🤮🤮🤮🤮🤮🤮🤮🤮🤮🤮
is this a ugly contest?
La foto del animalito es horrible, dejé de escuchar. Alguien más con esta impresión?
Absolutely hate this painting, "Agnus Dei," by Francisco de Zubarán. Poor lamb... The glorification and legitimization of animal abuse with strong speciesist "undertones." So much for religion, and religious fervor!
I wonder if the people objecting to this picture of the lamb would have any objection at all to a gruesome picture of the true Lamb of God beaten, flogged, crowned with thorns, and nailed to a cross. That’s what this Passion is about.
"Agnus Dei" literally means "the lamb of god" in latin. it's not the glorification or legitimisation of anything. in fact youre supposed to feel pity for the poor thing, as it's supposed to represent jesus. and the fact you could name the painting and painter but not recognise the iconography is baffling
The picture is revolting !
You didn't have a more appropriate photo for this great masterpiece? OK, we know that Jesus is the "lamb", but come on!
One more ignorat tasteless idiot
Voici l'Agneau de Dieu qui ôte le péché du monde "
Jean baptiste
I just wanted to see why there was a dead lamb. I love classical music but not the dead little lamb. I don't care what religion one is...animals should not be sacrificed!! Only wicked people!!
exactly........classical music..... *facepalm*
It's wonton cruelty. Please remove this picture.
@@ekcentrik
It is Jesus. He died for our sins.
@chiara corrado that is no reason to demand from others to remove it. the picture is not supposed to make anyone feel comfortable in the first place. it is supposed to remind us of death, sacrifice and betrayal. if you don`t like it, don`t look at it. if you don`t like the intention and message of st matthew`s passion, don`t listen to it.
Horrible picture
Do you know what it represents?
The Coach that gave to Ibrahim to sacrifice it instead of his son. Our Muslims and Judas accepted it as a Tradition! And this event is celebrated as a day of the year .
TLDR; if god wouldnt send an animal your father would cut your throat :))
@@Umitto Yes, and for christians it is the final covenant with God, the paschal lamb, sacrificed to give us all another chance. Personally I think this de Zurbaran painting is wonderful, up there with Caravaggio. Anyway, best wishes this Passiontide.
“Behold the Lamb of God, which taketh away the sin of the world” (Jn 1:29).
@@sibprof5684 Have mercy on us Lord.
I am not sure the image of a tied-up lamb ready for slaughter is the appropriate image for this piece, unless it was indeed a reflection of the particularly German Christian penchant for murder and mayhem.
its the actual album cover for this recording and have you never heard of the concept of the lamb of god? it couldnt be more appropriate for such a piece.
Honestly, I think these people are trolling. His/her profile picture looks like it’s Picasso’s Don Quixote. I don’t believe he/she doesn’t understand what the picture stands for. Anyway, it’s not like Quixote’s horse got an easy ride, is it…
@@anoldretiredelephant Actually, if you have ever read the Bible, it is appropriate for a God described as habitually addicted to genocide and mass murder.
1:01:11