J.S. Bach / Die Elenden sollen essen, BWV 75 (Herreweghe)
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- Опубликовано: 12 май 2012
- Johann Sebastian Bach (1685-1750)
Cantata BWV 75: Die Elenden sollen essen (30 May 1723)
Part I.
1. Die Elenden sollen essen (Chorus)
2. Was hilft des Purpurs Majestät (Recitative: B) 04:06
3. Mein Jesus soll mein alles sein (Aria: T) 05:01
4. Gott stürzet und erhöhet (Recitative: T) 09:48
5. Ich nehme mein Leiden mit Freuden auf mich (Aria: S) 10:25
6. Indes schenkt Gott ein gut Gewissen (Recitative: S) 15:15
7. Was Gott tut, das ist wohlgetan (Chorale) 15:54
Part II.
8. Sinfonia 17:28
9. Nur eines kränkt (Recitative: A) 19:54
10. Jesus macht mich geistlich reich (Aria: A) 20:46
11. Wer nur in Jesu bleibt (Recitative: B) 23:19
12. Mein Herze glaubt und liebt (Aria: B) 23:52
13. O Armut, der kein Reichtum gleicht! (Recitative: T) 27:27
14. Was Gott tut, das ist wohlgetan (Chorale) 28:07
Soloists:
Soprano: Carolyn Sampson
Countertenor: Daniel Taylor
Tenor: Mark Padmore
Bass: Peter Kooy
Performed by Philippe Herreweghe and Collegium Vocale Gent. Recorded by Harmonia Mundi in 2003.
"[Bach's] first official duty [in Leipzig], the performance of the newly composed cantata Die Elenden sollen essen (BWV 75), was worthy of a mention in the Acta Lipsiensium academica: 'On 30 May 1723, the First Sunday after Trinity, the new Kantor and Director of the Collegium Musicum, Herr Joh. Sebastian Bach, recently arrived here from the Prince's court at Cöthen, performed his first music to considerable applause [mit guten applausu].' The 'applause' that greeted Bach's work should of course not be understood as an outbreak of demonstrative handclapping; rather, this not particularly effusive remark should be interpreted as signifying that the composer's music had met with approval, and that he had thus discharged the duties required of him, which he was contractually bound to fulfil. The theme of the cantata, the antithesis between poverty and wealth, earthly trifles and divine Providence, was provided by the Gospel for that Sunday, the parable of Lazarus and the rich man. However, the layout of the libretto, which is by an unknown hand, must have been decided by Bach himself. The first part, to be performed before the sermon, applies the parable didactically to the Christian life. Right from the opening chorus Bach presented himself to the people of Leipzig as a composer who was capable of placing the highest artistic skill at the service of a vivid translation of words into music. The first of these ('Die Elenden sollen essen, dass sie satt werden') unfolds in a freely imitative choral texture full of expressive suspensions, which is incorporated in an orchestral style influenced by the French overture. These elements are further developed, and taken up by the choir, in the next section ('und die nach dem Herrn fragen'). After a recapitulation of the orchestral introduction, the words 'Euer Herz wird ewiglich leben' are set as an extended fugue making considerable use of melisma.
The companion piece to the opening chorus, a prelude-and-fugue sequence transposed into vocal terms, is the sinfonia that introduces the cantata's second part, a fugal movement in which the chorale 'Was Gott tut, das ist wohlgetan' is heard on solo trumpet. Bach has already placed this melody at the end of the first part, in the form of a chorale setting for four-part chorus, with each line framed by orchestral ritornellos. At the conclusion of the cantata he reprises this setting note-by-note, but with another strophe of the chorale, thus creating a unifying correspondence between the two parts of the work.
Interconnections of another kind are also to be found in the solo numbers. In each of the two parts, two arias are framed by three recitatives; all the arias, however different they may be from one another, present a markedly cantabile style when compared with many later works, and (with the exception of the bass aria towards the end of the cantata) all are distinguished by their dance-like character. The 'considerable applause' bestowed on Bach may have been due not least to the fact that he was cunning enough to lean towards the style of Georg Philipp Telemann, who had in fact been the preferred candidate for the Leipzig job." - Thomas Seedorf (trans. Charles Johnston)
Painting: Poverty and Wealth, Flemish (17th cen.) 
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What do I do without a life WITH J. S. Bach..... We have water, fire, food, shelter, and heavenly Music performed by such gifted musicians. It makes not only my day', but my life. Thank you so much.
Endlich eine Aufnahme, in der der Choral in der Trompete (Sinfonia) in der hohen Lage erklingt. Sportlich, aber natürlich so viel besser zu hören.
My word... just the first couple of bars, barely 20 seconds in and you already know you are listening to the very best of us to ever walk the earth, confident in his craft. NOONE can match Bach for immediate and intense emotion and beauty.
This Bachmania without seriously studying text and its christian meaning eats the nerves. Text über alles ! The talents of melodist turns against Bach himself. In sacred works, the music is sustaining the text and not the opposite !! Atheistic world have kind of nostalgy of times when christianism was taken seriously ? It's possible to love Bach music and go to damnation. First purpose of Bach was to teach the gospel. A cantor had to succeed exam in theology ! Good pleasant hearing of trompet in Hell. Better taking Bach seriously. Do you feed poors ?
@@Erikkaa7 "It's possible to love Bach music and go to damnation." You know this for a fact?
@@abirdthatflew I was half serious. I don't have first hand news :-) I wanted to point the importance of text for Bach. There was no TV. The way to teach was preach, cathechism and vocal music (importance of recitativ and chorals). I always study text first. Merry Christmas !
@@Erikkaa7 And a Merry Christmas to you! My take is that I have very little interest in the words in almost any kind of music. For me, it's all about the composition and performance of the music, that's what I hear. Rarely I'm curious enough to check the text. It was surprising to discover the words of the opening chorale of BWV 8, Liebster Gott: "Dearest God, when will I die?" The question is an anxious one, wanting to know when the calling will come. For me, the calm serenity and bliss of the music doesn't match this otherwise fine and valid poem. I'd say Bach had the music in mind already and simply fitted it to the words.
@@abirdthatflew Because you apparently don't understand what those words mean to a christian. Death gives serenity to a God loving person, especially if they are in pain.
Christianity is a not a feature to believing man. It's our daily bread. And so it was for Bach. Every great piece of classical art was inspired by Christianity and full of it. The text is indeed very important for the appreciation of Bach. Without it you perceive like a mere reflection on the surface of the water but not Bach.
Herreweghe is the only Bach specialist of his generation whose work breathes. His colleagues - Gardiner, Suzuki and the others - set a fast tempo and frogmarch their choruses and soloists through that tempo. You always feel they are striving to keep up, because the tempi (when they are not slow pieces) are usually too fast in the first place. Even though (thanks to youtube) I listen to their work, I never feel they are right, "natural" tempi.
J'écoute ce morceau en conduisant mon 15 tonnes .bébert, gilet jaune ,vous salue bien .
'Die Elenden Sollen Essen' exceeds in depth, sense of a driving hypnotic force, genius craft in harmonic structure with the trumpet and voicing the chorus. Exquisitely refined interpretations. What a beauty...
Gute Einsicht!
Adoro Bach!!!!!!!!
Heaven on earth
Du sagst es.
Excellent coupling of the description with the painting and music. Well done. Very well executed and intelligent. Thank God for your artistic smarts!!! BRIAN
« Les doux mangeront et se rassasieront : ils loueront le Seigneur qui les cherche : votre cœur vivra à jamais »
I like choir especially in acapella because when you hear it, it sounds like an organ playing
Linda composição! Senhor Deus, protegei a todos nós!
Erhebend, bewegend und ewig aktuell!!!
15:57 and after is my favorite....
the same! what a joy when it is repeated at the end of the Cantata...
Ausgezeichnet!
Eindrucksvoll
divine.
La trompette est divine, je me crois au paradis...
😋 delicieus
На мой взгляд, люди должны ответить, на агрессию тёмных, сил своим познанием Мира , правильным пониманием. Есть впечатление, что человечество , в настоящее время, является жертвой то есть Die Elenden.
Bela muziko
le paradis!
Excellent analysis by Thomas Seedorf. Thank you for presenting it, scrymgeour34 It really helps.
13:00
Je ne me peux plus de cette trompette dans la Sinfonia...
Seemingly effortless musical breathing.
... it just happens without you having to make any effort.
20:46
10:25
No - not portamento singing choral