What a great Bach performance from Dietrich Fischer-Dieskau,as well as Karl Richter who does so well performed,and this is my favourite Bach cantata,and this is his second Bach cantata recording in which he recorded in 1968,and originally released in 1969 on the Archiv Produktion label.
1. 00:00 Ária (Baixo): Ich will den Kreuzstab gerne tragen 2. 08:42 Recitativo (Baixo): Mein Wandel auf der Welt 3. 10:53 Ária (Baixo): Endlich, endlich wird mein Joch 4. 17:36 Recitativo e Arioso (Baixo): Ich stehe fertig und bereit 5. 19:37 Coro: Komm, o Tod, du Schlafes Bruder
What is amazing about this work, and the chorale in particular at the end......is how the composition seems merely the juxtaposition of melodies.....and the harmony was just an accident...... Just look that chorale.......take the last page, the 4th measure before the end (denn durch dich koom).......bass line is the soprano's intervals in mirror.......same altos an tenors......canon, mirror, oposite and direct movement.......all the possible counterpoints in 3 measures......you could be 1 month analysing just this last chorale........not to mention de subtext of the melody and how it perfectly matches the lyrics and what they are talking about.......Bach not only mastered counterpoint and harmony.........he basically mastered romanticism 100 years prior its existence.
The final major chord is functional to describe the text; in particular, it greatly highlights the believer's sense of bliss and joy when his soul finally arrives at the end of his earthly journey and manages to see Jesus.
Anthony Mondon of course, but remember that, for instance, the final chorus of Matthew's Passion, which is written in C minor, ends with a C minor chord. The picardy third is not always the rule.
Stefano Crosazzo you are right. It is not a rule indeed. But still, it is not only symbolical. We may find a third harmonical reason : at the end of a piece in C minor, we may have a direction to F minor thanks to E natural, so the ending C chord would be incoherent with an E flat...
What a wonderful voice, sad that we can no more hear him live
What a marvelous bass voice from D.F-D.!
That first aria completely floored me.
Love it ❤❤❤❤❤
What a great Bach performance from Dietrich Fischer-Dieskau,as well as Karl Richter who does so well performed,and this is my favourite Bach cantata,and this is his second Bach cantata recording in which he recorded in 1968,and originally released in 1969 on the Archiv Produktion label.
Divino timbre de Dieskau! Que maravilha!
1. 00:00 Ária (Baixo): Ich will den Kreuzstab gerne tragen
2. 08:42 Recitativo (Baixo): Mein Wandel auf der Welt
3. 10:53 Ária (Baixo): Endlich, endlich wird mein Joch
4. 17:36 Recitativo e Arioso (Baixo): Ich stehe fertig und bereit
5. 19:37 Coro: Komm, o Tod, du Schlafes Bruder
Очень величественно!
What is amazing about this work, and the chorale in particular at the end......is how the composition seems merely the juxtaposition of melodies.....and the harmony was just an accident......
Just look that chorale.......take the last page, the 4th measure before the end (denn durch dich koom).......bass line is the soprano's intervals in mirror.......same altos an tenors......canon, mirror, oposite and direct movement.......all the possible counterpoints in 3 measures......you could be 1 month analysing just this last chorale........not to mention de subtext of the melody and how it perfectly matches the lyrics and what they are talking about.......Bach not only mastered counterpoint and harmony.........he basically mastered romanticism 100 years prior its existence.
You understand the secret. We can compose like Bach with his skill if we cherish skill. I hear elements of Mahler even here
Bartje Bartmans, which editor do you use for these videos?
All these pubs before the video brake my...
There are Darth Vader’s Imperial March bases.
Solo la 82 le e' superiore
How I hate Picardy thirds
They're alright resolving a suspension
The final major chord is functional to describe the text; in particular, it greatly highlights the believer's sense of bliss and joy when his soul finally arrives at the end of his earthly journey and manages to see Jesus.
There is not only a symbolic reason though! The major third is acousticaly more in tune than the minor third. So the major chord is more complete...
Anthony Mondon of course, but remember that, for instance, the final chorus of Matthew's Passion, which is written in C minor, ends with a C minor chord. The picardy third is not always the rule.
Stefano Crosazzo you are right. It is not a rule indeed. But still, it is not only symbolical. We may find a third harmonical reason : at the end of a piece in C minor, we may have a direction to F minor thanks to E natural, so the ending C chord would be incoherent with an E flat...