J.S. Bach / Weinen, Klagen, Sorgen, Zagen, BWV 12 (Rifkin)
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- Опубликовано: 12 сен 2024
- Johann Sebastian Bach (1685-1750)
Cantata BWV 12: Weinen, Klagen, Sorgen, Zagen (22 April 1714)
1. Sinfonia in F major
2. Weinen, Klagen, Sorgen, Zagen (Chorus) 02:18
3. Wir müssen durch viel Trübsal (Recitative: A) 08:40
4. Kreuz und Kronen sind verbunden (Aria: A) 09:24
5. Ich folge Christo nach (Aria: B) 15:57
6. Sei getreu, alle Pein (Aria: T) 18:05
7. Was Gott tut, das ist wohlgetan (Chorale) 22:19
Soloists:
Soprano: Susanne Rydén
Countertenor: Steven Rickards
Tenor: John Elwes
Bass: Michael Schapper
Performed by Joshua Rifkin and The Bach Ensemble. Recorded by Dorian in 1995-96.
"Weinen, Klagen, Sorgen, Zagen (Weeping, Lamenting, Worrying, Fearing) (BWV 12) was written for the Sunday Jubilate, the third Sunday after Easter, which was the 22nd April 1714. This was the second cantata Bach wrote after his appointment as music director to the Court of Weimar. The libretto is without freely written recitative and this fact, together with the three arias which follow closely on one another, shows it to be an unmistakable transitional form of the Weimar poet Salomon Franck. Despite missing proof of the fact we can regard him as the undoubted author of the libretto. For the content of his work Franck turned to the Sunday Gospel according to St. John (Chap. 16:16-23), and its basic thoughts 'Sadness (about Jesus' Farewell)--Joy (at seeing Jesus again)' became the governing theme of the cantata.
In his composition Bach interprets these basic thoughts of the libretto with those means which the teaching of the 'musica poetica' of his time provided. 'Sadness' is portrayed by chromaticism, for example the falling bass line of the opening chorus, but 'Joy' on the other hand is illustrated by rising diatonic harmony like that which is to be found in the recitative, in the second aria and, too, in the final chorale. There are further musical techniques, such as canonic passages and chorale extracts in instrumental form, which serve to clarify and give point to the libretto.
The solemn and separate instrumental introduction--in later cantatas this sort of introduction becomes an integral part of the opening chorus--is followed by a sedately constructed choral section whose main part is a chaconne built up over a chromatically falling bass-continuo. We know this chaconne from its later re-shaping into the 'Crucifixus' of the B minor Mass. The middle section has a faster tempo and its construction and harmony are less complicated.
The biblical text in the third movement is presented as recitative accompanied by strings, the top instrumental voice of which (violin 1) plays a rising scale of held notes. The full meaning of this is made clear to us when the alto sings the words 'in das Reich Gottes eingehen' ('to enter the kingdom of God') also to a rising scale.
The change from sadness to joy is reflected in the fluctuating character of the three arias. In the fifth movement we meet again the rising scalic figure, this time with numerous canonic parts as symbol of the image of Christ, and in the sixth movement in place of an obligato instrument the trumpet plays the chorale melody (without text) 'Jesu, meine Freude' ('Jesus, my Joy') which is to say: Jesus turns sadness into joy.
The final chorale, which is as usual simply constructed, is extended into solemn, five-part harmony by an independent, high instrumental voice." - Alfred Dürr
Timeless music. In another 500 years we will still listen. If humanity still exists...
What am I hearing right now? That's marvelous, i can't even put into words how much a love J.S Bach music.
I'm slowly dying of ALS / MND and this cantata is wonderful if you follow the text too.
Be faithful, all pain
will yet be only a little thing.
After the rain
blessing blossoms,
all storms pass away.
Be faithful, be faithful!... With the Christ trumpet counterpoint
hughes give up on this religious nonsense before you pass away, and embrace a more realistic present moment awareness
thank you Alex for reading and giving me your thoughts. It's an interesting piece of advice., to embrace a realistic present moment experience... It reminds me of Pluto's Phaedo, which recounts Socrates last hours alive, he's saying why he embraces death because he expects his soul to be liberated but then he sees some of his followers whispering, sceptics who don't want to disillusion the old boy! But Socrates urges them to speak up because he says he doesn't want comfort, only truth. So he embraced reality, but he's he'd probably say there's more to truth than the present moment, even if fidelity to the present moment is indispensable. After all your sense of who you are depends on remembering past moments and holding to some sense of continuity or meaning, surely? I think I am faithful to the present moment, you have to be when suffering otherwise it's intolerable. Is it of no sense? It is to me, and there's much that doesn't make sense to me. But I don't find awareness of the present moment incompatible with faith, quite the opposite, in fact the faith seems to broaden the width and depth of present experience I can tolerate, it makes sense of apparently mutually exclusive types of experience like joy and pain, occurring at the same time. Anyway once again thank you for your interesting comment
Beautiful and dignified John. Thus you shame the callous Mr Reik.
There are few people who can approach death, as you do, with this kind of equanimity and thoughtfulness - and faith. It is inspirational.
Bach faced death every day. His parents and his wife died long before their time was due. And ten of his children. Bach was more intimately acquainted with death than any other of the great composers. In my view it is the profundity of his suffering and grief that transforms his music from the beautiful to the transcendental.
Bach is amazing in a different way depending on ur emotional state which to me is truly mind blowing
Churches should play compositions like this, not the commercial musics of nowadays. Those have not poetry, have not the voice of Angels and touch of the Holy.
Yes and no, times have changed. I am with you on the page that this is truly magnificent but modern church music has its rights as well. It is a matter of finding a good blend.
@@tobiasstudtheol modern church music sucks, for me it all sounds the same and noncreative, There is nothing like
Old sacred music.
@@user-uw8dy5lz7p, there is a lot of sloppy modern church music but dig deeper, you will find something better.
@@tobiasstudtheol can you suggest me any CCM Artist who you think is great..
In Russian there's a say : whoever's paying, orders the music.
6:00 what a beauty.
La música de Bach es una ventana al infinito
La reducción de las voces aumenta la fragilidad de la música y el sentimiento de soledad de la partitura. Un gran planteamiento por parte de Rifkin.
Its deeply emotional music. J.S. Bach was obviously inspired by higher intelligence that create end inspire... 💜
Yes, there is no explanation for his consistent miraculous transcendence of what we know in 'ordinary' music' - except that he had some kind of connection to a higher state of intelligence and beauty. We listen in awe - confounded by this otherworldly ability. His music is from some point in the future when humanity has reached this higher place.
Fantastic Mr. Joshua Rifkin!
Such a movingly heartfelt chorale!
Pure Compassion... :(
Thanks for the Rifkin. LOVE IT.. BRIAN
Wonderful recording. Thanks for sharing.
Incredibly moving.
Sinfonia in f minor.. Very nice, great Rifkin.
BONITA OBRA NO LA CONOCIA.
Muchas gracias y pasad un domingo feliz.🌿
Permíteme que te cuente
Como una cantata de Bach
Acompañando mi senda
Tierra calcárea y dura
Entre frutales en flor
Me reconcilia y aquieta
Gråd, klage og sorg. Jesu død på korset kan kun beklages med stor sorg.....
Wonderful!
incredible .... (the chorus is from Crucifixus ?)
This chorus came first, then Bach reused it for his Crucifixus. Much of the material in his Mass in B Minor comes from earlier cantatas, but substantially revised.
2:18 My god!
Keine sorgen herr jesus ist hier
❤
ALABADO sea Jesucristo
Soprano sounds like voice of a boy. I am not sure if it is grown woman singing soprano or a boy. Position of the tone is good. Intonation is good, dynamic is also good. Different colors, volume of the voices is rich.
What is that image? Is it maybe a famous sculpture kept in Bologna?
I M M E N S O B A C H
there's got to be a download for this
RUclips to mp3.
One voice per part is a real downer.
+MrPaevo Oh please. It's beautiful.
+MrPaevo get with it, old man
+Alex Reik please have respect... I think it's not a good thing to be so disparagingly about both this person, and old men. But I agree with you that this is such a beautifull recording. I think one voice per part gives it a higher virtuosity and more emotion.
blame the audio engineer for not balancing the voices out. I'm sure one per part sounded just fine, if not more intimate.
blame the conductor! burn the sheets! kill bach!