Seit ich die Kantaten u Workshops von R. Lutz u seinen Ensembles kenne bin ich hingerissen u immer begeistert, wenn ich sie höre. Sie tragen nicht nur durch die Coronakrise, sie inspirieren u machen jeden Tag zum Feiertag u zum Genuss. Die Hingabe u Qualität mit der R. Lutz arbeitet, musiziert u einführt in die tieferen theologischen Hintergründe mit dem Experten "Karl" ist überzeugend u sehr bereichernd. Ulrike Kanus Sulz a. N.
@@ulrikekanus4278 Après Trogen, courez à Leipzig pour les Bachfesttage, dans l'atmosphère toute baroque qui baigne la ville (partie ancienne) ces jours-là; et puis allez à Erfurt, Eisenach, ou Wiessenfeld...
esecuzione eccellente i due oboi e il fagotto che spiccano sul ripieno degli archi danno alla cantata una piacevole serenità soprattutto nell' aria con il contralto. tutti magnifici . grazie infinite .
This has always been one of my favorite cantatas. As much as I hate such beauty contests, I've just listed to this version against 3 others that I've held dear over many years and find it utterly irresistible - every vocal soloist, every instrumentalist and of course the overall direction under maestro Lutz - all of it is perfect. My favorite: "Verzage Nicht", such an odd, syncopated seemingly improvised dream ensemble. I am beside myself. Thank you!
Kann dem nur zustimmen. Mir zerfloss bald mein Herz. Ich bin/war selbst international als Oratoriumssänger (Tenor) + als Sänger im Staatstheater Wiesbaden und Alten Oper in Frankfurt tätig. Wer bei solchen Klängen/Harmonien nicht ehrfurchtsvoll Gott, als seinen Schöpfer erkennt, ist nicht Wert, diese Musik zu gestalten !
Vielen herzlichen Dank an alle Interpreten, besonders an die Altistin und die beiden Oboen, auch an Sie, Herr Lutz und Herr Hummler! Diese Musik ist nicht von dieser Welt, sondern von der nächsten!
L'immenso mare delle cantate di Bach costituisce un "campo di gara" tra i migliori interpreti. Tra questi, senz'altro, primeggia la "Schola Seconda Practica". Stupenda esecuzione di questa meravigliosa cantata!
Another magnificent interpretation. Congratulations to all. Special for Irène Friedli, a beautiful and unusual voice. The capture by the microphones is absolutely accurate.
Ich habe keine bessere Aufführung dieser Kantate gehört. Qualität, Schwung u Hingabe begeistern unglaublich. Immer wieder inspirierend: Bach by Lutz. Ulrike Kanus Sulz a. N.
Esta cantata es maravillosa, otra faceta del gran Bach. Pero lo que me impresiona siempre en Bach es su inspiración divina, en el aria la fluidez el espíritu , la armonía con que todo la orquesta y la cantante tienen esta fuera de este mundo!!!!
Irene Friedli possède une voix chaude dont l'émotion contenue est irrésistiblement communicative: du très très grand art dramaturgique. Je n'en connais pas d'autres que Cecilia Bartoli ou Julianne Baird ...
Deliciosa presentación, sentida, claramente expresado cada uno de los mensajes. Gracias a cada uno/a de ustedes por su entrega, dedicación y expresividad. Bendiciones.
The sinfonia makes me think that Bach could have uesd it as the first movement of a double, or even triple concerto (if we consider also the basoon). However, today we can't say nothing about this, because we don't have any manuscript or copy.
La sinfonia di apertura deriva da una perduta cantata profana intitolata Der Himmel dacht auf Anhalts Ruhm und Glück e catalogata come BWV 66a, composta nel 1718 per celebrare il 24esimo compleanno del principe Leopoldo di Anhalt-Köthen
@@marcogiusti1358 Si, era questa una pratica assai consueta presso Bach, il collegamento profano-sacro era una soluzione molto efficace per produrre nuove cantate sacre a cadenza settimanale. Ciò che mi chiedo, è se Bach abbia utilizzato la sinfonia di questa cantata, similmente ad altre, per un ipotetico concerto doppio o anche triplo: pensi alle associazioni BWV35-BWV1059, BWV146-1052, BWV156-BWV1056, ecc...
@@giovannitarantino1955 possibile Basta vedere cosa ha fatto per gli oratori, per la messa in si minore Pescava qua e la' nella sua musica secolare di Weimar e Cothen, e chi puo' dire quanta altra di quella musica e' stata riversata nella sacra e dobbiamo ancora scoprirlo, tipo il preludio per violino che diventa incipit per organo nella 29 La ipotesi che fai e' realistica
Una altra cantata dove JSBach usa quasi sicuramente musica precedente, ora persa (forse meglio scrivere non ancora ritrovata) La sinfonia e' veramente tale quale un movimento di concerto e pure la aria per alto sembra il movimento lento di un concerto (lo stesso?) E' questa aria meravigliosa, certo la cantata e' come dire sbilanciata pero' questa aria la rende immortale
As far as I know, and some people think that's not much, Bach didn't put tempo markings on his scores. The tempo is established by the relationship of the piece to dance forms, by the ease with which the musicians can handle the notes, by the relationship of the chosen tempo to the speeds of the other numbers in the work, and so on. Our concept of the right tempo (as listeners) is often coloured by the speed the piece was taken the first time we heard it/enjoyed it. This cantata has been one of the most widely performed/recorded of the Bach cantatas, not withstanding its technical difficulty (phew!!). But for many years only the sinfonia was available on record, and that conducted by Anthony Bernard, on a shellac 78. The tempo was much slower and, for me (as a child), evoked the still of the evening. That memory is still with me, so I agree entirely with you about the speed, tho' not for any musicological reason.
La sinfonia de esta cantata por ejemplo no tiene por que ser tan rapida, el cabildo le puso al compositor unos tiempos ¡lento tambien vale¿habeis probado, historiadores?
Performances of Bach, especially recently recorded and posted by Dutch snd Swiss ensembles, have reached true excellence, under learned command over works of a composer who single-handedly vindicates the notion of layered civilization, sublimity in art and poly-geared meanings for an emotionally literate, globally humanist audience. For many of us, a season subscription to a cosmopolitan orchestra, dance or opera company is heaven on earth, but economically unavailable all the same. So for a brief, undeserved hour, baroqueros from Santiago to Shanghai, Stuttgart to San Francisco, are given asylum in the Edenic ombra of an Arcadian arbor, between the Elysian Fields and slopes of Olympus. High Culture may have fallen with Atlantis and Illium, but Utopia has been rediscovered and excavated on RUclips. Period woodwinds intact! All of these dreamy incarnations transport me to a reckoning of history--that the glory of tonal, lyrical, triadic polyphony between choir and chamber orchestra, honoring the architectural directives of diatonic counterpoint in the German Enlightenment, occupy the apex of pre-industrial history. For these riches to remain beyond the experience of school children is really a poverty of social intelligence in our time. If a love of Bach is lost over the next few generations, and with it a deep understanding of what Bach gave the world and how he made those gifts, we face our own shame i n absentia. And what we stand to lose in Music equals the loss of an Amazon, the Great Coral Reef, a Patagonia or Borneo Highlands. Citizens of the Future will revere Poggio and Mendelssohn for their preservationist heroics. But they will shame us for eternity, deservedly, if we degrade the power and glory of Johann Sebastian.
He won. He went at a faster rate than anybody else in the sumptuous sinfonia, and so he reached the line first. I count it an error, almost unknown in this excellent musician.
Check out the tenor bwv 97,. Listen to violinists, look at the members of the choir, observe how the movement moves them . As far as bwv 42 is concerned, it is just tolerable only.
Un des plus beaux et majestueux airs de Cantates. Somptueuse interprétation. Bravo à Irène Friedli (alto) et BachStiftung.
I think this is the best Bach people on the internet
Thank you so much.
As always........euphoric! Gorgeous! So quiet, so gentle, so soothing, so splendid! For the millionth time, thank you all from the bottom of my heart.
I hope J S Bach foundation invites Irene Friedli for future performances. Such a lovely voice and played so well by the oboes!
THIS CANTATA MUSIC JUST COULDN´T BE ANY BETTER. SIMPLY LOVELY- PERFECT WAY TO START MY DAY.
Fabulous! One of the best Bach Cantatas IMO.
The oboe duet was so wonderful in "Wo zwei und drei versammlet sind". I love Ms. Friedli's sumptuous alto voice...very pleasing to my ear.
Seit ich die Kantaten u Workshops von R. Lutz u seinen Ensembles kenne bin ich hingerissen u immer begeistert, wenn ich sie höre. Sie tragen nicht nur durch die Coronakrise, sie inspirieren u machen jeden Tag zum Feiertag u zum Genuss. Die Hingabe u Qualität mit der R. Lutz arbeitet, musiziert u einführt in die tieferen theologischen Hintergründe mit dem Experten "Karl" ist überzeugend u sehr bereichernd.
Ulrike Kanus
Sulz a. N.
@@ulrikekanus4278
Après Trogen, courez à Leipzig pour les Bachfesttage, dans l'atmosphère toute baroque qui baigne la ville (partie ancienne) ces jours-là; et puis allez à Erfurt, Eisenach, ou Wiessenfeld...
Excelente. Modesto entorno, pero una grabación magnífica en cuanto interpretación, sonido e imagen. Gracias por compartir.
esecuzione eccellente i due oboi e il fagotto che spiccano sul ripieno degli archi danno alla cantata una piacevole serenità soprattutto nell' aria con il contralto. tutti magnifici . grazie infinite .
This has always been one of my favorite cantatas. As much as I hate such beauty contests, I've just listed to this version against 3 others that I've held dear over many years and find it utterly irresistible - every vocal soloist, every instrumentalist and of course the overall direction under maestro Lutz - all of it is perfect. My favorite: "Verzage Nicht", such an odd, syncopated seemingly improvised dream ensemble. I am beside myself. Thank you!
One of the most accomplished of all the Bach cantatas IMO - an unfolding, dramatic structure which never cease to inveigle
Was für eine Wonne, solch einer Aufführung übers Internet beiwohnen zu können. Himmlisch.
Kann dem nur zustimmen. Mir zerfloss bald mein Herz. Ich bin/war selbst international als Oratoriumssänger (Tenor) + als Sänger im Staatstheater Wiesbaden und Alten Oper in Frankfurt tätig. Wer bei solchen Klängen/Harmonien nicht ehrfurchtsvoll Gott, als seinen Schöpfer erkennt, ist nicht Wert, diese Musik zu gestalten !
@@wolframheck2717 Oui! Sinon il est impossible de bien chanter et jouer cette musique divine.
Those baroque oboes are absolutely beautiful sounding , especially when duetting with Irene .
Vielen herzlichen Dank an alle Interpreten, besonders an die Altistin und die beiden Oboen, auch an Sie, Herr Lutz und Herr Hummler! Diese Musik ist nicht von dieser Welt, sondern von der nächsten!
muß Ihnen leider widersprechen: diese wundervolle Musik ist ganz von dieser Welt ! Erdacht und dargebracht von wirklichen Menschen für Menschen.
... und wo bleiben die fantastische Geigern?
L'immenso mare delle cantate di Bach costituisce un "campo di gara" tra i migliori interpreti. Tra questi, senz'altro, primeggia la "Schola Seconda Practica". Stupenda esecuzione di questa meravigliosa cantata!
Magnifique ! Nous rêvons du temps où l'on pourra revenir à des concerts 🌹🌹🌹
Bach, reviens !
Bach is more than a genius.
What a fantastic performance. Conductor and all musicians were superb
Die Bass-Arie, wie sie sich an Freunde-Spiel umwandelt... echt klasse!
Another magnificent interpretation. Congratulations to all. Special for Irène Friedli, a beautiful and unusual voice. The capture by the microphones is absolutely accurate.
Fantastic! 👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏
Wundervoll....alle...alles..... 🙂🙃 einfach nur wertvoll. Sind so dankbar...🙏
Dieser Lutz und seine SängerInnen sind einfach klasse! Die Oboisten auch. Danke schön.
Vielen Dank! Wünsche Ihnen Gottes Segen.😊❤
Beauty and joy
Utter genius, on the page, and in performance.
Mein Herz geht auf! ♥️
Wursel 77 a
Ich habe keine bessere Aufführung dieser Kantate gehört. Qualität, Schwung u Hingabe
begeistern unglaublich. Immer wieder inspirierend:
Bach by Lutz.
Ulrike Kanus
Sulz a. N.
Maravilhosa!!!!!
Una maravilla. Gracias
For mig er det altid en god dag, når jeg har hørt Bach
Esta cantata es maravillosa, otra faceta del gran Bach. Pero lo que me impresiona siempre en Bach es su inspiración divina, en el aria la fluidez el espíritu , la armonía con que todo la orquesta y la cantante tienen esta fuera de este mundo!!!!
Irene Friedli possède une voix chaude dont l'émotion contenue est irrésistiblement communicative: du très très grand art dramaturgique.
Je n'en connais pas d'autres que Cecilia Bartoli ou Julianne Baird ...
Semplicemente meravigliosi, e ovvio, meraviglioso Sebastian.
Deliciosa presentación, sentida, claramente expresado cada uno de los mensajes. Gracias a cada uno/a de ustedes por su entrega, dedicación y expresividad. Bendiciones.
Welch eine Aufnahme - Danke !
J.S.BACH :"Wo zwei und drei versammlet sind" BWV42 (1725)
ruclips.net/p/PLfdMKJMGPPtxd1N1wuFv73UqnsBveNNOb
Perfection. 👍 ❤️ 👏
Hans Pouw Werneke Von Hammerlage: Wunderschön!!!
Excellent!! Bach himself would approve. I'm sure he'd be confused about the abundance of female performers though.
Handsome how they play Bach. Yeah, you play Bach like that.
The sinfonia makes me think that Bach could have uesd it as the first movement of a double, or even triple concerto (if we consider also the basoon). However, today we can't say nothing about this, because we don't have any manuscript or copy.
La sinfonia di apertura deriva da una perduta cantata profana intitolata Der Himmel dacht auf Anhalts Ruhm und Glück e catalogata come BWV 66a, composta nel 1718 per celebrare il 24esimo compleanno del principe Leopoldo di Anhalt-Köthen
@@marcogiusti1358 Si, era questa una pratica assai consueta presso Bach, il collegamento profano-sacro era una soluzione molto efficace per produrre nuove cantate sacre a cadenza settimanale. Ciò che mi chiedo, è se Bach abbia utilizzato la sinfonia di questa cantata, similmente ad altre, per un ipotetico concerto doppio o anche triplo: pensi alle associazioni BWV35-BWV1059, BWV146-1052, BWV156-BWV1056, ecc...
@@giovannitarantino1955 possibile Basta vedere cosa ha fatto per gli oratori, per la messa in si minore Pescava qua e la' nella sua musica secolare di Weimar e Cothen, e chi puo' dire quanta altra di quella musica e' stata riversata nella sacra e dobbiamo ancora scoprirlo, tipo il preludio per violino che diventa incipit per organo nella 29 La ipotesi che fai e' realistica
Excellent
Somewhat like running through a vast field of wild flowers.
Неrzlichen dank
Oh, Heaven. Herr Lutz really has it goin' on---as the kids say.
Bravissimi!
Grossartige Aufnahme !
I prefer the Sinfonia taken at a slow and melancholy tone, but this performance is still good none the less.
Una altra cantata dove JSBach usa quasi sicuramente musica precedente, ora persa (forse meglio scrivere non ancora ritrovata) La sinfonia e' veramente tale quale un movimento di concerto e pure la aria per alto sembra il movimento lento di un concerto (lo stesso?) E' questa aria meravigliosa, certo la cantata e' come dire sbilanciata pero' questa aria la rende immortale
Dejlig munter musik og en meget flot solistoptræden ......
También a Nuestro Señor le gusta lo un poco menos solemne pero tocado con el corazón.
Estamos acostumbrados a escuchar la Sinfonía inicial, a un tiempo mas lento, lo que le imprime un carácter mucho mas solemne.
Bachstiftung's cantata renditions are stellar, this one included, but I have to take exception to the tempo of the sinfonia; it's just too fast.
I agree when listening to other, slower, versions. Until I come back to this one which works so well.
As far as I know, and some people think that's not much, Bach didn't put tempo markings on his scores. The tempo is established by the relationship of the piece to dance forms, by the ease with which the musicians can handle the notes, by the relationship of the chosen tempo to the speeds of the other numbers in the work, and so on. Our concept of the right tempo (as listeners) is often coloured by the speed the piece was taken the first time we heard it/enjoyed it. This cantata has been one of the most widely performed/recorded of the Bach cantatas, not withstanding its technical difficulty (phew!!). But for many years only the sinfonia was available on record, and that conducted by Anthony Bernard, on a shellac 78. The tempo was much slower and, for me (as a child), evoked the still of the evening. That memory is still with me, so I agree entirely with you about the speed, tho' not for any musicological reason.
Una soberbia cantata que tiene signos de proceder de reelaboración de un concierto previo. Magnífica interpretación, marca de la casa
La sinfonia de esta cantata por ejemplo no tiene por que ser tan rapida, el cabildo le puso al compositor unos tiempos ¡lento tambien vale¿habeis probado, historiadores?
Performances of Bach, especially recently recorded and posted by Dutch snd Swiss ensembles, have reached true excellence, under learned command over works of a composer who single-handedly vindicates the notion of layered civilization, sublimity in art and poly-geared meanings for an emotionally literate, globally humanist audience.
For many of us, a season subscription to a cosmopolitan orchestra, dance or opera company is heaven on earth, but economically unavailable all the same. So for a brief, undeserved hour, baroqueros from Santiago to Shanghai, Stuttgart to San Francisco, are given asylum in the Edenic ombra of an Arcadian arbor, between the Elysian Fields and slopes of Olympus.
High Culture may have fallen with Atlantis and Illium, but Utopia has been rediscovered and excavated on RUclips. Period woodwinds intact! All of these dreamy incarnations transport me to a reckoning of history--that the glory of tonal, lyrical, triadic polyphony between choir and chamber orchestra, honoring the architectural directives of diatonic counterpoint in the German Enlightenment, occupy the apex of pre-industrial history. For these riches to remain beyond the experience of school children is really a poverty of social intelligence in our time.
If a love of Bach is lost over the next few generations, and with it a deep understanding of what Bach gave the world and how he made those gifts, we face our own shame i n absentia. And what we stand to lose in Music equals the loss of an Amazon, the Great Coral Reef, a Patagonia or Borneo Highlands.
Citizens of the Future will revere Poggio and Mendelssohn for their preservationist heroics. But they will shame us for eternity, deservedly, if we degrade the power and glory of Johann Sebastian.
He won. He went at a faster rate than anybody else in the sumptuous sinfonia, and so he reached the line first. I count it an error, almost unknown in this excellent musician.
You are correct.
Weer een Bach kantante op z'n mooist👍
Alto sounds a little like Janet Baker. Focused lower notes, good top.
The alto is really good. Preferable to a countertenor. Countertenors are depriving women of work.
Check out the tenor bwv 97,. Listen to violinists, look at the members of the choir, observe how the movement moves them . As far as bwv 42 is concerned, it is just tolerable only.
the girl fiddler with long hair, two braids.....got to have her love
The sinfonia is just way too fast -- I am surprised that maestro Lutz chose such an extreme tempo.
,
K9o
乱暴な演奏という感じがする。