J.S. Bach / Schmücke dich, o liebe Seele, BWV 180 (McCreesh)
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- Опубліковано 1 тра 2012
- Johann Sebastian Bach (1685-1750)
Cantata BWV 180: Schmücke dich, o liebe Seele (22 October 1724)
1. Schmücke dich, o liebe Seele (Chorus)
2. Ermuntre dich, dein Heiland klopft (Aria: T) 05:05
3. Wie teuer sind des heilgen Mahles Gaben! -- Ach, wie hungert mein Gemüte (Recitative, Chorale: S) 09:56
4. Mein Herz fühlt in sich Furcht und Freude (Recitative: A) 12:55
5. Lebens Sonne, Licht der Sinnen (Aria: S) 14:05
6. Herr, laß an mir dein treues Lieben (Recitative: B) 17:46
7. Jesu, wahres Brot des Lebens (Chorale) 18:40
Soloists:
Soprano: Ann Monoyios
Alto: Angus Davidson
Tenor: Charles Daniels
Baritone: Peter Harvey
Performed by Paul McCreesh and the Gabrieli Consort & Players.
"The cantata Schmücke dich, o liebe Seele, BWV 180, was composed towards the end of 1724 and originally written for the 20th Sunday after Trinity, although there is evidence that Bach used the work as 'musica sub communione' on a number of occasions. It is a chorale cantata based on the well-known and popular eucharistic hymn of the same name by Johann Franck and its associated melody by Johann Crüger. The opening movement is a chorale fantasia with serene sustained woodwind chords over a jaunty gigue-like figure for the strings, which may allude to the wedding feast at Cana. The following tenor aria with virtuoso flute is based on Revelation Chap. 3 v. 20 where Christ says 'Behold I stand at the door and knock'; the knocking is audibly depicted in the reiterated bass line. The soprano recitative and arioso that follow feature a violoncello piccolo (for Bach, an instrument with eucharistic associations) which plays lively figuration beneath an ornamented version of the chorale. An alto recitative accompanied by two recorders leads into a soprano aria with the full instrumental ensemble in a lively dance-style movement, celebrating the joy of communion with Christ. A final bass recitative asks Christ to rekindle the fire of faith before a final chorale celebrates communion as a preparation for eternal life." - James Johnstone
Painting: Interior with Girl Reading, Peter Ilsted
This soprano has such an agile voice and beautiful interpretation
I am an ELCA Lutheran from South Carolina. Today (May 17), I attended a memorial service for my former pastor at Wiles Chapel on the campus of Newberry College. This was played during the distribution of Holy Communion.
Dann war das ja passend, wenn Ihr Pastor nun am ewigen Hochzeitsmahl teilnehmen wird,wenn Jesus wiederkommt
Die Kantate vom alten Meister meisterlich musiziert, danke!
BRAVO BRAVO BRAVO!!!!!!
DANCING BACH!!!!!!!!
The planets dance!
the galaxes moves!
Any vibration that makes us to rotate is cosmic music!
The expretion of the Universe!!!!
Jorge,Ihre Worte zu Bachs Tanzmusik sind auch "Bravo,Bravo,Bravo!"
Amazing music! A pure masterpiece of Bach's Cantatas! Here performed by one of the very best ensemble and artists at all!
Ja,meisterlich vorgetragen, schneller dürfte es aber nicht sein,sonst versteht man den wertvollen Text nicht mehr.Rudolf Lutz hat das Stück noch besser interpretiert, Tänzerisch,freudig nicht ganz so gehetzt.
This interpretation of John Eliot Gardiner is wonderful!!! Great intuition and sensibility!!!
It’s McCreesh not Gardiner.
@@kinakakira863 You are right. Sorry!
Thank you. This is the sprightliest version of this I have yet heard. Wonderfully quick tempi and small group singing is excellent. I love this Peter painting. BRIAN
Ja sehr spritzig ein fröhliches Hochzeitsmahl was uns da erwartet
Flauta sempre presente nas cantatas de bach
Beeindruckend und schön!
Tempo più veloce di altri interpreti ma interpretazione fresca e profonda, bravo!!!
Das finde ich auch,kenne aber noch eine bessere von Rudolf Lutz,die auch freudig und tänzerisch uns zum Hochzeitsmahl einlädt
Her voice is like clear glass
Belle interprétation, convaincante. Choeur introductif très réussi. Charles Daniels excellent.
❤
It's not fast at all. Just joyful ! With this typical english "swing" touch (Gardiner, Pinnock). I love it :) :) :)
Ja ich liebe es auch,die Einladung zum Hochzeitsmahl darf tänzerisch und freudig sein
@@adelkenter9358 I'm sorry, but I don't understand your beautiful language, even if I really love the sound :)
I really love this "one voice per part" interpretation : )
Listen to the melody of the choral , sung by the sopranos. Its breathing, and peaceful while the other voices and the orchestra frolic underneath this beautiful melody. This is my kind of interpretation!!
Das haben Sie schön geschrieben,so sehe ich es auch, habe eine Aufnahme mit Rudolf Lutz entdeckt,die kommt tänzerisch daher,bin verliebt,höre sie jeden Abend
es buena.!
suena bien.
Himmlisch 😇
She might have the easiest part in the opening chorus but my goodness me does the soprano make it count!
Verstehe Ihren Kommentar nicht,diese Interpretation ist schon sehr schnell,kenne die von Rudolf Lutz,die ist leicht und tänzerisch dem Hochzeitsmahl angemessen,so sehe ich das Abendmahl
This beautiful, lyrical interpretation reinforces John Eliot Gardiner's view that "Bach is dance."
It’s McCreesh not Gardiner.
Ja,bei diesem Text ist Bach "Tanz",weil es ein Hochzeitsmahl ist zu dem wir eingeladen sind,Bach hat auch viel langsame Tempi angegeben,zB Ich steh an deiner Krippen hier
Hier paßt das Tempo es wird ja zum Hochzeitsmahl eingeladen.Aber Bach hat auch langsame Tempi angegeben zB Ich steh an deiner Krippen hier
Bach i s t Tanz meistens
Wonderful music
Genau! es ist tempo welches hierzu den Kick gibt: die 12 Achtel sind die magic-maker. sie lassen dich zur Heiterkeit fliegen anstatt in der Sündenhöhel zu belassen
I noticed many of the commentators find this Tempo too fast. I find that very odd. Not fast at all, just full of rhythmic vitality.
Why not faster? I would love it. This missunderstanding: dance = fast tempo is a signal a lot of people forgot what a dance (even in barroc) means.
+Albert Clemente The opening chorus of this cantata is amazing. But not this version. It seems indeed that the performers need to return home at once. Sorry, Mr. Pinnock, but Ton Koopman's 1998 version is, for me, definitely more inspiring.
Ignacio Quilez I know. I try to be not too serious about tempo in recording, because in my experience it has not much to do with live sound. But this case is beyond doubt.
Jeg må have skrevet det op her i min telefonbog ?
For Band-people: The "Pat Patterson" Cantata
+ZacPB189 What do you mean? I'm curious.
+timothy ser For people that play in Concert Bands/Wind Ensembles (in the USA anyway), there are a few warm-ups that are fairly widespread (the Paynter warm-up for example). One of those warm-ups is called the "Pat Patterson Chorale", which is based on the first two phrases of the hymn-tune that this cantata is built around.
@@timothyser9967 Hello, Timothy! It's me, SHA2718. Didn't expect to find ya here!
Yes, the cantata is beautiful, but the name is tailor made for Peter Schickele!
I don't understand your remark. You obviously don't understand the text of this chorale. It is a Holy :Communion hymn "Deck, thyself, my soul, with gladness."
3:25
Too fast
I think I don't like this cantata played this fast. Normally I am very fond of McCreesh's barok-interpretations.
Too fast !!!!
Too fast- Mc Sheesh the mindless speed merchant at it again- tedious at best.
Sounds like dying cats.
You must be trolling. This is one of Bach's most beautiful cantatas.