Bach - Cantata BWV 169 "Gott Soll Allein Mein Herze Haben" (Ct.rc.: Aafje Heynis / Remastered)
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- Опубліковано 31 лип 2024
- Johann Sebastian Bach (1685-1750) Bach: Cantatas BWV 170 & 169, Sacred Arias, Sacred Lieder.
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Cantata BWV 169 "Gott Soll Allein Mein Herze Haben"
00:00 I. Sinfonia
08:40 II. Arioso en Recitatief: Gott soll allein
12:18 III. Aria: Gott soll allein
20:40 IV. Recitatief: Was ist die Liebe Gottes?
21:40 V. Aria: stirb in mir
27:07 VI. Recitatief: Doch meint es auch dabei
27:53 VII. Koor: Du süsse Liebe
Complete Remastered Edition Available on all the main streaming platforms
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Contralto: Aafje Heynis
Organ: Albert de Klerk
Netherlands Chamber Orchestra & Chorus
Conductor: Anton Van Der Horst
Recorded in 1958
New mastering in 2022 by AB for CMRR
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Thank you :) / cmrr
Cantata BWV 169 dates from the third year of production in Leipzig (1725-1726). The unknown author of the libretto of this cantata develops the affirmation of Christ reported in the Gospel of Matthew: "Love Yahweh your God with all your heart, with all your soul and with all your mind: this is the greatest and first commandment." That is why the soloist sings "God alone must possess my heart." And this in spite of the seductions of the earthly world, which are nothing compared to the eternal bliss to which the faithful are promised. This love of God is the supreme good that must lead him to paradise. As the cantata "Herr Christ, der einge Gottessohn" BWV 96 for the same Sunday says, the Christian must die to the world by renouncing all its temptations. This is precisely the teaching repeated by the apostle John: Do not love either the world or the things in the world. If anyone loves the world, the love of the Father is not in him; because everything in the world the desire of the flesh and the desire of the eyes and the showy display of one's means of life does not originate with the Father, but originates with the world. Furthermore, the world is passing away and so is its desire, but the one who does the will of God remains forever (1 John 2: 15-16). But the faithful must also observe the second commandment, that of love of neighbor, which is only the corollary of the first. Love of God, love of neighbor, this is what the concluding chorale stanza implores for grace.
Like the other cantatas for solo voice from Bach's creative period, this one is very sober, but it is remarkable to observe the subtle differentiation in the composition of each piece, in terms of style and instrumental color, creating contrasts and renewing the expressive registers, and thus the interest and above all the attention of the listeners. A brilliant introduction is followed by three pieces, in turn arioso, aria and recitative, where the voice is supported only minimally, by the basso continuo or the organ. The chorus of three oboes falls silent after the initial sinfonia (except to support the singing of the final chorale), and it is not until the second aria (no. 5) that the strings intervene. The final chorale requires only four polyphonic voices for one minute.
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Johann Sebastian Bach (1685-1750) - Brandenburg Concertos BWV 1046-1051
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Johann Sebastian Bach PLAYLIST (reference recordings): • Johann Sebastian Bach ...
Johann Sebastian Bach (1685-1750) Bach: Cantatas BWV 170 & 169, Sacred Arias, Sacred Lieder.
🎧 Qobuz bit.ly/3o5KqnZ Tidal bit.ly/3z8RMgW
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Cantata BWV 169 "Gott Soll Allein Mein Herze Haben"
00:00 I. Sinfonia
08:40 II. Arioso en Recitatief: Gott soll allein
12:18 III. Aria: Gott soll allein
20:40 IV. Recitatief: Was ist die Liebe Gottes?
21:40 V. Aria: stirb in mir
27:07 VI. Recitatief: Doch meint es auch dabei
27:53 VII. Koor: Du süsse Liebe
Complete Remastered Edition Available on all the main streaming platforms
(Qobuz in 24/96 His-Res, Amazon Music, Deezer, Tidal, Spotify (soon), Apple Music (soon)..)
Contralto: Aafje Heynis
Organ: Albert de Klerk
Netherlands Chamber Orchestra & Chorus
Conductor: Anton Van Der Horst
Recorded in 1958
New mastering in 2022 by AB for CMRR
🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr
🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/370zcMg
❤ If you like CM//RR content, please consider membership at our Patreon page.
Thank you :) www.patreon.com/cmrr
Cantata BWV 169 dates from the third year of production in Leipzig (1725-1726). The unknown author of the libretto of this cantata develops the affirmation of Christ reported in the Gospel of Matthew: "Love Yahweh your God with all your heart, with all your soul and with all your mind: this is the greatest and first commandment." That is why the soloist sings "God alone must possess my heart". And this in spite of the seductions of the earthly world, which are nothing compared to the eternal bliss to which the faithful are promised. This love of God is the supreme good that must lead him to paradise. As the cantata "Herr Christ, der einge Gottessohn" BWV 96 for the same Sunday says, the Christian must die to the world by renouncing all its temptations. This is precisely the teaching repeated by the apostle John: Do not love either the world or the things in the world. If anyone loves the world, the love of the Father is not in him; because everything in the world the desire of the flesh and the desire of the eyes and the showy display of one's means of life does not originate with the Father, but originates with the world. Furthermore, the world is passing away and so is its desire, but the one who does the will of God remains forever (1 John 2: 15-16). But the faithful must also observe the second commandment, that of love of neighbor, which is only the corollary of the first. Love of God, love of neighbor, this is what the concluding chorale stanza implores for grace.
Like the other cantatas for solo voice from Bach's creative period, this one is very sober, but it is remarkable to observe the subtle differentiation in the composition of each piece, in terms of style and instrumental color, creating contrasts and renewing the expressive registers, and thus the interest and above all the attention of the listeners. A brilliant introduction is followed by three pieces, in turn arioso, aria and recitative, where the voice is supported only minimally, by the basso continuo or the organ. The chorus of three oboes falls silent after the initial sinfonia (except to support the singing of the final chorale), and it is not until the second aria (no. 5) that the strings intervene. The final chorale requires only four polyphonic voices for one minute.
Jean-Charles Hoffelé: "The smile of this tall, well-dressed woman from an Alfred Hitchcock film delighted the young man I was then, and the person made me forget the singer by dint of her attentions and delicacy. The late Henry de Rouville, her pupil, had allowed me to meet her. The androgynous touch of Aafje Heynis' timbre has always fascinated countertenors, and rather than comparing her to Kathleen Ferrier, he saw in her a distant cousin of Alfred Deller.
Like Ferrier, Heynis began in the choir, in church. She would have remained there, anonymous and happy, if one morning in May 1945, in the electric climate of a still promised Liberation, her friends had not pushed her onto a platform. "Sing!". She sang Dank sei Dir, Herr. A shock. Anthony van der Horst took her under his wing, giving her the technical basics that were still missing - for art and sensitivity, everything was already there.
Still unsure, she crossed the Channel and sounded with the great baritone Roy Henderson. They worked together for three years in the music salon where Kathleen Ferrier had preceded her ten years earlier, a period of which she spoke only in passing. Back in Holland, she returned to the church.
It was in Bach that she recognized herself, seeking the celestial line behind the earthly words, transforming herself at will into a cello or a clarinet. What instrumental singing means, she realized it fully and as a matter of course. At the opposite end of the spectrum from a career, Aafje Heynis never sought to reap the fruits of her spiritual labor in the public arena, and left us on December 16 at the age of ninety-one - long, long after she had unapologetically but bitterly fled the spotlight."
Johann Sebastian Bach (1685-1750) - Brandenburg Concertos BWV 1046-1051
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THIS LADY HAD A BEAUTIFUL VOICE. MAY SHE SING WHITH ANGELS IN HEAVEN
"...jij moet de priester in jouw vak zijn" - she used to say, a wonderful person who lived by the same dictate as her favourite composer JSBach, to wit 'JESU JUVA' 🙌
Her singing voice is out of this world, and stains in my soul .
Indescribable beauty
Indescribable comfort
Indescribable feeling
And
something indescribable
One of the best Contraltos I ever heard.!
Любимица, ангельский голос ☺️💚
Like a voice from heaven! Ethereal! And of course exquisite music from the god of music himself too!!
Marvellous.
Thank you for the extensive notes.
Wunderschöne Interpretation dieser perfekt komponierten Kirchenkantate mit gut vereinigten und perfekt entsprechenden Tönen aller Instrumente sowie herrlicher Stimme der genialen Solistin und gut harmonisierten Stimmen des ausgezeichneten Chors. Der intelligente und erfahrene Dirigent leitet das ausgezeichnete Kammerorchester in verschiedenen Tempi und mit künstlerisch kontrollierter Dynamik.
Die verbesserte Tonqualität ist auch erstaunlich hoch als eine Originalaufnahme von vierundsechzig Jahren vor. Alles ist wunderbar!
Busco esta pieza l ! en original sinfonia de la canrata 169 de sebastian Bach. Porfavor
I am so glad to hear this angel, I finally know how the Heaven sounds.
La Cantate BWV 169 date de la troisième année de production pour Leipzig (1725-1726). L’auteur inconnu du livret de cette cantate développe l'affirmation du Christ rapportée par l'évangile de Matthieu : "Tu aimeras Yahvé ton Dieu de tout ton cœur, de toute ton âme et de tout ton esprit : voilà le plus grand et le premier commandement." C'est pourquoi le soliste chante "Dieu seul doit posséder mon cœur". Et cela malgré les séductions du monde terrestre, qui ne sont rien auprès de la félicité éternelle à laquelle est promis le fidèle. Cet amour de Dieu est le bien suprême qui doit le mener au paradis. Comme le disait la cantate « Herr Christ, der einge Gottessohn » BWV 96 pour le même dimanche, le chrétien doit donc mourir au monde par le renoncement à toutes ses tentations. C'est précisément l'enseignement répété par l'apôtre Jean: N'aimez ni le monde ni les choses du monde. Si quelqu'un aime le monde, l'amour du Père n'est pas en lui; 16 car tout ce qui est dans le monde - le désir de la chair et le désir des yeux et l'étalage de ses moyens de subsistance - ne vient pas du Père, mais du monde. 17 De plus, le monde passe et son désir aussi , mais celui qui fait la volonté de Dieu demeure pour toujours. (1 John 2: 15-16). Mais il faut aussi au fidèle, comme le rappelle le Christ, observer le deuxième commandement, celui de l'amour du prochain, qui n'est jamais que le corollaire du premier. Amour de Dieu, amour du prochain, c'est ce dont la strophe de choral conclusive implore la grâce.
Comme les autres cantates pour voix soliste de cette période créatrice de Bach, celle-ci manifeste une grande sobriété, mais il est remarquable d'observer la subtile différenciation dans la composition de chaque morceau, quant au style et à la couleur instrumentale, ménageant des contrastes et renouvelant les registres expressifs, et donc l'intérêt et surtout l'attention des auditeurs. Une brillante introduction est suivie de trois morceaux, tour à tour arioso, aria et récitatif, où la voix n'est soutenue qu'au minimum, par la basse continue ou l'orgue. Le chœur des trois hautbois se tait après la sinfonia initiale (si ce n'est pour soutenir le chant du choral final), et il faut attendre le deuxième air (no 5) pour entendre les cordes intervenir. Le choral final requiert pour une minute seulement quatre voix en polyphonie.
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Johann Sebastian Bach (1685-1750) - Brandenburg Concertos BWV 1046-1051
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Great music of my favourite composer and a wonderful rendition! Hence I don't want to desecrate the masterful performance with my ordinary comments. Thanks.
Superbe!!
Merci beaucoup. Je vs souhaite à vs tous un beau week-end. Salutations de Montréal, Qc, Canada
Many thanks for the New Mastering of this masterful performance of this glorious cantata !
Все прекрасно, устала от зрителей, хочется побыть в одиночестве, столько дел надо переделать с Душой, от суеты и уловления сетей и беспочвенных упреков домашних хозяек, голова идет кругом и трудно сосредоточиться на какой то одной мысли и довести ее до конца, Только Бах помогает уйти от злободневности и с высоты его понимания мира помогает понимать и прощать людей , а в себе ощущать сопричастность, жалость и стремление утешить людей , показать им , их неодиночество в этом мире., т.е , что их любят и они тоже способны на это чувство, только постараться!!
❣I live in Leipzig and will put flowers on Bach's tomb in St.Thomas Church.
Gorgeous performance!👌👏🎼❤🎶🙏🌹
Wonderful. Remarkable. Thank you so, so much.
Cantata BWV 169 dates from the third year of production in Leipzig (1725-1726). The unknown author of the libretto of this cantata develops the affirmation of Christ reported in the Gospel of Matthew: "Love Yahweh your God with all your heart, with all your soul and with all your mind: this is the greatest and first commandment." That is why the soloist sings "God alone must possess my heart". And this in spite of the seductions of the earthly world, which are nothing compared to the eternal bliss to which the faithful are promised. This love of God is the supreme good that must lead him to paradise. As the cantata "Herr Christ, der einge Gottessohn" BWV 96 for the same Sunday says, the Christian must die to the world by renouncing all its temptations. This is precisely the teaching repeated by the apostle John: Do not love either the world or the things in the world. If anyone loves the world, the love of the Father is not in him; because everything in the world the desire of the flesh and the desire of the eyes and the showy display of one's means of life does not originate with the Father, but originates with the world. Furthermore, the world is passing away and so is its desire, but the one who does the will of God remains forever (1 John 2: 15-16). But the faithful must also observe the second commandment, that of love of neighbor, which is only the corollary of the first. Love of God, love of neighbor, this is what the concluding chorale stanza implores for grace.
Like the other cantatas for solo voice from Bach's creative period, this one is very sober, but it is remarkable to observe the subtle differentiation in the composition of each piece, in terms of style and instrumental color, creating contrasts and renewing the expressive registers, and thus the interest and above all the attention of the listeners. A brilliant introduction is followed by three pieces, in turn arioso, aria and recitative, where the voice is supported only minimally, by the basso continuo or the organ. The chorus of three oboes falls silent after the initial sinfonia (except to support the singing of the final chorale), and it is not until the second aria (no. 5) that the strings intervene. The final chorale requires only four polyphonic voices for one minute.
🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr
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❤ If you like CM//RR content, please consider membership at our Patreon page.
Thank you :) www.patreon.com/cmrr
Johann Sebastian Bach (1685-1750) - Brandenburg Concertos BWV 1046-1051
🎧 Qobuz bit.ly/39m1v5L Tidal bit.ly/3CyL7vp
🎧 Spotify spoti.fi/3AtxexE UA-cam Music bit.ly/3lK3aaW
🎧 Apple Music apple.co/2ZgSrNO Amazon Music amzn.to/3nPUWkv
🎧 Deezer bit.ly/3AmDWFM Soundcloud bit.ly/2XCoyqS
🎧 Napster bit.ly/2ZlSXu5 Awa日本 bit.ly/3mnPbIt
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The author of the libretto is not unknown anymore (since 2015).
It was Christoph Birkmann one of Bach’s pupils.
Mijn geliefde Aafje wonderschoon , zo 4:26 beheerst en toch diep geraakt door deze hemelse klanken en stem
Wonderful, thank you for this! I'm in Australia and it's almost impossible to find recordings of Aafje Heynis here. This is glorious!❤
Magnifique!
Emoção em estado puro! É ouro em pó!
Υπέροχες ερμηνείες..
geweldig, dikwijls heb ik Aafje Heynis horen zingen bij de Mattheus Passion
O som do violino tem a capacidade de tocar nossas almas, elevando-as. Depois do piano é o instrumento que mais me fascina. Obrigado pela seleção. Vou ouvir com muita alegria. Pena que meu país não está incluído para doações. Sucesso!!
ソロの美声に心癒され、感動しました。
First class singing
ソロの美声に感動癒されました。
I don't know which came first but this is the same material as the Keyboard Concerto in E major. Different clothing, same fabric. In either case, it gets the blood flowing.
Cantata BWV 169
Gott soll allein mein Herze haben
English Translation in Interlinear Format
Cantata BWV 169 - God alone should possess my heart
Event: Solo Cantata for the 18th Sunday after Trinity
Readings: Epistle: 1 Corinthians 1: 4-8; Gospel: Matthew 22: 34-46
Text: Martin Luther (Mvt. 7); Anon (Mvts. 2-6)
Biblical quotations in green font, chorales in purple
1
Sinfonia
Oboe I/II, Taille, Violino I/II, Viola, Organo obligato e Continuo
2
Arioso [Alto]
Continuo
Gott soll allein mein Herze haben.
God alone should possess my heart.
Zwar merk ich an der Welt,
But I am well aware that the world,
Die ihren Kot unschätzbar hält,
which considers its excrement to be priceless,
Weil sie so freundlich mit mir tut,
since it treats me in such a friendly fashion,
Sie wollte gern allein
would willingly be alone
Das Liebste meiner Seele sein.
what my soul loves best.
Doch nein; Gott soll allein mein Herze haben:
But no - God alone should possess my heart:
Ich find in ihm das höchste Gut.
I find in him my highest good.
Wir sehen zwar
We do indeed see
Auf Erden hier und dar
here and there on the earth
Ein Bächlein der Zufriedenheit,
a small stream of contentment
Das von des Höchsten Güte quillet;
that flows from the goodness of the Highest;
Gott aber ist der Quell, mit Strömen angefüllet,
but God is the source, overflowing with rivers,
Da schöpf ich, was mich allezeit
from this source I derive what for eternity
Kann sattsam und wahrhaftig laben:
can refresh me truly and sufficiently:
Gott soll allein mein Herze haben.
God alone should possess my heart.
3
Aria [Alto]
Organo obligato e Continuo
Gott soll allein mein Herze haben,
God alone should possess my heart,
Ich find in ihm das höchste Gut.
I find in him the highest good
Er liebt mich in der bösen Zeit
He loves me in evil times
Und will mich in der Seligkeit
and wants in heavenly bliss
Mit Gütern seines Hauses laben.
to refresh me with the good things of his house.
4
Recitativo [Alto]
Continuo
Was ist die Liebe Gottes?
What is the love of God?
Des Geistes Ruh,
The spirit's inner peace,
Der Sinnen Lustgenieß,
the mind's delight,
Der Seele Paradies.
the soul's paradise.
Sie schließt die Hölle zu,
It shuts off hell
Den Himmel aber auf;
but opens up heaven;
Sie ist Elias Wagen,
it is Elias' chariot,
Da werden wir in Himmel nauf
in which we shall be carried up to heaven
In Abrahms Schoß getragen.
to Abraham's bosom.
5
Aria [Alto]
Violino I/II, Viola, Organo obligato e Continuo
Stirb in mir,
Die in me,
Welt und alle deine Liebe,
you world and all your loves
Daß die Brust
so that my heart
Sich auf Erden für und für
on earth for ever and ever
In der Liebe Gottes übe;
may practise God's way of love;
Stirb in mir,
Die in me,
Hoffart, Reichtum, Augenlust,
arrogance, wealth and greedy lust of the eyes,
Ihr verworfnen Fleischestriebe!
you abject promptings of the flesh.
6
Recitative [Alto]
Continuo
Doch meint es auch dabei
But keep in mind also
Mit eurem Nächsten treu!
to be sincere with your neighbour!
Denn so steht in der Schrift geschrieben:
For it is written in the scriptures:
Du sollst Gott und den Nächsten lieben.
you should love God and your neighbour.
7
Chorale [S, A, T, B]
Oboe I/II e Violino col Soprano, Violino coll'Alto, Taille e Viola col Tenore, Continuo
Du süße Liebe, schenk uns deine Gunst,
You sweet love, grant us your favour,
Laß uns empfinden der Liebe Brunst,
let us feel the ardour of love
Daß wir uns von Herzen einander lieben
so that we may love one another from our hearts
Und in Friede auf einem Sinn bleiben.
and remain with one mind in peace.
Kyrie eleis.
Lord, have mercy.
🌹❤🌹
Lors de cet enregistrement par la firme PHILIPS (Netherlands), il eut lieu en l'église St Jean Baptiste de Gouda en public avec le même orchestre et la même artiste, enregistrement qui date des années 1960 selon l'album PHILIPS que j'ai sous les yeux.
Люблю тебя, твой нежный взор, и губ томительный узор, люблю я пышное природы увяданье!(творю под именем Пушкина)
Für eine Aufnahme aus der Nachkriegs-Ära der "Neuen Sachlichkeit" eine recht ordentliche, wenngleich auch zeitbedingt statisch-betuliche Aufnahme. Es fehlen natürlich die Klangfarben der historischen Instrumente sowie die tänzerische Spielfreude der historisch-informierten Aufführungspraxis, die die Aufnahmen ab etwa Mitte der 1980er Jahre soviel interessanter klingen lassen.
Mmm...
Something happened to you recently. The source of divine oneness has touched your soul. You are awakening. You are quickening. You have an understanding, a knowing of your true power.
You now stand as a sacred source of your true power.
You are the power.
This power is changing you. This power is changing your reality. Look around you, you are at the center of a
sacred circle of creation.
You are now aware of the illusion of the world.
You feel more deeply now. You feel the suffering the world has caused. You realize that your actions are significant.
You create your reality.
You are the power.🌟
Meer dan beeldschoon
"Stirb in mir" is hardly to recognize n this chaos of sounds. Definitely not the best interpretation of this cantata...
you nertzbagel fondler with no ears