00:00 1. Tutti: Magnificat 03:30 2. Aria: Quia respexit (Soprano) 09:30 3. Aria: Quia fecit mihi magna (Tenore) 13:58 4a. Tutti: Et misericordia eius 18:35 5. Aria: Fecit potentiam (Basso) 23:07 6. Duetto: Deposuit potentes de sede (Alto e Tenore) 30:02 7. Aria: Suscepit Israel (Alto) 35:00 8. Tutti: Gloria Patri 37:03 9. Tutti: Sicut erat in principio
I always loved this work in spite of some critics who found it inhomogeneous. Is the Magnificat of JSB the Father homogeneous? There are a lot of feelings in the Magnificat which have to be expressed by contrasting sections. Monteverdi knew it already. For sure, the Magnificat of the father is an absolute masterwork which cannot be equalled by the son. But there are very moving moments in that Magnificat. I love the idea to use approximately the same music for the first and last section (before the final fugue).. This Magnificat deserves to be known by all music lovers. The interpretation is excellent.It is very intense and takes advantage of all the details of the score.
Thanks to who filmed this! What a great performance! We would have like to see the full orchestra with the timpanis/drums and french horns musicians too for most of the performance! However, we know you tried your best! Thank you!
Although differences between Carl and Johann Magnificat the two compositions are outstanding compositions of religious music. Thanks for these magnific interpretations.
Nice performance! I wasn't familiar with this work, but now think I like it better than his father's; this is more intricate! Thank you for sharing it!
It's easy to see how Mozart came to regard Carl Philipp Emanuel as his "musical father". His clean, melodic "Empfindsamer" style influenced Haydn as well.
Try the BWV 243a earlier version in E-flat; I like it far better than the usual 243 in D. See Ton Koopman's fine version of it at ua-cam.com/video/r4zvjV4_sAY/v-deo.html
klaus peter kraa You’re absolutely correct; it is beyond belief that anyone with a pair of ears and anything in between can think that there is any significant link between CPE and Mozart.
Mozart's musical background was like no other. On the one hand, he possessed a strong sense of baroque expression: tempo, harmony, counterpoint, modulations, and fugues. On the other hand, he was ahead of his time in orchestration, phrasing, structure, vocal flexibility, and others. One can only conclude that it was just natural for him to have taken certain traits, not only from Bach but from Haendel, to compose his unique Requiem. Blended together with his own innovative way of composition and all the circumstances around it, Mozart's Requiem is the ultimate masterpiece of masterpieces. Nothing compares to it. Nothing competes with it. It's the kind of event that only happens once in history.
Ben Akih Kumgeh Just for the record: Mozart *never* met CPE Bach, and consequently therefore, could *not* have taken lessons from him. Additionally, barely a single note ever written by Mozart sounds remotely like anything written by CPE (and vice-versa). Not sure why Mozart has been mentioned at all in relation to a performance of CPE Bach’s Magnificat. Apart from the evidence of your own ears, a glance at the index in any Mozart biography or a copy of his letters, the search for references to CPE Bach will reveal just how little of an influence CPE was on Mozart - CPE will barely be mentioned. Are you confusing CPE Bach with his younger half-brother JC Bach ?
@@elaineblackhurst1509 Neither. I mean the very Johann Sebastian Bach. Records state that Mozart played and studied JS Bach's music along with baron Gottfried van Swieten. Actually, many believe Mozart composed the Requiem also as tribute to his baroque roots instilled by his father. With all respect for Bach's sons, W.A. Mozart is far beyond in every sense of music.
I keep relistening to the passage from 24:20 - 24:47 Something about those types of passages just make me genuinely smile. I enjoy Baroque music so much!
Lieder, die perfekt sind, um die subjektiven Formen von Wolken zu lesen und mit zarten Augen den Rillen von Baumstämmen zu folgen; Schätzen Sie die komplexe Schrift der ineinandergreifenden Zweige, schmecken Sie die Farben der Zerlegung von Licht in Wassertropfen in einem Garten, spüren Sie stark die nasse Erde des angestammten Waldes, um die Spuren von Tieren aus der tiefen Vergangenheit wahrzunehmen 😊
I just clicked on the video assuming it was J.S. Bach's "Magnificat". I was about 20 minutes or so in when I realized it sounded a bit different - then I noticed in the comments that this is the son and not the father lol! Very nice composition just the same although his father's "Magnificat" still reigns supreme! :)
El Canon secreto. El Organon. C.P. E Bach es el gran Maestro que opera con la mayor brillantez, y no obstante consigue, merced a la inopia de sus atrofiados oyentes, pasar casi desapercibido, oculto a tal punto que es un esóterico en el que toda la tradición se conserva esplendente!
I just came to this performance having hear a Norwegian performance at modern pitch. What a relief to hear this version! It sounds impossibly high - and fast - otherwise. I'd be interested to hear it down a tone (ie C major) at 440Hz - if that were possible...
Ah this piece also features the fugue theme used y many (Mozart Cum Sancto Spiritu, Handel Messiah, etc) in the final movement. A nod to tradition from a very untraditional composer!
Bach, the father, was sooo much more of a great composer than all his sons. Also, when you hear this work you can see where Mozart got his ideas from to compose his Requiem.
Monica Jager Not a single note of this, nor any ideas from it found their way into Mozart’s Requiem which is a very different work that sounds as if from a different age. Try Michael Haydn as a relevant general ‘influence’, or Anfossi’s Sinfonia Venezia for a downright theft - or borrowing - in the case of the famous ‘Confutatis’ theme!
@@elaineblackhurst1509 If you don't count the Sicut erat in principio, which is a baroque template theme utilized by Handel and so many others (and which can be found in the Kyrie of the Requiem), yes. Johann Sebastian is undoubtedly the greatest, but I think CPE was a better composer than Johann Christian by a considerable margin. Even JC himself didn't contest that consensus, allegedly proclaiming once that "my brother lives to compose, I compose to live". The true testament to how much the Requiem is a masterpiece relies upon the fact that Süssmayr's somewhat botched version still couldn't make a blemish on it. For once, I don't think Mozart would have recycled the Introit and the Kyrie (despite Süssmayr's dubious claims) and the answer to what he would have done instead, can be found in pieces like the last movement of this Magnificat. 1: The repurposing of the two movements would have been liturgically unprecedented (in Mozart's own works too) and unsound really. 2: There are not many Mozart pieces that begin in minor and ends in minor (think of the C minor Mass, and the Dona Nobis Pacem sketch which is in C major). 3: For a composer that practically "pissed" music, is the parody of two preceding movements to end a masterpiece the only option? Hardly.
Historically informed and on period instruments... yet women sing, so it's not so historically accurate. :-D PS: I don't care, actually, I'm just saying. The performance was great and I gave a like. (Y)
Certainly the Esurientes exists, and it is performed here. C.P.E. Bach conflated the Deposuit verse (Luke I : lii) with the Esurientes verse (Luke I : liii) and made them both part of the same movement. The Esurientes section begins at time mark 26:27.
Why is the "4. Et misericordia" completely different from all other recordings around? It's a different piece of music! Are there more surprises in this version?
This is the original “Et Misericordia” he wrote in around 1749. He wrote a shorter one to replace it in 1779 because he had used the music of the original setting in his St Matthew Passion of 1769, and it had become very well known.
@@susanprattis5779 For that matter, you'll hear brass "cracks" in live performances with modern valved horns and trumpets. Those instruments are notorious for their misbehavior in live performances. Studio recordings always have "patches" to cover the bloopers. Even so august an orchestra as the Chicago Symphony has horn and brass cracks in just about every performance I've heard live. One of my favorites was an open-air performance of Schumann's "Rhenish" symphony at a Ravinia summer performance. It was hot and humid, and the mayflies had hatched and were fluttering around annoying everybody. Needless to say, there were a whole bunch of cracks. It got so bad that in the last movement when all four horns were playing, they stood up and brayed their parts! (Because of all the cracks in the first four movements, any semblance to a serious performance was lost.) Great fun!
Paolo, tempi were faster back in the period. For instance, what we call "moderato" they called "andante" and so on. Furthermore, the smaller band plus choir are more flexible and responsive than the modern orchestra and chorus. The Berlin Philharmonic, for instance, would use three times as many in the orchestra and four times as many in the chorus.
The tempo of the first movement is simply too quick. Why the hurry? It denies the consumptive enjoyment of the instrumental intricacies of this Baroque masterpiece
Buona esecuzione, con qualche piccolo difetto, ma accettabile. Il problema è il diretto: non è riuscito a far "volare" coro e orchestra. Questo brano (soprattutto nella fuga finale) è un monumento fatto di note, dove regna il piacere di fare musica (guardate il contrabbassista!!!), e la direzione un pò troppo scolastica ha messo la zavorra ai musicisti.
![J.S. Bach: MAGNIFICAT [complete version]](http://i.ytimg.com/vi/QQAWqqaUTHE/mqdefault.jpg)
![J.S. Bach: MAGNIFICAT [complete version]](/img/tr.png)
The bassist is grooving big time
He steals the show! Love him!!
I didn't know there was an accompanying interpretive dance act!
It's Nicolas Baldock !
Nick Baldock the fabulous bassist here sadly passed away. What a great way to remember him ❤
Fantastic. I think his father must have been very proud.
I honoustly believe the audience should stand while applauding to these great performers.They deserve this.
The best tempo of all youtube versions I've heard so far! Not in a hurry, noble and glorious! Kudos to the bassist and the conductor! 👏👏
To me a taste of heaven . . . beautiful!
00:00 1. Tutti: Magnificat
03:30 2. Aria: Quia respexit (Soprano)
09:30 3. Aria: Quia fecit mihi magna (Tenore)
13:58 4a. Tutti: Et misericordia eius
18:35 5. Aria: Fecit potentiam (Basso)
23:07 6. Duetto: Deposuit potentes de sede (Alto e Tenore)
30:02 7. Aria: Suscepit Israel (Alto)
35:00 8. Tutti: Gloria Patri
37:03 9. Tutti: Sicut erat in principio
Thank you!
Magnifique interprétation
The Magnificat of CPE Bach is undoubtedly his masterwork in religious music. We heve here a very good rendering.
¡ESPECTACULAR! GRACIAS
Excellent performant, God gave us this wonderful master piece.
No, Carl Philipp did
LOVE THIS SETTING OF THE MAGNIFCAT..BRAVO CPE. BACH...GREAT SINGING AND A GREAT PERFORMANCE...
What a soprano... I think that's how angels are supposed to sound when they sing
I always loved this work in spite of some critics who found it inhomogeneous. Is the Magnificat of JSB the Father homogeneous? There are a lot of feelings in the Magnificat which have to be expressed by contrasting sections. Monteverdi knew it already. For sure, the Magnificat of the father is an absolute masterwork which cannot be equalled by the son. But there are very moving moments in that Magnificat. I love the idea to use approximately the same music for the first and last section (before the final fugue)..
This Magnificat deserves to be known by all music lovers.
The interpretation is excellent.It is very intense and takes advantage of all the details of the score.
I agree, the opening is absolutely heaven. The Gloria Patri even more!
Bellísimo. No lo conocía. Muy estilo Bach.
Thanks to who filmed this! What a great performance! We would have like to see the full orchestra with the timpanis/drums and french horns musicians too for most of the performance! However, we know you tried your best! Thank you!
Although differences between Carl and Johann Magnificat the two compositions are outstanding compositions of religious music. Thanks for these magnific interpretations.
Magnificat, MAGNÍFICO. Karl Emanuel Bach, digno hijo del gran Juan Sebastián Bach.
Hace 50 años que no escuchaba esta hermosa obra, Había una antigua grabación que solía transmitir una radio en Santiago- Chile
Nice performance! I wasn't familiar with this work, but now think I like it better than his father's; this is more intricate! Thank you for sharing it!
It's easy to see how Mozart came to regard Carl Philipp Emanuel as his "musical father". His clean, melodic "Empfindsamer" style influenced Haydn as well.
Try the BWV 243a earlier version in E-flat; I like it far better than the usual 243 in D. See Ton Koopman's fine version of it at ua-cam.com/video/r4zvjV4_sAY/v-deo.html
louisvonbeethoven
Mozart - he didn’t.
Haydn - in a very specific way.
klaus peter kraa You’re absolutely correct; it is beyond belief that anyone with a pair of ears and anything in between can think that there is any significant link between CPE and Mozart.
Absolutely lovely and majestic! Bravo!!
Great sound quality... so good to hear the double bass with a great contribution.
Never heard before. Happy to make its acquaintance. Thank you for the video.
Mozart's musical background was like no other. On the one hand, he possessed a strong sense of baroque expression: tempo, harmony, counterpoint, modulations, and fugues. On the other hand, he was ahead of his time in orchestration, phrasing, structure, vocal flexibility, and others. One can only conclude that it was just natural for him to have taken certain traits, not only from Bach but from Haendel, to compose his unique Requiem. Blended together with his own innovative way of composition and all the circumstances around it, Mozart's Requiem is the ultimate masterpiece of masterpieces. Nothing compares to it. Nothing competes with it. It's the kind of event that only happens once in history.
It seems Mozart took lessons from CPE Bach. They knew each other.
Ben Akih Kumgeh
Just for the record: Mozart *never* met CPE Bach, and consequently therefore, could *not* have taken lessons from him.
Additionally, barely a single note ever written by Mozart sounds remotely like anything written by CPE (and vice-versa).
Not sure why Mozart has been mentioned at all in relation to a performance of CPE Bach’s Magnificat.
Apart from the evidence of your own ears, a glance at the index in any Mozart biography or a copy of his letters, the search for references to CPE Bach will reveal just how little of an influence CPE was on Mozart - CPE will barely be mentioned.
Are you confusing CPE Bach with his younger half-brother JC Bach ?
@@elaineblackhurst1509 Neither. I mean the very Johann Sebastian Bach. Records state that Mozart played and studied JS Bach's music along with baron Gottfried van Swieten. Actually, many believe Mozart composed the Requiem also as tribute to his baroque roots instilled by his father. With all respect for Bach's sons, W.A. Mozart is far beyond in every sense of music.
I keep relistening to the passage from 24:20 - 24:47
Something about those types of passages just make me genuinely smile. I enjoy Baroque music so much!
Maravilloso!!!!
cette musique sublime m'accompagnera jusqu'à la mort
Very great performance.
35:05 dat bassist
Amazing lol
That guy definitely was into that performance.
Must be also a Jazzman playing in cabarets over night !
Gracias por indicarnos el mejor momento del bajista
Bass player is vibing. ❤
Lieder, die perfekt sind, um die subjektiven Formen von Wolken zu lesen und mit zarten Augen den Rillen von Baumstämmen zu folgen; Schätzen Sie die komplexe Schrift der ineinandergreifenden Zweige, schmecken Sie die Farben der Zerlegung von Licht in Wassertropfen in einem Garten, spüren Sie stark die nasse Erde des angestammten Waldes, um die Spuren von Tieren aus der tiefen Vergangenheit wahrzunehmen 😊
I have so much respect for the hornists in Deposuit Potentes...
Wonderful!
Thanks!!!!!
Nice performance. Thanks for posting this.
amazing recording thank you!
Maravilha...
I just clicked on the video assuming it was J.S. Bach's "Magnificat". I was about 20 minutes or so in when I realized it sounded a bit different - then I noticed in the comments that this is the son and not the father lol! Very nice composition just the same although his father's "Magnificat" still reigns supreme! :)
Very interesting, the period instrument "voice" sounded the same under CPE Bach as it does today ... ;)
Great
Son of a Bach!
El Canon secreto. El Organon. C.P. E Bach es el gran Maestro que opera con la mayor brillantez, y no obstante consigue, merced a la inopia de sus atrofiados oyentes, pasar casi desapercibido, oculto a tal punto que es un esóterico en el que toda la tradición se conserva esplendente!
This is a performance of the 1779 (ca.) Hamburg Version, not the 1749/1750 Berlin/Leipzig Version.
Magnific...
Wunderbar, köstlich!!!
Such music makes me open to re embracing my former faith.
Crazy to think this was written the same year as bach’s mass in b minor, yet sounds so classical while the mass in b minor is so baroque
I just came to this performance having hear a Norwegian performance at modern pitch. What a relief to hear this version! It sounds impossibly high - and fast - otherwise. I'd be interested to hear it down a tone (ie C major) at 440Hz - if that were possible...
Wow
Wow
Wo
fist part - Magnificat, ooch, I have gooseskin!!! and soprano solo aria !! amazin!!!!!!
The Amen DOES go on!
Ah this piece also features the fugue theme used y many (Mozart Cum Sancto Spiritu, Handel Messiah, etc) in the final movement. A nod to tradition from a very untraditional composer!
Bach, the father, was sooo much more of a great composer than all his sons. Also, when you hear this work you can see where Mozart got his ideas from to compose his Requiem.
Why is Bach the father greater?
Monica Jager
Not a single note of this, nor any ideas from it found their way into Mozart’s Requiem which is a very different work that sounds as if from a different age.
Try Michael Haydn as a relevant general ‘influence’, or Anfossi’s Sinfonia Venezia for a downright theft - or borrowing - in the case of the famous ‘Confutatis’ theme!
@@elaineblackhurst1509 If you don't count the Sicut erat in principio, which is a baroque template theme utilized by Handel and so many others (and which can be found in the Kyrie of the Requiem), yes. Johann Sebastian is undoubtedly the greatest, but I think CPE was a better composer than Johann Christian by a considerable margin. Even JC himself didn't contest that consensus, allegedly proclaiming once that "my brother lives to compose, I compose to live". The true testament to how much the Requiem is a masterpiece relies upon the fact that Süssmayr's somewhat botched version still couldn't make a blemish on it. For once, I don't think Mozart would have recycled the Introit and the Kyrie (despite Süssmayr's dubious claims) and the answer to what he would have done instead, can be found in pieces like the last movement of this Magnificat. 1: The repurposing of the two movements would have been liturgically unprecedented (in Mozart's own works too) and unsound really. 2: There are not many Mozart pieces that begin in minor and ends in minor (think of the C minor Mass, and the Dona Nobis Pacem sketch which is in C major). 3: For a composer that practically "pissed" music, is the parody of two preceding movements to end a masterpiece the only option? Hardly.
Kris9kris An interesting reply, but it seems totally unrelated to my comment; was it in answer to someone else?
@@elaineblackhurst1509 It was a general reply to all three commenters above me, not just you.
Why is the tenor's name not given? Who is the tenor?
The soprano is the only one of the four vocal soloists who is named. Why?
I want to be that bass
Very, very, very good
did the brass player on the far right actually belch at 16:59 ??
Historically informed and on period instruments... yet women sing, so it's not so historically accurate. :-D PS: I don't care, actually, I'm just saying. The performance was great and I gave a like. (Y)
There is no "Esurintes implevit bonus" movement. Was there one in the original?
Certainly the Esurientes exists, and it is performed here. C.P.E. Bach conflated the Deposuit verse (Luke I : lii) with the Esurientes verse (Luke I : liii) and made them both part of the same movement. The Esurientes section begins at time mark 26:27.
top magnificat !
Ich habe ein Video mit den besten Bachchorwerke gemacht :)
a cat. a magnificent cat. magnificat
Why is the "4. Et misericordia" completely different from all other recordings around? It's a different piece of music! Are there more surprises in this version?
It's the version from the appendix.
This is the original “Et Misericordia” he wrote in around 1749. He wrote a shorter one to replace it in 1779 because he had used the music of the original setting in his St Matthew Passion of 1769, and it had become very well known.
Wonderful work, wonderful performance, camera work could
have been better.
Came for the grooving bassist, stayed for the great music... and also the grooving bassist.
Sehr schön! Wer sind die andere Solisten?
Sopran: Anna Nesyba / Alt: Barbara Bräckelmann / Tenor: Johannes Strauß / Bass: Johannes Weinhuber
Et misericordia (14.00) ne correspond pas a la partition G. Schimer Edition ???
Great composition and choir, but I don't know where they got that brass section. I think they needed to practice more before taping!
Many "oopsie" moments... listen to strings at 3:46. The soprano entrance shortly afterwards is glorious though...4:24
Thy are playing natural horn, and that happens in performance !
@@susanprattis5779 For that matter, you'll hear brass "cracks" in live performances with modern valved horns and trumpets. Those instruments are notorious for their misbehavior in live performances. Studio recordings always have "patches" to cover the bloopers.
Even so august an orchestra as the Chicago Symphony has horn and brass cracks in just about every performance I've heard live. One of my favorites was an open-air performance of Schumann's "Rhenish" symphony at a Ravinia summer performance. It was hot and humid, and the mayflies had hatched and were fluttering around annoying everybody. Needless to say, there were a whole bunch of cracks. It got so bad that in the last movement when all four horns were playing, they stood up and brayed their parts! (Because of all the cracks in the first four movements, any semblance to a serious performance was lost.) Great fun!
Wer sind die anderen drei Solisten? In der Infobox ist nur der Name der Sopranistin vermerkt
Alt: Barbara Bräckelmann / Tenor: Johannes Strauss / Bass: Johannes Weinhuber
music for the ears of the risen lord
LOL!!! Who???
The orchestra is effectively too fast. This is not Vivaldi but Carl Philip Emanuel Bach
I think it's fine. The tempo is lively and gets rid of the bouncy chugging of the 1950's recordings of JS Bach's recordings.
My favored version of this piece is that of Neville Marriner on Argo label from the Seventies
Nope it is not , it is in fact the original tempo...
Paolo, tempi were faster back in the period. For instance, what we call "moderato" they called "andante" and so on. Furthermore, the smaller band plus choir are more flexible and responsive than the modern orchestra and chorus. The Berlin Philharmonic, for instance, would use three times as many in the orchestra and four times as many in the chorus.
Is it common for soloists to sing holding their scores?
If it's religious music then yes
If he remains back to camera for the whole work, he could easily be taken for Gustavo Dudamel....
Ok. Brass could be a little more crisp and sharp
Y los otros solistas...!!!!????
Sopran: Anna Nesyba / Alt: Barbara Bräckelmann / Tenor: Johannes Strauß / Bass: Johannes Weinhuber
453 Zboncak Skyway
Where's da droopp!!
+Zumo De Berenjena da what?
The tempo of the first movement is simply too quick. Why the hurry? It denies the consumptive enjoyment of the instrumental intricacies of this Baroque masterpiece
I think it's fine. It's lively.
That's how he wrote it...
das et spiri tui ist das aus dem Anhang
The conductor has already missed several choir entries... :\
Sauer Drive
Не даром Фридрих 2 Великий взял его к себе.
Он не.дооценил J.S.Bach и этого не отрицал, поэтому лучше соотнёся к его сыну
Anderson Elizabeth Martinez Ronald Williams David
Buona esecuzione, con qualche piccolo difetto, ma accettabile. Il problema è il diretto: non è riuscito a far "volare" coro e orchestra. Questo brano (soprattutto nella fuga finale) è un monumento fatto di note, dove regna il piacere di fare musica (guardate il contrabbassista!!!), e la direzione un pò troppo scolastica ha messo la zavorra ai musicisti.
Tell me...How not to believe in God?
Which one?
nur weil man deutscher ist, isti man kein bach