That was an absolutely astounding performance! It is like hearing the piece, really hearing it, for the first time. All the singers were first-rate, particularly the baritone. Especially impressive was how in the tutti passages every voice maintained its independence, creating a perfectly seamless unity. Thanks to all for bringing this off. It was perfection, and perfect Bach is a thing never to be forgotten.
The Cantus Firmus gives me goosebumps. The music, the perfect voice and the pretty lady! Beauty is what we need in these troubled times and it's everywhere...
Wonderful performance of one of my favorite Bach cantatas. It's one of the very earliest cantatas by Bach to have survived, perhaps the earliest one, possibly written around 1708, when he was barely 23 years old. It's in the German tradition of Pachelbel and Buxtehude, before Bach was influenced by Italian opera. en.wikipedia.org/wiki/Aus_der_Tiefen_rufe_ich,_Herr,_zu_dir,_BWV_131
@@herrickinman9303 The first “aria” is actually an arioso, while the second has no clear ABA or “da capo” structure as would be expected in an Italian operatic aria. Also, “the two movements for soloists are developed as a type of chorale fantasia with the soloist singing the psalm text and an upper voice singing the chorale in long notes as a cantus firmus” , again totally unlike Italian models. Furthermore, neither solo is preceded by a recitative, something Bach commonly did in his later, Italian-opera influenced cantatas.
@@brabantstraat Arias and recitatives were being used in Italian opera in early 1600s, generations before Bach was born. There are different kind of arias, and not all of them are da capo. An arioso is still an aria. (Bach often uses the term _arioso_ for an aria whose text is biblical rather than poetic.) The fact that a cantus firmus is added, doesn't disqualify the movement as an aria. The addition of the sung cantus firmus merely turns the solo aria into an aria duet. In the 1710s, German church music composers (not just Bach) started using poetic texts that were suited to fit the da capo aria format, and composers started using the expressive devices of opera, not merely the forms. There was a debate among the Lutheran clergy as to whether operatic devices were suitable for church music; the advocates won out.
@@herrickinman9303 if you actually listen to those two “arias”, they bear almost no resemblance to anything an Italian opera composer would do. Merely adding a sporadic chorale accompaniment to the main voice does not make it a “duet”. It’s like saying a car and a bicycle are the same thing because they both have wheels.
@@brabantstraat You welcome to believe whatever you choose to believe. It's not my mission in life to correct you, educate you, or reply to your pathetic rebuttals. Be gone.
THE INTRACY AND POLYPHONIC ELEMENTS ARE BEYOND MY UNERSTANDING NOW ANY HUMAN COULD HAVE IMAGENED THIS COMPOSITION. IT IW ABSOLUTELY A CHANNEL TO GOD IN HIS INFINATE LOVE THROUGH THE MUSIC.
Wonderful, still I prefer a version where the alto part is sung by a woman as performed 13.3.2016 by St David choir in Episcopal Church, Baltimore under Douglas Buchanan.
Vorzügliche Sänger und Musiker. Was für ein Genuss
I so enjoyed this smaller "chamber" performance, which suits the intimacy of the text and music. A lovely rendition with wonderful soloists.
Herzlichen Dank!!!
Gottes Segen!!!!
Ma cantate préférée, je l'attendais dans votre interprétation et je ne suis pas déçu ! Merci à Bachstiftung !
Wunderschöne Kantate, wunderschön interpretiert
9:07-12:24 - Heavenly! As beautiful as anything I've ever heard!
Un bravo particulier à *l'excellent* quatuor vocal !
La prima cantata scritta da J.S.Bach a soli 22 anni ,il genio è già presente. Interpretazione magnifica, grazie.
That was an absolutely astounding performance! It is like hearing the piece, really hearing it, for the first time. All the singers were first-rate, particularly the baritone. Especially impressive was how in the tutti passages every voice maintained its independence, creating a perfectly seamless unity. Thanks to all for bringing this off. It was perfection, and perfect Bach is a thing never to be forgotten.
What baritone? Of the four singers listed in the credits, not one is credited as a baritone.
@@herrickinman9303 , I meant the bass singer.
I agree. This performance is perfection!
Wow, best rendition ever, the soloists are all fantastic. Thank you! Hoping for BWV 51 ;)
Grossartig, vielen Dank.
Hervorragende Aufnahme, sehr schöne klare Solostimmen
Best rendition on UA-cam, tempos spot on much like Rifkin, and the right amount of vocalists for once. Beautiful.
Beautiful Cantata, beautifully performed! Bravissimi!
The Cantus Firmus gives me goosebumps. The music, the perfect voice and the pretty lady! Beauty is what we need in these troubled times and it's everywhere...
Great version!
I am very grateful for this performance and the Bach Foundation.
Spectacular performance!
Grazie mille per questa splendida cantata interpretata magnificamente.
The alt and tenor have deeply beautiful voices.
What a superlative performance.
Beautiful!
Très belle cantate , merci !
Merveilleux
Dankeschön.😊❤
Really so glad I came across this. Beautifully sung. One of my favorite cantatas. Wish they would record these as an album one day.
So schön
always a treat , my favorite Bach channel......always sounds right somehow
Все так мелодично, слажено.Поднимает настроение до небес!Это поистине шедевр века!
THE TRIO ARIA FOR THREE TENORS IS EXQUISITE BEYOND DREAMS. THANKYOU FOR YOU BEING YOU.
What "trio aria for three tenors"? There's only one tenor in the ensemble.
Esta música es maravillosa
Transcending….beautiful…..riveting. Thankyou.😊
Harika bir yorum; yüce duygulara ulaşan bir Bach yolculuğu; göksel tınılara dokunan esenlikli ❤yürekler! GOTTES segen!👌👏🎼🎶👍🎶🤝🙏👋
Magnifico brano di bach eseguito molto bene
The orchestrated introduction is very beautiful. If applied the tempo of “So du willst …”, it would have been overwhelming.
absolutely agreed.
Maravilloso
This cantata embodies the musical aesthetics of Bach、and universe
Wonderful performance of one of my favorite Bach cantatas. It's one of the very earliest cantatas by Bach to have survived, perhaps the earliest one, possibly written around 1708, when he was barely 23 years old. It's in the German tradition of Pachelbel and Buxtehude, before Bach was influenced by Italian opera.
en.wikipedia.org/wiki/Aus_der_Tiefen_rufe_ich,_Herr,_zu_dir,_BWV_131
There are two arias in this cantata. What tradition do you suppose arias came from, if not Italian opera?
@@herrickinman9303 The first “aria” is actually an arioso, while the second has no clear ABA or “da capo” structure as would be expected in an Italian operatic aria. Also, “the two movements for soloists are developed as a type of chorale fantasia with the soloist singing the psalm text and an upper voice singing the chorale in long notes as a cantus firmus” , again totally unlike Italian models. Furthermore, neither solo is preceded by a recitative, something Bach commonly did in his later, Italian-opera influenced cantatas.
@@brabantstraat Arias and recitatives were being used in Italian opera in early 1600s, generations before Bach was born. There are different kind of arias, and not all of them are da capo. An arioso is still an aria. (Bach often uses the term _arioso_ for an aria whose text is biblical rather than poetic.) The fact that a cantus firmus is added, doesn't disqualify the movement as an aria. The addition of the sung cantus firmus merely turns the solo aria into an aria duet.
In the 1710s, German church music composers (not just Bach) started using poetic texts that were suited to fit the da capo aria format, and composers started using the expressive devices of opera, not merely the forms. There was a debate among the Lutheran clergy as to whether operatic devices were suitable for church music; the advocates won out.
@@herrickinman9303 if you actually listen to those two “arias”, they bear almost no resemblance to anything an Italian opera composer would do. Merely adding a sporadic chorale accompaniment to the main voice does not make it a “duet”. It’s like saying a car and a bicycle are the same thing because they both have wheels.
@@brabantstraat You welcome to believe whatever you choose to believe. It's not my mission in life to correct you, educate you, or reply to your pathetic rebuttals. Be gone.
THE INTRACY AND POLYPHONIC ELEMENTS ARE BEYOND MY UNERSTANDING NOW ANY HUMAN COULD HAVE IMAGENED THIS COMPOSITION. IT IW ABSOLUTELY A CHANNEL TO GOD IN HIS INFINATE LOVE THROUGH THE MUSIC.
Turn off the caps.
@@herrickinman9303maybe he's typing in a loud environment
❤️
wow, ohne chor.
Schade, dass sich die Beiträge nicht einbetten lassen.
Just too fast ): This is a super solemn work.
Toll. Hier eine super unterhaltsame Analyse von Bachs Werk: ua-cam.com/video/ihII9XO85Mo/v-deo.html
Wonderful, still I prefer a version where the alto part is sung by a woman as performed 13.3.2016 by St David choir in Episcopal Church, Baltimore under Douglas Buchanan.
Lovely overall, but too fast in places, particularly Meine Seele harret
Great. Another authority on tempo.
not really
"so du willt" is particualarly slow ...
@@herrickinman9303 It's a meme at this point, but why
agreed ^
Ein wenig hektisch...
Zumindest optisch.