Christus factus est pro nobis obediens usque ad mortem, mortem autem crucis. Versus vel Responsorius Propter quod et Deus exaltavit illum et dedit illi nomen, quod est super omne nomen.
so gorgeous! As a bass, it's so hard to hold intonation on those pedal notes, especially with modulations and minor ninth interval sustains; well done!
Christ became obedient for us unto death, even to the death, death on the cross. Verse (or Respond, in the case of the Holy Saturday antiphon) Therefore God exalted Him and gave Him a name which is above all names.
Forgive me if I’m missing the obvious, but why are they singing a semitone higher than written? This is the case on some other recordings I’ve heard but can’t find out why.
It has nothing to do with tuning. It's common practice for a cappella choirs to practice in the original key but then at the performance the director has the pianist/organist play the beginning pitches a half step up. This helps intonation in that the singers notice something slightly different and energized as they sing but may not realize they are singing in a different key (except us poor people with perfect pitch, who are basically now doing something akin to sight reading in a different language. The result is that they are less likely to go flat. "Christus factus est" is often performed in E flat for this reason. Another possible reason is that the B2s may not be able to project the lowest notes without raising the key.
@@zillie8167 No. A different tuning would not differ an exact half step. This is commonly done with longer-note extension a cappella pieces in performance to keep the singers from going flat as they do the more difficult chord changes throughout (which is where the pitch drop happens normally)
@@johnhudelson2652 It's an exact half-step. If tuning were the issue, then when the organ played with orchestras then all the instrumentalists would have to play everything in a completely different key than what they are looking at in the music. This is a clear case of assisting the choir from going flat and helping any B2s who don't have a solid low D that projects. It's common with professional choirs to do this ONLY on performance night even more often than church or community choirs, and always produces better pitch accuracy in the end.
The choir is not singing in the same key as the music and it makes it extremely hard for anyone trying to learn this to figure it out. It would be very helpful to note that please thanks!
@@LydsTherinNotamon It's not tuning. The choirmaster/director started the piece a half step up to keep intonation from sagging as well as to help out any second basses who didn't have a low D. It is commonplace in professional choirs to practice in the original key, then on the night of the performance, the director will tell the pianist/organist to play the opening pitches a half-step up. Somehow the subtle change (for the singers who don't have perfect pitch) helps energize the singing and so sagging pitches on extended notes and unusual chord changes - common in Bruckner - are much less likely. If you're learning it, I'd recommend buying the sheet music and learning it that way instead of via UA-cam, which would only really help with interval jumps and getting used to the unusual chord progressions.
Una bellissima performance ma un errore che sento sempre nei cori specialmente di lingua tedesca è che non si pronuncia affatto bene il latino. Il testo è troppo importante quanto la musica, il tempo, i passaggi cromatici ecc...
German Latin is pronounced differently than Italian Latin. For Bruckner, the German pronunciation is the correct one. I agree that it is a bit more clunky, and in general prefer the Italian way (surely closer to the Roman original, but the tradition of Latin in the church is distinct from that). In my choir, we pronounce differently depending on the origin of the piece we're singing.
The emotional impact of this piece has never faded for me. Brucker is one of the all time greats.
The best performance of this piece I've ever listened. Beautiful!
How soulful and rich and full of pathos. My Bruckner!
Christus factus est pro nobis obediens
usque ad mortem, mortem autem crucis.
Versus vel Responsorius
Propter quod et Deus exaltavit illum et dedit illi nomen,
quod est super omne nomen.
The basses are really so strong in here at 1:19
so gorgeous! As a bass, it's so hard to hold intonation on those pedal notes, especially with modulations and minor ninth interval sustains; well done!
A live recording? Wow, that’s a very special six minutes.
take a look at this video
ua-cam.com/video/0-L5tDCoD0Q/v-deo.html
So, so beautiful! 😍
PERFECTO 💓
❤️💕💕💕
Christ became obedient for us unto death,
even to the death, death on the cross.
Verse (or Respond, in the case of the Holy Saturday antiphon)
Therefore God exalted Him and gave Him a name
which is above all names.
Revisiting this piece again, the altos at 4:00 have to jump more than an octave wow
Forgive me if I’m missing the obvious, but why are they singing a semitone higher than written? This is the case on some other recordings I’ve heard but can’t find out why.
It's a German choir and I believe the Germans use a different tuning from ours
Organs in Germany are frequently sharp from standard A 440 Hz so that might influence the pitch of the singing.
It has nothing to do with tuning. It's common practice for a cappella choirs to practice in the original key but then at the performance the director has the pianist/organist play the beginning pitches a half step up. This helps intonation in that the singers notice something slightly different and energized as they sing but may not realize they are singing in a different key (except us poor people with perfect pitch, who are basically now doing something akin to sight reading in a different language. The result is that they are less likely to go flat. "Christus factus est" is often performed in E flat for this reason. Another possible reason is that the B2s may not be able to project the lowest notes without raising the key.
@@zillie8167 No. A different tuning would not differ an exact half step. This is commonly done with longer-note extension a cappella pieces in performance to keep the singers from going flat as they do the more difficult chord changes throughout (which is where the pitch drop happens normally)
@@johnhudelson2652 It's an exact half-step. If tuning were the issue, then when the organ played with orchestras then all the instrumentalists would have to play everything in a completely different key than what they are looking at in the music. This is a clear case of assisting the choir from going flat and helping any B2s who don't have a solid low D that projects. It's common with professional choirs to do this ONLY on performance night even more often than church or community choirs, and always produces better pitch accuracy in the end.
The choir is not singing in the same key as the music and it makes it extremely hard for anyone trying to learn this to figure it out. It would be very helpful to note that please thanks!
Not everybody tunes to A=440
@@LydsTherinNotamon It's not tuning. The choirmaster/director started the piece a half step up to keep intonation from sagging as well as to help out any second basses who didn't have a low D. It is commonplace in professional choirs to practice in the original key, then on the night of the performance, the director will tell the pianist/organist to play the opening pitches a half-step up. Somehow the subtle change (for the singers who don't have perfect pitch) helps energize the singing and so sagging pitches on extended notes and unusual chord changes - common in Bruckner - are much less likely. If you're learning it, I'd recommend buying the sheet music and learning it that way instead of via UA-cam, which would only really help with interval jumps and getting used to the unusual chord progressions.
Una bellissima performance ma un errore che sento sempre nei cori specialmente di lingua tedesca è che non si pronuncia affatto bene il latino. Il testo è troppo importante quanto la musica, il tempo, i passaggi cromatici ecc...
German Latin is pronounced differently than Italian Latin. For Bruckner, the German pronunciation is the correct one. I agree that it is a bit more clunky, and in general prefer the Italian way (surely closer to the Roman original, but the tradition of Latin in the church is distinct from that). In my choir, we pronounce differently depending on the origin of the piece we're singing.