In these difficult times it is wonderful that the NBS is continuing to distribute such magnificent performances. A personal message to all those who like me enjoy every performance, remember that with concerts cancelled the NBS needs donations more than ever and if you did have tickets for a performance,and if you can possibly afford it, please do not ask for a refund. Thank you for everything you are doing and keep well.
I don't know why this marvellous and gutsy cantata escaped my attention, but here I am and I'm listening to it so intensely that I can't write the letter I should write..... So much drama, so much virtuosity of players and singers. My heart races ---- what a powerful and captivating presentation on the highest level of art. Thank You. Very impressive, terribly difficult, incredibly well presented (and as always, beautifully filmed!).
6:16 I keep replaying this and replaying this. This is the best version I have ever heard in interpreting the waves of the storm. Daniel's eyes and facial expressions are a wonder to behold. The ensemble really gets this aria!
Just incredible. Whenever I listen to the masterpieces of Bach, I can see God through the music. It makes me feel like Life is the most valuable thing in the world. Bach reminds me of why God put me on this Earth. This music is encapsulating and enthralling and I can't imagine anything better than listening to Bach. So thank you very much for all your hard work in order to perform the works of Bach in the most beautiful way possible. Love from the United States of America.
My goodness, the string section with Sato always delivers tremendously. It must be a joy for all soloists to sing with just a huge mass of support behind and it's a joy to listen to. Also, I think that's the best version of the chorale I've heard!
0:07 Jesus schläft, was soll ich hoffen (Arie) 5:02 Herr! Warum trittest du so ferne? (Rezitativ) 6:16 Die schäumenden Wellen von Belials Bächen (Arie) 9:19 Ihr Kleingläubigen (Arioso) 10:20 Schweig, aufgetürmtes Meer (Arie) 14:59 Wohl mir, mein Jesu spricht (Rezitativ) 15:28 Unter deinen Schirmen (Choral)
This was so enjoyable and I really appreciated Stephan MacLeod's explanation of the cantata. Listening to this makes me wonder what Bach's "Messiah" would be like as contrasted to Handel's "Messiah"! This was dramatic and really operatic for the usual church cantata for sure.
Handel's Messiah was a (public) oratorio, not a church piece. Handel's Messiah, even if sung in German, would not have served the Leipzig liturgy because it lacked the chorales that were part of the Lutheran liturgy. There's no such thing as "the usual church cantata." It varied from town to town. Bach's Leipzig cantatas were written for or adapted to the Leipzig liturgy. That's why they were only performed in Leipzig. All cantatas in Germany since 1700 were "really operatic." The then modern German cantata was patterned after the Italian secular cantata. Opera. That's why Bach cantatas have arias and recitatives and use various dramatic operatic devices. The sophisticated listener in Bach's time would have recognized the dramatic operatic devices Bach used in his cantatas and Passion music. You, apparently, are not familiar with the dramatic devices of early 18th century opera. During the passion season, passion oratorios were performed in publc throughout Germany. None of them would have served the Leipzig liturgy because the all lacked the traditional Leipzig hymns. Yet the text of Bach's St. Matthew Passion, apart from the hymns, was adapted from the most famous public passion oratorio libretto of the time: the Brockes' passion. Handel, Telemann and many other famous German composers set that text.
On January 30th 2024 this song comes to my spirit. Exactly 300 years since it was first sung in Leipzig. To commemorate, here is the translation: Jesus sleeps, what should be my hope? Do I not see with pallid face Death’s abyss already open?
I too, like the notes above and reading the texts and gospels for this cantata can understand the operatic nature of this work. (Whilst Jesus Sleeps, for what can I hope?) I can understand some of the upset of the church council at the operatic nature of the work and of Bach himself, further annoying the elders of the Thomaskirche in Leipzig by extemporising like crazy at the organ. Oh how I wish I could have been present at the first hearing (I was tempted to write "performance") of this excellent cantata. I hope the church elders would have understanding and forgiveness in their hearts. Once again , the NSB delights with this rendering of the cantata. The highlight for me is the excellence of the lower register in the arioso together with the excellent voice of the Bass, Stephan MacLeod in the turbulent Aria, Scheig, aufgetürmtes Meer, AND really upholding the choral with a clear and strong voice. To the NSB, in my limited Dutch; Dank u zo zeer.
You're misinformed. Bach's Leipzig predecessor Johann Kuhnau (from 1701 until his death in 1722) had already introduced operatic church music to the Leipzig liturgy long before Bach took over in 1723 (by which time Bach was 38 years old). The influence of opera on German church music was widespread long BEFORE Bach arrived in Leipzig. Even the clergy advocated it. As for "extemporizing like crazy," that happened in Arnstadt, not Leipzig, when Bach was about 18 years old. In Leipzig, Bach gave organ recitals at the university church, but he was not the organist at ANY of the city's churches.
Klare und wunderschöne Aufführung dieser kompakten und perfekt komponierten Kantate mit durchsichtigen und herrlichen Stimmen aller genialen Solisten sowie gut harmonisierten und perfekt entsprechenden Tönen aller historischen Instrumente. Der geniale Violinist/Dirigent leitet das ausgezeichnete Ensemble im rhythmischen und relativ schnellen Tempo sowie mit dramatischer Dynamik. Einfach atemberaubend!
What an interesting cantata. Almost sounds like his son Emmanuel in the abrupt changes in direction, and some other mannerisms such as strong unison phrases. But the complex harmonies show that this is the father, not the son.
5:02 Herr! warum trittst du mir so ferne TENORE DANIEL 6:16 Die schäumenden Wellen VIOLINEN & TENORE DANIEL 10:20 Schweig, aufgetürmtes Meer VIOLINEN & Bass
I think you're alluding to the Himmelsburg chapel in the Weimar ducal court from Bach's Weimar period (1707-1717). This cantata, BWV 81, is from his Leipzig period (1723-1750).
Alguien hispano hablante me podría ilustrar respecto de esta obra por favor, cual es la centralidad y temática de esta primera cantata. Muchas gracias.
There is a textual difficulty in this Aria: "Die schäumenden Wellen von Belials Bächen Verdoppeln die Wut. Ein Christ soll zwar wie Wellen stehn, ..." In some (all?) editions of Bach's works the second "Wellen" is changed to "Felsen", although the manuscripts are very clear. How is it possible that the 'waves' that are of the devil in the following senctence are an example for Christians? So, many changed the second 'Wellen' to 'Felsen', 'rocks'. I have looked up what experts think of it. Eduard van Hengel on his great Dutch website says that 'Wellen' could have the meaning of bundles of wood or straw that were used for making bulwarks or defense walls. That makes sense. Then, the text of the Aria contains a -- rather forced -- wordplay.
In my opinion, “Wellen” refers to the Red Sea miracle in the Book of Exodus: the waters stood like a wall (like “Felsen”) so that the people of Israel could walk through on dry ground. The gist is: a christian should equally trust in God’s omnipotence which can grant him a similarly wondrous rescue against all odds. Quite a big expectation, especially when you’re facing the successful and powerful attempts of the evil.
@@dschonnie I know of that interpretation, but it seems to me it is rather forced, because there is no wall nor water in Bach's text, only "Wellen". The way the text reads there should be something in "Wellen" that stands in the same way as Christians should. If the text meant to refer to the walls in the Exodus story, it should have said that Christians should stand like the waves stood still/formed a wall. But then again, the walls in that story are not against evil but in order to provide a safe way through to the Israelites.
The score in Bach's own hand says "Wellen." Not "Felsen." The passage isn't saying Christians should be like waves. It's saying they should *stand* like waves. A standing wave of water in the ocean can be quite formidable.
This is mostly the standard R sound for lyrical singing, no matter in what language they are singing. Considering the German language, it depends on the dialect.
Everyone knows NBS isthe best. The strings are incredible. The tenor. Gorgeous tone and intensity. Horrendous rendition. Anyone who heard that would have thought “cool triplets.” He’s wonderful. He just needs to clean up. But the accompaniment! And that bass! Wow. I’ve missed a ton.
That tenor part in the second aria really makes me scratch my head. Is that one of the most difficult tenor parts Bach has written? It looks redicilous difficult, but for what reason? I think i have never heard anything in the baroque being this "hideous", and even more misleading taking place in a field of G major. An example of the characteristic baroque arts focus on The Genius, the romantic era is just two steps away.....
It is really unnecessary for the countertenor (soprano) to loudly overpower the pleasant-sounding alto soloist at the end (81.7 chorale) for example. You can clearly hear the excess volume even with instruments playing the same notes. If it could be mixed for each vocal track, I would lower the soprano by at least 3dB :) He loves his own voice a bit too much... But there is no one to stop him in a live performance 🙃
In these difficult times it is wonderful that the NBS is continuing to distribute such magnificent performances. A personal message to all those who like me enjoy every performance, remember that with concerts cancelled the NBS needs donations more than ever and if you did have tickets for a performance,and if you can possibly afford it, please do not ask for a refund.
Thank you for everything you are doing and keep well.
I'm so glad to hear Robin Blaze. His voice is really special but he is so rare that I miss him a lot.
I don't know why this marvellous and gutsy cantata escaped my attention, but here I am and I'm listening to it so intensely that I can't write the letter I should write..... So much drama, so much virtuosity of players and singers. My heart races ---- what a powerful and captivating presentation on the highest level of art. Thank You. Very impressive, terribly difficult, incredibly well presented (and as always, beautifully filmed!).
Yes .Above all it is well filmed
6:16 I keep replaying this and replaying this. This is the best version I have ever heard in interpreting the waves of the storm. Daniel's eyes and facial expressions are a wonder to behold. The ensemble really gets this aria!
Daniel is a treasure. Unmatched!
but he's very imprecise in the coloraturas
a little to fast... I like this version much more: ua-cam.com/video/YR0V5my_iU8/v-deo.html
a 6'16, Sato attaque trop vite et fort , sur l "aria par Daniel Johanson
On dirait une chevauchée !
Just incredible. Whenever I listen to the masterpieces of Bach, I can see God through the music. It makes me feel like Life is the most valuable thing in the world. Bach reminds me of why God put me on this Earth. This music is encapsulating and enthralling and I can't imagine anything better than listening to Bach. So thank you very much for all your hard work in order to perform the works of Bach in the most beautiful way possible. Love from the United States of America.
I can't believe you assembled such an array of soloists! Thank you and best wishes!
My goodness, the string section with Sato always delivers tremendously. It must be a joy for all soloists to sing with just a huge mass of support behind and it's a joy to listen to. Also, I think that's the best version of the chorale I've heard!
What a supreme interpretation of this magnificent cantata!
Que sorte! Nascer depois de J. S. Bach. O Divino Bach!! Maravilhosa performance! Muito obrigada!
Through NBS's marvelous performances, I can feel that Bach made the cantatas with all his heart and abilities. Definitely, God would love him.
What can I say ... what a trully glorious performance !!!
0:07 Jesus schläft, was soll ich hoffen (Arie)
5:02 Herr! Warum trittest du so ferne? (Rezitativ)
6:16 Die schäumenden Wellen von Belials Bächen (Arie)
9:19 Ihr Kleingläubigen (Arioso)
10:20 Schweig, aufgetürmtes Meer (Arie)
14:59 Wohl mir, mein Jesu spricht (Rezitativ)
15:28 Unter deinen Schirmen (Choral)
(Schweig, aufgetürmtes Meer)
"Die schäumenden Wellen von Belials Bächen", ohne das "n" ergibt es keinen Sinn, 😉.
@@mwewering ❤️🥰
This is by far the best performance you can ever encounter, either by purpose or by accident!!
No. The Bachstiftung's performance of this cantata is just as good, if not better.
This was so enjoyable and I really appreciated Stephan MacLeod's explanation of the cantata. Listening to this makes me wonder what Bach's "Messiah" would be like as contrasted to Handel's "Messiah"! This was dramatic and really operatic for the usual church cantata for sure.
Listen to the Johannes Passion and you will know.
Handel's Messiah was a (public) oratorio, not a church piece. Handel's Messiah, even if sung in German, would not have served the Leipzig liturgy because it lacked the chorales that were part of the Lutheran liturgy.
There's no such thing as "the usual church cantata." It varied from town to town. Bach's Leipzig cantatas were written for or adapted to the Leipzig liturgy. That's why they were only performed in Leipzig.
All cantatas in Germany since 1700 were "really operatic." The then modern German cantata was patterned after the Italian secular cantata. Opera. That's why Bach cantatas have arias and recitatives and use various dramatic operatic devices. The sophisticated listener in Bach's time would have recognized the dramatic operatic devices Bach used in his cantatas and Passion music. You, apparently, are not familiar with the dramatic devices of early 18th century opera.
During the passion season, passion oratorios were performed in publc throughout Germany. None of them would have served the Leipzig liturgy because the all lacked the traditional Leipzig hymns. Yet the text of Bach's St. Matthew Passion, apart from the hymns, was adapted from the most famous public passion oratorio libretto of the time: the Brockes' passion. Handel, Telemann and many other famous German composers set that text.
凄い✨素晴らしい😍心に染み渡りました💕感動です✨
Instrumentos Soberbios, Voces Maravillosas Dirección Magistral.
GRACIAS MAESTRO SATO. DESDE MÉXICO
❤️✊ love from Kazakhstan!
Absolutely wonderful, thank you 🙏😊
Absolutely beautiful
Wonderful! Many thanks to everyone. 👍 ❤️
On January 30th 2024 this song comes to my spirit. Exactly 300 years since it was first sung in Leipzig. To commemorate, here is the translation:
Jesus sleeps, what should be my hope?
Do I not see with pallid face
Death’s abyss already open?
Cantata maravilhosa em execução sublime. A ária "die schäumenden Wellen von Belials Bäche" é linda.
Heel erg bedankt. Je doet geweldig werk. Prijs de Heer.
Wonderful!
Fantastic!
Would love to hear more cantatas conducted by Sato!
Sato you are the man!
E' cantata veramente bella, gli interpreti eccellenti
Many thanks, beautiful!
Wonderful and bold performance; " Schweig, aufgetürmtes Meer" sounds almost like Schumann at times.
I too, like the notes above and reading the texts and gospels for this cantata can understand the operatic nature of this work. (Whilst Jesus Sleeps, for what can I hope?)
I can understand some of the upset of the church council at the operatic nature of the work and of Bach himself, further annoying the elders of the Thomaskirche in Leipzig by extemporising like crazy at the organ. Oh how I wish I could have been present at the first hearing (I was tempted to write "performance") of this excellent cantata. I hope the church elders would have understanding and forgiveness in their hearts.
Once again , the NSB delights with this rendering of the cantata. The highlight for me is the excellence of the lower register in the arioso together with the excellent voice of the Bass, Stephan MacLeod in the turbulent Aria, Scheig, aufgetürmtes Meer, AND really upholding the choral with a clear and strong voice. To the NSB, in my limited Dutch; Dank u zo zeer.
You're misinformed. Bach's Leipzig predecessor Johann Kuhnau (from 1701 until his death in 1722) had already introduced operatic church music to the Leipzig liturgy long before Bach took over in 1723 (by which time Bach was 38 years old). The influence of opera on German church music was widespread long BEFORE Bach arrived in Leipzig. Even the clergy advocated it.
As for "extemporizing like crazy," that happened in Arnstadt, not Leipzig, when Bach was about 18 years old. In Leipzig, Bach gave organ recitals at the university church, but he was not the organist at ANY of the city's churches.
Bravo!
Klare und wunderschöne Aufführung dieser kompakten und perfekt komponierten Kantate mit durchsichtigen und herrlichen Stimmen aller genialen Solisten sowie gut harmonisierten und perfekt entsprechenden Tönen aller historischen Instrumente. Der geniale Violinist/Dirigent leitet das ausgezeichnete Ensemble im rhythmischen und relativ schnellen Tempo sowie mit dramatischer Dynamik. Einfach atemberaubend!
Sublime 🧡
What an interesting cantata. Almost sounds like his son Emmanuel in the abrupt changes in direction, and some other mannerisms such as strong unison phrases. But the complex harmonies show that this is the father, not the son.
O sådan inlevelse Daniel Johansen visar i arian om bäckarna i Belial!🎉
Top !
Спасибо за прекрасное исполнение. Насколько аутентично или необходимо использовать в континуо клавесин вместе с органом?
5:02 Herr! warum trittst du mir so ferne TENORE DANIEL
6:16 Die schäumenden Wellen VIOLINEN & TENORE DANIEL
10:20 Schweig, aufgetürmtes Meer VIOLINEN & Bass
Music for the castles of heaven itself.
I think you're alluding to the Himmelsburg chapel in the Weimar ducal court from Bach's Weimar period (1707-1717). This cantata, BWV 81, is from his Leipzig period (1723-1750).
Alguien hispano hablante me podría ilustrar respecto de esta obra por favor, cual es la centralidad y temática de esta primera cantata. Muchas gracias.
There is a textual difficulty in this Aria: "Die schäumenden Wellen von Belials
Bächen Verdoppeln die Wut. Ein Christ soll zwar wie Wellen stehn, ..." In some (all?) editions of Bach's works the second "Wellen" is changed to "Felsen", although the manuscripts are very clear. How is it possible that the 'waves' that are of the devil in the following senctence are an example for Christians? So, many changed the second 'Wellen' to 'Felsen', 'rocks'. I have looked up what experts think of it. Eduard van Hengel on his great Dutch website says that 'Wellen' could have the meaning of bundles of wood or straw that were used for making bulwarks or defense walls. That makes sense. Then, the text of the Aria contains a -- rather forced -- wordplay.
In my opinion, “Wellen” refers to the Red Sea miracle in the Book of Exodus: the waters stood like a wall (like “Felsen”) so that the people of Israel could walk through on dry ground. The gist is: a christian should equally trust in God’s omnipotence which can grant him a similarly wondrous rescue against all odds. Quite a big expectation, especially when you’re facing the successful and powerful attempts of the evil.
@@dschonnie I know of that interpretation, but it seems to me it is rather forced, because there is no wall nor water in Bach's text, only "Wellen". The way the text reads there should be something in "Wellen" that stands in the same way as Christians should. If the text meant to refer to the walls in the Exodus story, it should have said that Christians should stand like the waves stood still/formed a wall. But then again, the walls in that story are not against evil but in order to provide a safe way through to the Israelites.
The score in Bach's own hand says "Wellen." Not "Felsen." The passage isn't saying Christians should be like waves. It's saying they should *stand* like waves. A standing wave of water in the ocean can be quite formidable.
👍👍👍👍👍💐
5:47 isn't the "R" of the singer too "Italian" for a German text? (I'm asking to native German speakers; I'm Italian myself)
In German there is at least two "r" - an "Italian" rolling one and the growly throaty one :D (native speaker here)
Oh - and the Tenor is German !
@@andreamundt Ah I didn't know that - thank you! ;D
Perhaps you are not aware that the tenor singing the _R_ in question is a native German speaker from Austria.
@@herrickinman9303 I am ( After having read the comment by Andrea Mundt above :) )
This is mostly the standard R sound for lyrical singing, no matter in what language they are singing. Considering the German language, it depends on the dialect.
6:15 mr. Belial & faith(?)
Imagine sich das für die Schule anhören müssen aber gj xD
Everyone knows NBS isthe best. The strings are incredible. The tenor. Gorgeous tone and intensity. Horrendous rendition. Anyone who heard that would have thought “cool triplets.”
He’s wonderful. He just needs to clean up.
But the accompaniment!
And that bass!
Wow. I’ve missed a ton.
je rekiffe !
That tenor part in the second aria really makes me scratch my head. Is that one of the most difficult tenor parts Bach has written? It looks redicilous difficult, but for what reason? I think i have never heard anything in the baroque being this "hideous", and even more misleading taking place in a field of G major. An example of the characteristic baroque arts focus on The Genius, the romantic era is just two steps away.....
Можно бить морду после первого же аккорда!
Так, було б добре набити тобі рило,кацапсіна
@@freyafreya8478 А тебя привязать к батарее и кормить хорошими исполнениями кантат, пока мозги не промоются от аутентичного говна!
@@nibelung1957 ти звичайне кацапське хамло, сірОжа🤣 Що ти тут забув взагалі? Іди слухай кіркорова.
Bach did compose a lot of standard routine stuff
Great recording if there wouldn't be the soprano who is not fitting into the harmony and smooth and even unity of the other singers and musicians.
The soprano line is doubled by 2 oboes d'amore in addition to the 1st violins.
It is really unnecessary for the countertenor (soprano) to loudly overpower the pleasant-sounding alto soloist at the end (81.7 chorale) for example. You can clearly hear the excess volume even with instruments playing the same notes. If it could be mixed for each vocal track, I would lower the soprano by at least 3dB :) He loves his own voice a bit too much... But there is no one to stop him in a live performance 🙃
Those terrible countertenors make me sick. Let ladies sing again!
Don't look a gift horse in the mouth ?
Sublime🧡🎶