When I was about 11-12, I was seeing my father only during the weekends and I asked him to play cantatas with trumpets and drums from his huge magnetic tapes library. Played mono on a Telefunken at the beginning and later in stereo on a Revox ... It was pure magic ... Now, at 67+, I am still found of this music. Miriam
Jan Börner is flawless and Miriam Feuersinger's voice is very rich....Unbelievable. The chorus blew my mind. Everything here sounds gorgeous. The composer, performers, and sound engineering all amazed me.
Jan Börner hat eine wunderbare klare Stimme, ich hoffe, dass ich ihn jetzt häufiger erleben werde. Alle anderen Solisten waren fabelhaft und die Trompeten die helle Freude-Danke!
What a superb and polished performance ! The vocal soloists were all truly wonderful. And it is always a great joy to hear soprano Miriam Feuersinger, who has the perfect voice for singing Bach: lightness, precision and clarity. Many thanks to everyone. 👍👏💕
Jan Börner is, in my opinion, one of the very finest countertenors today. I think that his pure beauty of sound and perfect coloratura make him the most special alto singing Bach today - and there are many good ones. I saw that he's recorded solo cantatas by Bach. Looking very much forward to hearing those.
A quite extraordinarily beautiful voice and breath-taking virtuousity. His CD with the equally extraordinary Nuria Rial is truly exceptional. These are voices and interpretations of unique achievement.
O conjunto da OBRA é maravilhoso... bach, orquestra, spala, brilhante , aria de soprano da Mirian, magnifica. O sincopismo da cantata riquíssimo. E por fim a equalização do som... tudo RIQUÍSSIMO. Obg.
Alto Jan Boerner and tenor Soeren Richter both have such wonderful voices. I always enjoy hearing them sing and wish they would appear more often as soloists in the Bach-Stiftung performances.
A complex cantata performed with the usual exuberance by Rudolf Lutz and the renowned ensemble he has assembled over the many years he has been performing this amazing feat. Jan Börner has always struck me as a consummate alto, but here he has the opportunity to demonstrate his extraordinarily beautiful voice as a soloist and beguiling presence. The coloratura passages are breathtaking - literally! - a performance to treasure.
Die Stärke von Rolf Lutz als Dirigent liegt nicht nur in seinem dynamischen Umgang mit Bachs Kantaten. Mindestens ebenso groß ist sein Talent, jeden Solisten zu seiner vollsten Geltung kommen zu lassen. Auch hier.
La migliore esecuzione di Bach 120 in assoluto che io abbia mai ascoltato!!!! Bach vi abbraccierebbe uno ad uno!!! ❤😊👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏 Chapeau 🎩😊❤🙏✨🎇🎆👑🎼🎹🎺🎶🎶🎶🎶🎶
Whatever be the time of day in my part of the world the Bach Foundation's performance is one I wouldn't want to miss. The Alto and Soprano Arias were so beautifully sung, for Bach it's 'articulated playing' he doesn't differentiate between vocalists and instrumentalists! And the Chorus! Such edifying music..such a fine vehicle to transport the soul. To Herr Lutz and his ensemble, God's Blessings on each and every one of you.
Well! Faultless and heart-felt performance is completely normal, but what surprises! First a male alto whose sound I actually enjoyed, with formidable technique and musicianship as well, then I was in the B Minor Mass, or a workshop for it, then I was in the violin sonata in G, and not only do I hear the beautiful original version, but it was the sublime Miriam Feuersinger, whose heart is as all embracing as her superb technique. And the extraordinary chorale with excellent organ interludes. Astonishing throughout.
How refreshing to read "male alto" instead of "countertenor." _Countertenor_ was the term popularized by the famous male alto Russell Oberlin to describe his voice range and type. Historically, the term _countertenor_ did not refer to the singer's voice range or gender. In ancient scores you'll find alto-range and baritone-range parts both labeled "countertenor" in the same score. The term meant nothing more than a voice part that lay above or below the tenor part.
Möchte auf die Sopran-Arie „Heil und Segen“ eingehen: Miriam Feuersinger singt wunderbar! Wir dürfen dabei aber nicht die Leistung der Solo-Violinistin vergessen, die ebenbürtig zum Sopran, quasi im Duett, die wunderbare Arie bestreitet. Leider ist unter den angeführten Ausführenden der Name der Solo-Violinistin nicht ausdrücklich erwähnt. Schade! Vielleicht kann mir jemand den Namen mitteilen.
sometimes I wonder if someone messed up with the copies of this cantata and put a random alto aria at the beginning by mistake, it sounds so incongruous having such delicate aria to start and such a huge choir complete with drums and trumpets and whatnot just after it... (I think the long pause between the aria and the choir during the execution made me think of that even more)
It's not that unusual for Bach to intersperse simple arias and recits with complex choruses and chorales. I think both the alto and soprano arias are sung with superlative skill and musical intelligence. To me this is one of the very best of the J S Bach-Stiftung cantatas.
@@melcadman sure, but that's not interspersing, it's starting with a very unassuming-sounding aria (in terms of textural feeling, the piece is of course wonderful) and then bam, Bach at his loudest! That's a huge change of register. Of course, I'm sure Bach must have had his reasons, as the move is deliberate: BWV120a, from which Bach took material for this cantata, starts with the choir and has a version of the aria (as an alto-tenor duet) at the END of the cantata just before the final chorale. A much more traditional setting.
I think, the cantata's were not performed as one piece in one go, but at intervals during the service, depending on prayers, sermons, communion, etc etc.
Would Bach have used Counter Tenors? "No, J.S. Bach would not have used male altos or countertenors for the alto solo parts in his cantatas and other sacred vocal works. Bach wrote these parts specifically for boy altos from the church choirs and schools in Leipzig where he worked" (Quote answer from search in Perplexity)
Bachstiftung cantatas with subtitles: ua-cam.com/play/PLk8lf2IHuDQk1fD_JxaROH5TXKtiJ4qvI.html (69) We are fans and admirers of these wonderful voices singing Bach. Cantatas with subtitles and the voice of: Núria Rial (9) ua-cam.com/play/PLk8lf2IHuDQmDuEXxQujVe4BgHcG23RGp.html Elvira Bill (8) ua-cam.com/play/PLk8lf2IHuDQn6wpEfsfo-NYXiPrKJ_B__.html Miriam Feuesinger (19) ua-cam.com/play/PLk8lf2IHuDQma5OtxjN2TXOX-32Wsem1k.html Claude Eichenberger (10) ua-cam.com/play/PLk8lf2IHuDQmT0kIaOLxBk1XcO7AFxYV1.html Daniel Johannsen (20) ua-cam.com/play/PLk8lf2IHuDQl2avwbPb1Bg0NIUWB4PFu_.html Alex Potter (9)ua-cam.com/play/PLk8lf2IHuDQkLKK_zm3ch2r9A2YrWDKE5.html
I don't understand why you don't share many other commentators's views here (mine included!) that his performance is brilliantly matched to the very considerable demands of this aria - surely one of Bach's most challenging - and that he excels. I would think the diminution of volume and intensity at the work 'Stille' is quite intentional and absolutely captures the spirit of the composer's intention. I think this and Miriam Feuersinger's singing and interpretations are both utterly captivating and sung with such musical intelligence.
When I was about 11-12, I was seeing my father only during the weekends and I asked him to play cantatas with trumpets and drums from his huge magnetic tapes library. Played mono on a Telefunken at the beginning and later in stereo on a Revox ... It was pure magic ... Now, at 67+, I am still found of this music.
Miriam
Jan Börner is flawless and Miriam Feuersinger's voice is very rich....Unbelievable. The chorus blew my mind. Everything here sounds gorgeous. The composer, performers, and sound engineering all amazed me.
With everyone of these performances I want the sound engineers to very publicly take a vow.
Jan Börner hat eine wunderbare klare Stimme, ich hoffe, dass ich ihn jetzt häufiger erleben werde. Alle anderen Solisten waren fabelhaft und die Trompeten die helle Freude-Danke!
Miriam Feuersinger! An Angel!
What a superb and polished performance !
The vocal soloists were all truly wonderful. And it is always a great joy to hear soprano Miriam Feuersinger, who has the perfect voice for singing Bach: lightness, precision and clarity.
Many thanks to everyone. 👍👏💕
I think you're right. As soon as I see her name, I immediately start to listen. And I am never disappointed. Thank you, Miriam!
@@macgerxx I'm the same way.
Whenever I see that she is a soloist I know it will be delightful.
Jan Börner is, in my opinion, one of the very finest countertenors today. I think that his pure beauty of sound and perfect coloratura make him the most special alto singing Bach today - and there are many good ones. I saw that he's recorded solo cantatas by Bach. Looking very much forward to hearing those.
A quite extraordinarily beautiful voice and breath-taking virtuousity. His CD with the equally extraordinary Nuria Rial is truly exceptional. These are voices and interpretations of unique achievement.
One of Bach’s most monumental Cantatas! utterly sublime in every manner
O conjunto da OBRA é maravilhoso... bach, orquestra, spala, brilhante , aria de soprano da Mirian, magnifica.
O sincopismo da cantata riquíssimo. E por fim a equalização do som... tudo RIQUÍSSIMO. Obg.
So happy to see Renate Steinmann performing with Bach-Stiftung again.
"Хвала Тебе в Твоём молчании" Bach hatte ein starkes Humor - Gefühl
Nicht Bach, die Bibel, Psalm 65:1, в православной Библии псалом 64
I pressed like before it was even posted
Nicola Cumer's organ interpolations in the closing chorale were outstanding.
Magnifico! The soprano is really outstanding, combining deep precision with warm interpretation. Thank you!
Alto Jan Boerner and tenor Soeren Richter both have such wonderful voices. I always enjoy hearing them sing and wish they would appear more often as soloists in the Bach-Stiftung performances.
A complex cantata performed with the usual exuberance by Rudolf Lutz and the renowned ensemble he has assembled over the many years he has been performing this amazing feat. Jan Börner has always struck me as a consummate alto, but here he has the opportunity to demonstrate his extraordinarily beautiful voice as a soloist and beguiling presence. The coloratura passages are breathtaking - literally! - a performance to treasure.
Magnificent this piece set the tone for my day. Congratulations to Herr Lutz Choir and Orchestra Magnificent!
Die Stärke von Rolf Lutz als Dirigent liegt nicht nur in seinem dynamischen Umgang mit Bachs Kantaten. Mindestens ebenso groß ist sein Talent, jeden Solisten zu seiner vollsten Geltung kommen zu lassen. Auch hier.
So good, makes one glad to be alive. Simply wonderful, all aspects. Bach is proof there is a God.
La migliore esecuzione di Bach 120 in assoluto che io abbia mai ascoltato!!!! Bach vi abbraccierebbe uno ad uno!!! ❤😊👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏 Chapeau 🎩😊❤🙏✨🎇🎆👑🎼🎹🎺🎶🎶🎶🎶🎶
One more great performance of maestro Lutz with an exceptionally good alt in addition. Soprano!
los ojos de la violista de gafas y cabello rojo en el minuto 2:43 lo dicen todo a cerca de lo maravillosa que es la música de Bach!!!
Toujours un bonheur de suivre Bachstiftung! Bravo et grand merci pour votre si beau travail.
Vielen Dank für Ihre wundervolle Darbietung von Bachs Musik.
Disfrutando desde Argentina....
Danke für dieses wunderbare Projekt!
Beautiful cantata! The chorale at the end was breathtaking.
Whatever be the time of day in my part of the world the Bach Foundation's performance is one I wouldn't want to miss. The Alto and Soprano Arias were so beautifully sung, for Bach it's 'articulated playing' he doesn't differentiate between vocalists and instrumentalists! And the Chorus! Such edifying music..such a fine vehicle to transport the soul. To Herr Lutz and his ensemble, God's Blessings on each and every one of you.
The performance is so superb and the recording and mixing is masterful. Together, it is a very special and unique experience.
Well! Faultless and heart-felt performance is completely normal, but what surprises! First a male alto whose sound I actually enjoyed, with formidable technique and musicianship as well, then I was in the B Minor Mass, or a workshop for it, then I was in the violin sonata in G, and not only do I hear the beautiful original version, but it was the sublime Miriam Feuersinger, whose heart is as all embracing as her superb technique. And the extraordinary chorale with excellent organ interludes. Astonishing throughout.
How refreshing to read "male alto" instead of "countertenor." _Countertenor_ was the term popularized by the famous male alto Russell Oberlin to describe his voice range and type. Historically, the term _countertenor_ did not refer to the singer's voice range or gender. In ancient scores you'll find alto-range and baritone-range parts both labeled "countertenor" in the same score. The term meant nothing more than a voice part that lay above or below the tenor part.
Magnífico!
Gràcies!
Voce meravigliosaaaaaaaaaaaaaa
So grateful. Thank you.
Bellissima sinfonia
Oh but this is sublime. I just finished BWV 126. I hope there will be a Bach factory on this one.
Möchte auf die Sopran-Arie „Heil und Segen“ eingehen: Miriam Feuersinger singt wunderbar! Wir dürfen dabei aber nicht die Leistung der Solo-Violinistin vergessen, die ebenbürtig zum Sopran, quasi im Duett, die wunderbare Arie bestreitet. Leider ist unter den angeführten Ausführenden der Name der Solo-Violinistin nicht ausdrücklich erwähnt. Schade! Vielleicht kann mir jemand den Namen mitteilen.
Renate Steinmann
Dankeschön
❤️
👏👌🎼🎶🙏BACH💛
sometimes I wonder if someone messed up with the copies of this cantata and put a random alto aria at the beginning by mistake, it sounds so incongruous having such delicate aria to start and such a huge choir complete with drums and trumpets and whatnot just after it... (I think the long pause between the aria and the choir during the execution made me think of that even more)
It's not that unusual for Bach to intersperse simple arias and recits with complex choruses and chorales. I think both the alto and soprano arias are sung with superlative skill and musical intelligence. To me this is one of the very best of the J S Bach-Stiftung cantatas.
@@melcadman sure, but that's not interspersing, it's starting with a very unassuming-sounding aria (in terms of textural feeling, the piece is of course wonderful) and then bam, Bach at his loudest! That's a huge change of register.
Of course, I'm sure Bach must have had his reasons, as the move is deliberate: BWV120a, from which Bach took material for this cantata, starts with the choir and has a version of the aria (as an alto-tenor duet) at the END of the cantata just before the final chorale. A much more traditional setting.
I think, the cantata's were not performed as one piece in one go, but at intervals during the service, depending on prayers, sermons, communion, etc etc.
Would Bach have used Counter Tenors? "No, J.S. Bach would not have used male altos or countertenors for the alto solo parts in his cantatas and other sacred vocal works. Bach wrote these parts specifically for boy altos from the church choirs and schools in Leipzig where he worked" (Quote answer from search in Perplexity)
Thank you.
Mal gespannt…
Is there such a thing as a coloratura counter-tenor? Perhaps there should be....
There certainly is, and Jan Börner is definitely one of them. Such flawlessly even tone from top to bottom is delightful to hear.
Are the organ parts of the chorale an addition?
Short improvised organ preludes and interludes are indeed part of our chorale performance practice.
@@Bachstiftung Interesting, thanks.
Advertising (nikitaventures) not here please. And always with the same aria to make us change the channel.
Fern Asien Süd Kore a höre ich zu mein Hoffenung auf Fride
Bachstiftung cantatas with subtitles:
ua-cam.com/play/PLk8lf2IHuDQk1fD_JxaROH5TXKtiJ4qvI.html (69)
We are fans and admirers of these wonderful voices singing Bach.
Cantatas with subtitles and the voice of:
Núria Rial (9) ua-cam.com/play/PLk8lf2IHuDQmDuEXxQujVe4BgHcG23RGp.html
Elvira Bill (8) ua-cam.com/play/PLk8lf2IHuDQn6wpEfsfo-NYXiPrKJ_B__.html
Miriam Feuesinger (19) ua-cam.com/play/PLk8lf2IHuDQma5OtxjN2TXOX-32Wsem1k.html
Claude Eichenberger (10) ua-cam.com/play/PLk8lf2IHuDQmT0kIaOLxBk1XcO7AFxYV1.html
Daniel Johannsen (20) ua-cam.com/play/PLk8lf2IHuDQl2avwbPb1Bg0NIUWB4PFu_.html
Alex Potter (9)ua-cam.com/play/PLk8lf2IHuDQkLKK_zm3ch2r9A2YrWDKE5.html
Ich hätte mir eine etwas profundere Altstimme in der titelgebenden Arie gewünscht. Und ein wenig mehr „Stille“!
I don't understand why you don't share many other commentators's views here (mine included!) that his performance is brilliantly matched to the very considerable demands of this aria - surely one of Bach's most challenging - and that he excels. I would think the diminution of volume and intensity at the work 'Stille' is quite intentional and absolutely captures the spirit of the composer's intention. I think this and Miriam Feuersinger's singing and interpretations are both utterly captivating and sung with such musical intelligence.
Salmo 69 verso 36 perché dio salverà sion