The chorus is such a masterpiece of interpretation and execution, the strident tone of the music matching the strident tone of the biblical text, and of course those 4 wonderfully strong voices. Makes it hard to listen to other versions.
The sequence at 4:09 brings tears to my eyes, such beautiful chaos, such masterful counterpoint. Best rendition I have heard, amazingly balanced and the sounds are so rich and impactful.
Herzergreifend schön! Vielen Dank für diesen Kanal, der mich auch aus der Ferne jeden Sonntag eine Bachkantate hören lässt, wie in meiner Kindheit bei Radio Beromünster....
exceptional clarity of sound in the first movement, you can hear all the words incredibly well despite the complexity of the architecture of the chorale fantasia. It's the first time I notice how surprisingly the opening motif is reintroduced after the fugato (at ~4.27). Of course the OVPP helps -not necessarily a big fan of it at all times, but here it works perfectly.
Interpretation eines Schlusschorals, der im Sinne historisch informierter Aufführungspraxis auch die Praxis des damaligen Gemeindegesangs berücksichtigt: langsames Tempo, Fermaten mit Zwischenspielen und Nachspiel der Orgel. Eine eindrückliche Verbindung höchster Kunst mit Gesang der protestantischen Gemeinde {die zur Zeit Bachs womöglich sogar mitgesungen hat). Schön, das einmal am Ende einer hochprofessionellen Kantatenaufführung zu hören, bei der die vorangegangenen Sätze Referenzcharakter für diese wunderbare Kantate haben.
I exclaim! A generous musical and spiritual experience. A powerful argument for single strings and voices. The sounds were exceptionally clear even by your own standards. Every person counted, every one was vital. All were superb. I have taken a particular liking to Margot Oitzinger. Wow.
14:30 - Always loved how Bach illustrates the words "verstockten" (hardiness) and "unbussfertigen Herzen" (Impenitent heart) with that repeated awful figura, the equivalent of the gesture of hitting your head with your fist as to show someone is hard on the head.
when a one-voice-per-part performance is this convincing I think it settles the question that has vexed critics and scholars for decades since Rifkin: the Bach "choral" works are intimate chamber music and can be almost ruined by many "choral" performances.
Absolutely terrific! I wish Dr. Lutz would do the cantatas with solo voices more often, because when he does, it's especially good. Here's another example, BWV 79, "Gott der Herr ist Sonn und Schild": th-cam.com/video/l4kadpznOhc/w-d-xo.html
The chorus is such a masterpiece of interpretation and execution, the strident tone of the music matching the strident tone of the biblical text, and of course those 4 wonderfully strong voices. Makes it hard to listen to other versions.
The sequence at 4:09 brings tears to my eyes, such beautiful chaos, such masterful counterpoint. Best rendition I have heard, amazingly balanced and the sounds are so rich and impactful.
Very true! Thanks for pointing it out.
Fugal exposition
😊
sounds like "By The Waters of Babylon"
Alto et haubois: un régal de sensibilités et de nuances si rares à entendre. Merci et félicitations.
как же это потрясающе!!🌹🌹🌺
The eyes of Matthias Helm are priceless !
Herzergreifend schön! Vielen Dank für diesen Kanal, der mich auch aus der Ferne jeden Sonntag eine Bachkantate hören lässt, wie in meiner Kindheit bei Radio Beromünster....
If all churches developed this skill set, no pews would ever be empty. 😂😂😂
Love the opening chorus, but what a surprise the flute aria is! Such a difficult solo brilliantly played. Love the flute playing.
Thank you very much to all these excellent musicians for this great rendition of the J.S.Bach Cantata BWV 102.
exceptional clarity of sound in the first movement, you can hear all the words incredibly well despite the complexity of the architecture of the chorale fantasia. It's the first time I notice how surprisingly the opening motif is reintroduced after the fugato (at ~4.27). Of course the OVPP helps -not necessarily a big fan of it at all times, but here it works perfectly.
grandissimo lutò e la sua orchestra .
Interpretation eines Schlusschorals, der im Sinne historisch informierter Aufführungspraxis auch die Praxis des damaligen Gemeindegesangs berücksichtigt: langsames Tempo, Fermaten mit Zwischenspielen und Nachspiel der Orgel.
Eine eindrückliche Verbindung höchster Kunst mit Gesang der protestantischen Gemeinde {die zur Zeit Bachs womöglich sogar mitgesungen hat).
Schön, das einmal am Ende einer hochprofessionellen Kantatenaufführung zu hören, bei der die vorangegangenen Sätze Referenzcharakter für diese wunderbare Kantate haben.
Sublime Bach y sublime interpretación a OVPP.
OMG! One of my favorite 200 Bach cantatas, and OVPP to boot!
Fantastisch, vielen herzlichen Dank aus Norddeutschland!
so so so wonderfull my favourite bach choir
Sehr schön das Zusammenspiel von Alt und Oboe. Vielen Dank!
"Herr, deine Augen sehen nach dem Glauben" Excelente.
Another wonderful Bach cantata!
Esta interpretación me descontroló, me hizo llorar. Tanta riqueza de sonidos que me invaden y me vuelven loco. Tanta hermosura es insoportable.
Splendid interpretation ❤ 👏👏👏
I exclaim! A generous musical and spiritual experience. A powerful argument for single strings and voices. The sounds were exceptionally clear even by your own standards. Every person counted, every one was vital. All were superb. I have taken a particular liking to Margot Oitzinger. Wow.
Amazing! Bach forever!!!
Very beautiful.
*BACH'ın dehasını kutsadığı bu harika eserleri bizlerle buluşturduğunuz için minnettarız.* 👌👍🎼🎶👏🤝❤🎶👋
10:40 the alto is exquisite, but so is the entire production.
Superb!
Beautifull
Ausgezeichnet
I love the look of abandonment (?) on the bass singer's face at the end of his recitative (#2).
Excelente canal! Parabéns a todos!
❤️
Wonderschoen
Vielen Dank!
Excelente!!Wünderbar.Gracias🙏
💯💯💯
14:30 - Always loved how Bach illustrates the words "verstockten" (hardiness) and "unbussfertigen Herzen" (Impenitent heart) with that repeated awful figura, the equivalent of the gesture of hitting your head with your fist as to show someone is hard on the head.
Freut uns sehr, wenn es gefällt.
I want more Raphael Hoehn!
A lovely voice. He's particularly good as the evangelist in the Netherlands Bach Society's St John Passion, if you haven't seen that.
@@bencosmo1979 I have.
👏
when a one-voice-per-part performance is this convincing I think it settles the question that has vexed critics and scholars for decades since Rifkin: the Bach "choral" works are intimate chamber music and can be almost ruined by many "choral" performances.
Completely agree. OVPP: case settled (assuming it is with the right voices, as here..)!
Why suddenly OVPP? Not that I mind. On the contrary. It’s wonderful.
First Choir recycled in Kyrie of BWV 235:
th-cam.com/video/1gRsqyMzSnQ/w-d-xo.html
Parodie
Je ne comprends pas pourquoi le chœur initial est aussi "martial" et si rapide. Cela ne cadre pas avec le texte.
Absolutely terrific!
I wish Dr. Lutz would do the cantatas with solo voices more often, because when he does, it's especially good. Here's another example, BWV 79, "Gott der Herr ist Sonn und Schild": th-cam.com/video/l4kadpznOhc/w-d-xo.html
th-cam.com/video/WKn8r9b_5ds/w-d-xo.html sicherheiszahl 2 von der mitte zu lukass..oder so...ne rebbi i love you..,haha
sound not as good as usual Probably the venue
I think they should put the singers in front instead of always in the back. That's the way it was done in the Baroque.
i never bought a bachstiftung recording because of their incomprehensible lettering...