First time I heard this version it struck me the organ part at 04:43, right after that rest... It goes really well with the words too, sets the mood magnificently!
The choral sequence in the end is quite overwhelming. The lyrics are quite epic and heroic, the instrumentation is just immense and euphoric, and the choir layering with all its harmonies and rhythms is simply divine. All together captivating, elevating, euphoric, heroic.
the organ is definitely dominant but in my opinion this is one of the details which makes it one of the most beautiful bach recordings I have ever heard...
Sang this as a soprano many ( 70) years ago at St Pauls cathedral in London as part of the special services choir. I took part every Easter for seven years as a boy. This was my favourite chorus. As soon as 'Moon and stars ' you felt the exitment rising. The St Matthew passion remains one of my favourites and I seek out performances wherever I can.
I'm sorry, but after listening to Sir John Elliot Gardiner's version so often and being touched by its beauty so many times, I can't enjoy this anymore. It's a universe of difference.
But I do understand that people who don't know the good versions of this music still enjoy it, as this is one of the most beautiful pieces of music in classical music history :-)
I agree with Sisury. The chorus should sing "Laßt ihn, haltet, bindet nicht!" way more aggressive and slightly quicker. It's a bit too tame to my liking. Awesome music, love it.
I enjoy this performance although nothing compares to the version of the Thomanerchor from 1998 - but I like the "heavyness" of this interpretation, quite different from all the other versions
I think you are pretty cool in saying that you like the Gardiner version and at the same time say that you can understand people who don't know the good versions of this music can still enjoy it. I absolutely agree with you. I myself would prefer the Gardiner (since it is on period instruments) than this version with contemporary instruments and not to mention the heavy use of vibrato. It is (indeed as you said) a universe of difference. More power to you.
@alipitogen I've listened once more, and in case anyone picks me up on this, I realise that the Munchinger recording I mentioned does not move all that much more quickly.The difference is more that this seems to drag while Munchinger's seems more driven and flowing.
Too many nitpickers commenting on these classical performances. Apparently they think there is only one acceptable performance of a work of Western Classical Music. Well then, go listen to it.
Some of these clips from this performance are absolutely spell-binding and this one nearly is.These top-notch performers almost overcome the cripplingly slow tempo but it is doomed from the start. I think the ideal tempo is set by Munchinger in 1964 with Ameling and Hoffgen. Some more recent performances err to the other extreme, losing all the tension to breathless urgency. All opinion , of course. Never saw Helen Donath before, though I have several recordings, quite a beauty -also opinion!
The choir is really good and the soloists do a great job. The only bad thing is the organ which is a bit too dominant during the part "Sind Blitze und Donner in Wolken verschwunden".
This orchestra sounds exactly like a Midi-file, with about as much expressive range. And the way they shout each syllable... "SIND BLI-TZÄ, SIND DON-NAH"... ghastly!
Excellent description! You forgot to mention the organ that was taken straight from the merry-go round at the carnival. Bach turns and tosses in his grave every time we play a Richter recording.
@@toonieven Oh yeah, how could I neglect to mention that staccatissimo tinnitus which defies all definitions of "taste" or "elegance", noisily missing its mark like an imperial stormtrooper on his worst day...!?
I have sung the complete St.Matthew Passion and I also know something about baroque style. The Richter version of this piece is, despite it was recorded long ago, anoying, cold, metric, bitter, slow, without the correct swing and dinamic Bach deserve. It's only an opinion. Please hear the McCreesh version with Kozena for example. THAT'S a good version.
Very nice, and congratulations to all involved, but one really needs to have a topo-level boy and men choir. The Thomanerchor 1998 is, IMO, currently the best version available. th-cam.com/video/iso-MR1tV8U/w-d-xo.html
I remain so fervently untouched by any of Richter’s orchestral recordings. His devotion to strict tempo makes for virtuosic and impressive playing in his Brandenburg concerto recordings, but dull, tiresome and boring repertoire in his greater orchestral recordings. The lack of historical inspiration or really any major interpretation makes for a dreary and tiresome performance that hath remained in the past, and rightfully so, for there is no longer any place for this kind of shallow and blind performance work in the world of classical music today, where artistic directors and conductors ought to be praised for their scholarly work and devotion to their historical interpretation!
Ah, the good old times when Bach was performed by musicians with guts! I want to hear something like this live. I don't care for the period crap people are throwing around today as an excuse for the boring meaningless shit they do on stage. Especially singing. The anemic white lifeless delusional singing being done today and being sold as authentic Bach or whatever is crap and only promoted by people who have no idea what a human voice should really sound like and how it sounded like in the time when instruments competed with the voice, and not the other way around as early music non-specialists want you to believe. Thankfully we have recordings such as this one.
This interpretation reminds me of a clock accurate but not feeling. And in the last chorus the organ sounds horrible. In particular I prefer Bach with boychoirs....But I've heard versions whit adult choirs very beautiful. Nothing personal but this version is bad. Greetings.
I feel like the oboes are way to loud in this rendition and the tempo is far too slow. Julia Hamarai is decent but Helen Donath is just kind of mediocre.
Laßt ihn, haltet, bindet nicht!
JUST AMAZING...
First time I heard this version it struck me the organ part at 04:43, right after that rest... It goes really well with the words too, sets the mood magnificently!
The choral sequence in the end is quite overwhelming. The lyrics are quite epic and heroic, the instrumentation is just immense and euphoric, and the choir layering with all its harmonies and rhythms is simply divine. All together captivating, elevating, euphoric, heroic.
the organ is definitely dominant but in my opinion this is one of the details which makes it one of the most beautiful bach recordings I have ever heard...
Well the organ was his instrument.
The instrument of Big Karl was the harpsichord. In fact, the organ could be easier in this music.
Scared? There is no reason to be scared about this wonderful piece of music!
Sang this as a soprano many ( 70) years ago at St Pauls cathedral in London as part of the special services choir.
I took part every Easter for seven years as a boy. This was my favourite chorus. As soon as 'Moon and stars ' you felt the exitment rising. The St Matthew passion remains one of my favourites and I seek out performances wherever I can.
Greatest music ever
This is an exquisite interpretation that you can see the Bach's music power that can be performed in anyway perfectly
Omg, no need for instruments, their voices are so powerful, awesome.
yes really, so powerful cann't stop emotions, this is absolute beauty....
4:05 ... etwas langsam, aber die Genialität von Bachs Kompositionsgenie lässt einem eine Gänsehaut aufkommen.. Sehr gut gesungen !!!
Unterm Dirigat von Karajan war das Tempo in diesem Stück DEUTLICH langsamer.
This was divine and humbling
Bach is Bach...no matter how different people will play his music:-)
0:00 27a. Arie S, A & Chor I "So ist mein Jesus nun gefangen"
4:05 27b. Chor II "Sind Blitze, sind Donner in Wolken verschwunden"
Schön.
I'm sorry, but after listening to Sir John Elliot Gardiner's version so often and being touched by its beauty so many times, I can't enjoy this anymore. It's a universe of difference.
This is simply marvelous... top!
I don't really like Bach, since we had began learning this whole stuff... But I just can't get this piece out of my head! :D
u really don't know him then - because there is a lot of this in Bach
I hope you love Bach by now! 😀
But I do understand that people who don't know the good versions of this music still enjoy it, as this is one of the most beautiful pieces of music in classical music history :-)
I agree with Sisury. The chorus should sing "Laßt ihn, haltet, bindet nicht!" way more aggressive and slightly quicker. It's a bit too tame to my liking. Awesome music, love it.
Splendid.
@Samztrades: me too! That's what I like about Richter: he was an organ player, and you can hear that he liked it.
L'un des passages les plus opératiques de ce chef-d'œuvre.
Its difficult not believe in God after Bach.
❤️
I enjoy this performance although nothing compares to the version of the Thomanerchor from 1998 - but I like the "heavyness" of this interpretation, quite different from all the other versions
Sind Blitze was made to be EXACTLY a heavy music =)
I think you are pretty cool in saying that you like the Gardiner version and at the same time say that you can understand people who don't know the good versions of this music can still enjoy it. I absolutely agree with you. I myself would prefer the Gardiner (since it is on period instruments) than this version with contemporary instruments and not to mention the heavy use of vibrato. It is (indeed as you said) a universe of difference. More power to you.
Two beautiful women in the world, thank
cheers my friend! despite of that i can not understand deutch, i am sure you wrote some warm words, as you like Bach music as I do :)
Good Lord... 💎 🙏
If you ever have the thought in your brain of "what do seventh chords sound like" it's that second part with the double chorus.
4:05 Sind Blitze, sind Donner in Wolken verschwunden
@alipitogen I've listened once more, and in case anyone picks me up on this, I realise that the Munchinger recording I mentioned does not move all that much more quickly.The difference is more that this seems to drag while Munchinger's seems more driven and flowing.
@WinGeorgia actually its not classical but baroque music..
Too many nitpickers commenting on these classical performances. Apparently they think there is only one acceptable performance of a work of Western Classical Music. Well then, go listen to it.
….I agree whole heartedly, especially the first part…!RDS
Some of these clips from this performance are absolutely spell-binding and this one nearly is.These top-notch performers almost overcome the cripplingly slow tempo but it is doomed from the start. I think the ideal tempo is set by Munchinger in 1964 with Ameling and Hoffgen. Some more recent performances err to the other extreme, losing all the tension to breathless urgency. All opinion , of course. Never saw Helen Donath before, though I have several recordings, quite a beauty -also opinion!
Yeah, the tempo is very slow although I don't condemn it entirely. Listen to the one with Emma Kirkby and Michael Chance, that one is better.
The choir is really good and the soloists do a great job. The only bad thing is the organ which is a bit too dominant during the part "Sind Blitze und Donner in Wolken verschwunden".
Listen to Harnoncourt once and you cannot go back to this. This is just robotic.
Zum Niederknien!
Richter !!
Grandios.
"Sind Blitze..." - warum so langsam?
Así se peinaba mamá.
Je moet wel ver doorspoelen voordat het interessante en snellere stuk aan bod komt.
4:06
Is it just me, or is this one of the slower versions? 4:05
To madzui90: it helps if you pay attention to what they are saying. It is a scene of despair, horror and pain.
beautiful women, and great persons... watching this I often ask to mysellf, is it real? the world became more beautiful for me watching this
"Thank" is the exact word for your video not musik..
Bach Musik ist fuer mich sehr wichtig, sehr personlich und geistlich.
This orchestra sounds exactly like a Midi-file, with about as much expressive range. And the way they shout each syllable... "SIND BLI-TZÄ, SIND DON-NAH"... ghastly!
Excellent description! You forgot to mention the organ that was taken straight from the merry-go round at the carnival. Bach turns and tosses in his grave every time we play a Richter recording.
@@toonieven Oh yeah, how could I neglect to mention that staccatissimo tinnitus which defies all definitions of "taste" or "elegance", noisily missing its mark like an imperial stormtrooper on his worst day...!?
I have sung the complete St.Matthew Passion and I also know something about baroque style. The Richter version of this piece is, despite it was recorded long ago, anoying, cold, metric, bitter, slow, without the correct swing and dinamic Bach deserve. It's only an opinion. Please hear the McCreesh version with Kozena for example. THAT'S a good version.
This is Hitler version
@@cenkacar5679 YOUR opinion doesn`t matter... 😂
Very nice, and congratulations to all involved, but one really needs to have a topo-level boy and men choir. The Thomanerchor 1998 is, IMO, currently the best version available. th-cam.com/video/iso-MR1tV8U/w-d-xo.html
Die Solisten sind Klasse, aber der Chorteil ist mir viel zu technokratisch gesungen.
I like Julia Hamari, but the soprano is far too operatic and the tempo a bit too slow. Overall, an enjoyable performance though.
Strange but I'm not impressed by the choir in this performance.... Richter would however have had access to the best... ??
I can tell you nothing, it is simple, you don't like and enderstand classical music
I remain so fervently untouched by any of Richter’s orchestral recordings. His devotion to strict tempo makes for virtuosic and impressive playing in his Brandenburg concerto recordings, but dull, tiresome and boring repertoire in his greater orchestral recordings. The lack of historical inspiration or really any major interpretation makes for a dreary and tiresome performance that hath remained in the past, and rightfully so, for there is no longer any place for this kind of shallow and blind performance work in the world of classical music today, where artistic directors and conductors ought to be praised for their scholarly work and devotion to their historical interpretation!
Der Dirigent könnte etwas engagierter gucken
Ah, the good old times when Bach was performed by musicians with guts! I want to hear something like this live. I don't care for the period crap people are throwing around today as an excuse for the boring meaningless shit they do on stage. Especially singing. The anemic white lifeless delusional singing being done today and being sold as authentic Bach or whatever is crap and only promoted by people who have no idea what a human voice should really sound like and how it sounded like in the time when instruments competed with the voice, and not the other way around as early music non-specialists want you to believe. Thankfully we have recordings such as this one.
DinDanMee Good to know you are the ultimate authority on that the human voice should sound like, where would we be without you....
This interpretation reminds me of a clock accurate but not feeling. And in the last chorus the organ sounds horrible. In particular I prefer Bach with boychoirs....But I've heard versions whit adult choirs very beautiful. Nothing personal but this version is bad.
Greetings.
Thank god now we got rid of this romantic interpretation of bach in favor of a more historycally accurate one
Way too slow.
+Michael DeWeese, Jr. Do you like Ton Koopman's version more?
+Michael DeWeese, Jr. It's all relative.
I feel like the oboes are way to loud in this rendition and the tempo is far too slow. Julia Hamarai is decent but Helen Donath is just kind of mediocre.
3:57 Obertöne?
4:05
Sebastián 4:06*