She is. How I wish I could transplant Andreas Scholl into this performance with her, from Herreweghe's other Matthew Passion recording. He was born for Bach too.
He Herreweghe always seems to produce very good performances that I've seen on youtube, I love his conducting doesn't go into a lot of acrobatics as some do.
That comes out absolutely automaticly. Its between the top two voices, as long as they sing in tune, that requires no more detail. I can not imagine the conductor said anything about that part
The ancient classicists were true geniuses, using only simple instruments and the human voice to enact complex moods and sounds. Us? we just synthesise 'em.
Que hermoso me enamoré... Increible de verdad. Mi alma vibra y brilla con esto. El coro es perfecto, la fuga viva, enérgica creo que como esto nada, excelente dirección y las voces super amalgamadas.
Just listen to the contrast of the tenderness and sadness of Dorothee Mields And the counter tenor and woodwind, with the anger and fury of the chorus - have thunder and lightning their fury forgotten?!
"Have lightning and thunders their fury forgotten! Have lightning and thunders their fury forgotten! Have lightning and thunders their fury forgotten! Then open O bottomless pit all thy terrors! Destroy him! Overwhelm him! With tumbult of rage! The treacherous betrayer! The murderous blood! The treacherous betrayer! The murderous blood!"
I think the gap bwtween the two later sections - the key change from D to F# - spoils it. I think Bach intended a far longer pause. Thomanerchor get it right. That said, Mr Herreweghe makes wonderful music in all that he does, IMO, and has my greatest respect.
@@enzocypriani5055 What an ignorant statement. Richter's performance is far from what Bach would've known, but to say he murdered Bach? His interpretations show that Bach's music is universal and timeless. I'm certain Bach would appreciate the advancements we have made over the centuries, and the new expressive capabilities of modern instruments.
@@fooberdooge3103 his performance cound be materially different than what Bach would have recognized and yet spiritually they are the most suited. His "Sind Blitze...?" is unsurpassed.
Haha joyous? Hardly sounds joyous to me. More dramatic than anything. He lulls you into a false sense of security, where you think it's just a duet. Then at 2:02 there's a sudden chorus interjection. That's the crowd shouting "Laßt ihn, haltet, bindet nicht!" - Leave him, stop, do not bind him! They don't exactly sing it in a refined manner either, they interject loudly and suddenly to represent a crowd (turba) of people shouting at the guards. The fugal section is very chaotic, showing the situation, it's not meant to be "joyous". Doesn't the cello at 4:05 sound pretty menacing to you? Especially coming after that bar of pause (4:03). The whole movement is so crazy that Bach had no choice but to finish on a Tierce de Picardie to give the listener some sort of relief. The people of 1727 were hardly ready for this music! Is that what you find "joyous", the major chord at the end? It's only there for closure.
Anon Thomas Thanks for the music analysis but +ilovebartok's reply four years ago is a response to a comment somewhere around here complaining that the music and the musicians are miserable (which is how they're supposed to be in the first place).
Dude, you are such a great critic. "awful" This is the greatest criticism of any piece of music I have ever seen in my entire life. You inspire us all, musiccritic1910.
She is just the perfect soprano for Bach's music.
She is. How I wish I could transplant Andreas Scholl into this performance with her, from Herreweghe's other Matthew Passion recording. He was born for Bach too.
@@EC2019You kidding me? His voice is terrible, nearly every vowel is swallowed when he sings.
The most beautiful artwork of music ever ever ever ever ever.
Messe in C-moll, W. A. Mozart...detto
@@bernhardhorlezeder8394 Are you in some kind of contest?
@@cantatanoir6850 Nein .wieso ??
Atemberaubend und ergreifend. Was für ein Können der Musiker, was für eine Musik!
Dem kann ich nur zustimmen
Dieser Ausschnitt ist für mich von ergreifender Schönheit!
Herreweghe's attention to detail, at 3:20, resonance, as Bach intended. Perfect harmonization.
that part is REALLY perfect. I always have goosebumps there :)
thanks
He Herreweghe always seems to produce very good performances that I've seen on youtube, I love his conducting doesn't go into a lot of acrobatics as some do.
That comes out absolutely automaticly. Its between the top two voices, as long as they sing in tune, that requires no more detail. I can not imagine the conductor said anything about that part
I guess you mean dissonance.
It's the first time I hear this part of the Matthäus Passion and I must say it blew me away. Wow.
The ancient classicists were true geniuses, using only simple instruments and the human voice to enact complex moods and sounds. Us? we just synthesise 'em.
Ca you imagine living in 1723 and hearing this in a cathedral? :)
Wunderbare beeindruckende Musik von Johann Sebastian Bach.
I once heard that this short passage proves Bach was the greatest composer of all time.
makes sense
I haven't been brought to tears by music in a very long time... that did it though. Wow.
0:30 your teacher's facial expression when you triple the leading tone in a chorale
Me: this is so pretty and calm
Bach: LAßT IHN, HALTET!!!!!!
BINDET NICHT!!
That last chord is so amazing
Beautiful
had the true and real pleasure of seeing Dorothy in Seattle. her aus lieb slays my heart.
Grandios!
Formidabel!
Danke Herr Bach, danke den Künstlern ...
The Heavenly singing of the Soprano is a direct acknowledgement of the Divine Truth... Made in The Image of God!!! V. W.
Perfect execution, beautifully blending voices... furious choir. Unmatched!
Ich liebe Countertenöre, und der hier ist groß.
Die Sopranistin ebenfalls
Wonderful singing !
Que hermoso me enamoré... Increible de verdad. Mi alma vibra y brilla con esto. El coro es perfecto, la fuga viva, enérgica creo que como esto nada, excelente dirección y las voces super amalgamadas.
formidables chanteurs et orchestre
The ensemble is "Collegium vocale"
Phillippe Herreweghe is the conductor.
Absolutely a sublime performance!
Even better than that ;-°)))
Cette musique donne tout son sens au mot sublime. Interprétation proche de la perfection.
Si la perfection existait, ce serait forcément une œuvre composée par Bach...
Vraiment super, tres tres beau. Bravo de tout coeur!!!
El intelecto de Bach para la música fue asombroso. Fue un ser excepcional.
Just listen to the contrast of the tenderness and sadness of Dorothee Mields
And the counter tenor and woodwind, with the anger and fury of the chorus - have thunder and lightning their fury forgotten?!
The C-T is the fine French singer Damien Guillon.
@@paulsmith5752 thank you! I searched everywhere for this info. :)
Awesome song and performance.
Beautiful...
The part about the reindeer is always the most exciting 😂 (j/k) Dorothee’s tone is just so lovely
sublime
Supreme!
"Have lightning and thunders their fury forgotten! Have lightning and thunders their fury forgotten! Have lightning and thunders their fury forgotten! Then open O bottomless pit all thy terrors! Destroy him! Overwhelm him! With tumbult of rage! The treacherous betrayer! The murderous blood! The treacherous betrayer! The murderous blood!"
Moja ulubiona sopranistka.😘
Ahhh Glorious
Una de las máximas expresiones del contrapunto.!!!
très belle interprètation
Hallucinant
Sublime.
Chris Hinze does this so well in his Album "Sketches on Bach"
Do#..................
Mi Re Do# Re...
👏👏👏👏
❤ bach ❤
Carnal knowledge movie brings me here 💜
I think the gap bwtween the two later sections - the key change from D to F# - spoils it. I think Bach intended a far longer pause. Thomanerchor get it right. That said, Mr Herreweghe makes wonderful music in all that he does, IMO, and has my greatest respect.
Korrektur: Countertenor ist Damian Guillon, ich verneige mich vor so viel Können und bitte um Entschuldigung.
Beautiful. Who is singing with Dorothee Mields?
His name is Damien Guillon, and he is a countertenor.
We are talking about The version of BWV 244 in the XXIth...
What words are there to describe this ?
BWV 244, wenn man wissen will.
Hier ist ein Überblick des Bach-Werke-Verzeichnisses : de.wikipedia.org/wiki/Bach-Werke-Verzeichnis.
Damien Guillon,
... 'nuff said! :-D
Does anyone know if this recording is available on CD?
Which part of the passion is this?
#27a of part 1
en.wikipedia.org/wiki/St_Matthew_Passion_structure
Jake Nathane That is the crucifixtion part...
+Nikola Acimovic Actually it's still pretty far away from the crucifying... Here He's arrested and taken away!
It sounds different than Richter's recording. The tempo is little fast.
Chayan Roychoudhury richter is talented but he murders bach
@@enzocypriani5055 What an ignorant statement. Richter's performance is far from what Bach would've known, but to say he murdered Bach? His interpretations show that Bach's music is universal and timeless. I'm certain Bach would appreciate the advancements we have made over the centuries, and the new expressive capabilities of modern instruments.
@@fooberdooge3103 his performance cound be materially different than what Bach would have recognized and yet spiritually they are the most suited. His "Sind Blitze...?" is unsurpassed.
I don't like Richter's as much.
Do you know who the performers are? conductor?
Performers are soprano Dorothee Mields and countertenor Damian Guillon, conductor is Philippe Herreweghe.
What are the chorus and the orchestra name?
To me there is not enough balance between the soprano and the (counter)tenor. I presume this is a matter of taste.
So spiritual musIc.
Is Jesus being captured and bound something to be joyous about?
Haha joyous? Hardly sounds joyous to me. More dramatic than anything. He lulls you into a false sense of security, where you think it's just a duet. Then at 2:02 there's a sudden chorus interjection. That's the crowd shouting "Laßt ihn, haltet, bindet nicht!" - Leave him, stop, do not bind him! They don't exactly sing it in a refined manner either, they interject loudly and suddenly to represent a crowd (turba) of people shouting at the guards. The fugal section is very chaotic, showing the situation, it's not meant to be "joyous". Doesn't the cello at 4:05 sound pretty menacing to you? Especially coming after that bar of pause (4:03). The whole movement is so crazy that Bach had no choice but to finish on a Tierce de Picardie to give the listener some sort of relief. The people of 1727 were hardly ready for this music! Is that what you find "joyous", the major chord at the end? It's only there for closure.
Anon Thomas Thanks for the music analysis but +ilovebartok's reply four years ago is a response to a comment somewhere around here complaining that the music and the musicians are miserable (which is how they're supposed to be in the first place).
Ist das Ležneva?
Nein, Dorothe Miels.
Funny how Emma's face reminds me of one of Dürer's Virgins.
私はいつもゲッヒンゲン聖歌隊の合唱、リリング指揮のものを聴いているが、かなり差がありますよ、、、特にこの27番は顕著です。
awful
Please justify.
Philistine
Dude, you are such a great critic. "awful" This is the greatest criticism of any piece of music I have ever seen in my entire life. You inspire us all, musiccritic1910.