This is still the only performance that really gets inside and conveys absolutely the text of Justus Jonas's hymn, on which the entire work is based: Harnoncourt's vision is truly amazing; and yet, it's all right there in the music: the resolute and sturdy opening chorale prelude, with its regal "French Overture" rhythm indicating majesty, purpose and power; the "raging" of the enemies in contradictory "swirling" rhythms, against which the resolve of the faithful stands out clearly, and the turbulence of the ocean. Of the singers, Panito Inconomou is truly amazing; as he has himself observed, for him this was a "Zen" experience. His singing is of extraordinary power and self-realization (and, yes, he has full control over his "vibrato"; he uses it with amazing expressive power). Likewise tenor, Kurt Equiluz, a truly extraordinary artist over many decades. And of course, the transcendent continuo of Herbert & Herwig Tachezi (organ & cello). The sheer power of the Concentus strings shows just what a Baroque orchestra can produce in the hands of experts of experience and taste. The overall effect can be palpably felt by simply listening to this masterful interpretation of one of Bach's greatest musical sermons. As amazing today as it was the first day I ever heard it, many decades ago. Even the blustery bass singer (Robert Holl), in his aria about the tiny ship of the faithful tossed by relentless and vast seas, not my usual choice for this kind of repertoire, makes absolute sense in this context. A performance for the ages.
The difference is between playing the notes right and remaining true to the music's purpose and spirit... One thing that is indisputable is that both Harnoncourt and Leonhardt performances remain THE benchmark in all cantatas they recorded
14 years after recording this, Panito Inconomou said (www.bach-cantatas.com/Articles/Panito-Interview-B.htm): I had to smile a bit, while reading Thomas Braatz review of cantata BWV 178, calling my performance “insecure” and “unable to control his vibrato”. In my own ears it’s the best musical performance of my boy’s career. I really meant every single word I sing during that recitative and doing it was an almost out-of-body experience for me back then. Definitely not insecure - and with vibrato because I never tried to control and because nobody forced me to. Same thing with the opening chorus that precedes it, in my view one of the best Bach choruses the [Tölzer Knabenchor] ever recorded. If [Bach Cantatas web site creator] Aryeh Oron writes about an army marching, stopping, marching, stopping, this is exactly what Harnoncourt wanted (and it’s exactly what’s in the text). And it felt absolutely great being part of that army, believe me.
178/iii- Gleichwie die wilden Meereswellen - a remarkable coup - had this tune in my head - and was able to identify in a matter of minutes - thanks to my super indexing system - OK it would not have happened without a mental mnemonic - the words “wild waves of the sea” had somehow got attached in the past to this melody and when I searched for them in my Bach Cantatas doc, sure enough - 178/iii, BIS 23. The disc went in the Bose and … bingo!
This is still the only performance that really gets inside and conveys absolutely the text of Justus Jonas's hymn, on which the entire work is based: Harnoncourt's vision is truly amazing; and yet, it's all right there in the music: the resolute and sturdy opening chorale prelude, with its regal "French Overture" rhythm indicating majesty, purpose and power; the "raging" of the enemies in contradictory "swirling" rhythms, against which the resolve of the faithful stands out clearly, and the turbulence of the ocean. Of the singers, Panito Inconomou is truly amazing; as he has himself observed, for him this was a "Zen" experience. His singing is of extraordinary power and self-realization (and, yes, he has full control over his "vibrato"; he uses it with amazing expressive power). Likewise tenor, Kurt Equiluz, a truly extraordinary artist over many decades. And of course, the transcendent continuo of Herbert & Herwig Tachezi (organ & cello). The sheer power of the Concentus strings shows just what a Baroque orchestra can produce in the hands of experts of experience and taste.
The overall effect can be palpably felt by simply listening to this masterful interpretation of one of Bach's greatest musical sermons. As amazing today as it was the first day I ever heard it, many decades ago. Even the blustery bass singer (Robert Holl), in his aria about the tiny ship of the faithful tossed by relentless and vast seas, not my usual choice for this kind of repertoire, makes absolute sense in this context. A performance for the ages.
The difference is between playing the notes right and remaining true to the music's purpose and spirit... One thing that is indisputable is that both Harnoncourt and Leonhardt performances remain THE benchmark in all cantatas they recorded
STREPITOSO KURT...QUASI SESSANTENNE...♡
14 years after recording this, Panito Inconomou said (www.bach-cantatas.com/Articles/Panito-Interview-B.htm): I had to smile a bit, while reading Thomas Braatz review of cantata BWV 178, calling my performance “insecure” and “unable to control his vibrato”. In my own ears it’s the best musical performance of my boy’s career. I really meant every single word I sing during that recitative and doing it was an almost out-of-body experience for me back then. Definitely not insecure - and with vibrato because I never tried to control and because nobody forced me to. Same thing with the opening chorus that precedes it, in my view one of the best Bach choruses the [Tölzer Knabenchor] ever recorded. If [Bach Cantatas web site creator] Aryeh Oron writes about an army marching, stopping, marching, stopping, this is exactly what Harnoncourt wanted (and it’s exactly what’s in the text). And it felt absolutely great being part of that army, believe me.
..and Panito, of course, though he doesn't need me to say it, is 100% correct!
Sjajno izvodjenje!Ovo mi je jedna od najdrazih kantata...❤️👏💐
178/iii- Gleichwie die wilden Meereswellen - a remarkable coup - had this tune in my head - and was able to identify in a matter of minutes - thanks to my super indexing system - OK it would not have happened without a mental mnemonic - the words “wild waves of the sea” had somehow got attached in the past to this melody and when I searched for them in my Bach Cantatas doc, sure enough - 178/iii, BIS 23. The disc went in the Bose and … bingo!
LA PIU' BELLA VERSIONE...DI TUTTE...
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