Collegium 1704 are seemingly incapable of a poor or disappointing performance of any piece they present: Simply THE masters of music of the high baroque.
Really intresting and exellent perfomance with original instruments. Wooden flutes and nature trumpet makes a very nice and softer soundworld in this cantata. Also the oboes sound very nicely. Thanks for setting this perfomance in TH-cam.
Never said it was "required" for him to write a new cantata every week. However, he wanted to establish himself especially since he held the title of Kapellmeister and also wanted to provide at least two cycles of cantatas to be used throughout the year. He also didn't have to write a lot of other works but apparently he was compelled to almost sum up the style and forms of the Baroque. Writing new cantatas every week besides other works and teaching music proves his genius. Prolific & profound.
Wonderful, what a joy to watch and listen to this wonderful ensemble -thanks to all including STIANVF for upload and providing very helpful, historical notes.
Thank you for these 2 uploads. OMG... they were outstanding! I found the audience reaction to be rather reserved. I would have been up and shouting "BRAVO!" BRIAN
Des critiques sur une mauvaise diction d'un chanteur s'élèvent. Elles sont probablement justes. Mais comme je ne comprends que le français , je ne suis pas dérangée tant la musique de Bach m'émeut. Je sais que les paroles pleines de foi et piété sont à la hauteur de cette musique sublime.
Not much" faith and piety" here. It's a secular cantata for royal birthday, in the form of a conversation, or at least a succession of addresses, by Greco-Roman gods.
What can I say? apparently they were more talented then if just through constant working on these things than we are today. People don't perform on a regular basis, except church choirs. In Bach's day, it was expected as merely part of the job. And if he didn't happen to have anything ready that was new, then he drew from previous works and also performed other composer's such as 18 cantatas by his cousin(s). It was job in those days, not an "artistic" endeavor as in the 19th-20th Centuries.
Kai Broeking chill bro I'm a native English speaker, and sometimes when choirs sing in English I don't fully comprehend everything they say. Probably it's due to the way they sing too
I really may have been much too harsh, here. And you are right: they really are doing quite a good job. Also, the text is a bit arcane for today's ears: "Tönet, ihr Pauken! Erschallet, Trompeten! Klingende Saiten, erfüllet die Luft! Singet itzt Lieder, ihr muntren Poeten, Königin lebe! wird fröhlich geruft. Königin lebe! dies wünschet der Sachse, Königin lebe und blühe und wachse!" but even more so: "Mein Ölbaum Kriegt so Saft als fetten Raum. Er zeigt noch keine falbe Blätter; Mich schreckt kein Sturm, Blitz, trübe Wolken, düstres Wetter."
Loved the performance, but 8:17 shows six giant candlesticks in the altar area. This is very odd and just goes to show how much people (even priests) have forgotten about number symbolism in Catholicism. The "normal" number of giant candlesticks would be four (The four gospels, the four corners of the Earth, the four rivers that flow from Eden, etc.). Six is not a particularly good number (666 in Revelation, etc.). I've visited hundreds of churches and cathedrals and never seen six Giant Candlesticks in the altar area before.
Bach had to "prove" himself constantly with a non cooperative non appreciative church/town council. He was constantly "justifying" his expertise and talents hence why he applied for other titles such as court composer to the king of Poland. These titles would add weight to his arguments for doing anything that the council disapproved of. Read the excellent biography by Christoph Wolff where he goes into great detail about these circumstances Bach fought for over 20 years with the council.
Normally its hard to understand what is actually sung, because of the fact that more sentenses are sung simultaneously by the choir. Therefore you should always provide the audience with programmes with the text printed in it. I know that Bach used his own music over and over again while refining it adding other instruments and new scores. I have always thought that the music of "Jauchzet, frolocket" was unique until I listened to this magnificent piece of music. Well done Choir and orchestra.
That is a little exaggerated. Bach didn't recycle his music "over and over again". Sometimes he had to write other music apart from the cantatas he wrote for St. Thomas and St. Nicolas. As he did not always have time to write something new, he sometimes reused part of the music. That is why many of the movements of his secular cantatas are also found in his sacred music (or vice versa). However, he used them normally not more than these two times (and definitely not in hundred of works). Of course, he performed his cantatas more than one time in his life.
So i'm exaggerating things, huh? In how many editions do his Concertos for Harpsichord occur. I have heard transcriptions for flute, for violin etc. He used different passages from 12 cantatas in his Mass in b-minor. Even the first recitativo in this video has a few measures alike a recitativo from cantata no 16 'Herr Gott, Dich loben wir'. That was what I meant about reusing. But never mind; this music is great and thank you for upoloading somebody.
Please cite the basis for your claim that Zelinka supplied part of this music. Virtually all of this music was composed for a this secular cantata. Later, poet Picanded (among others) supplied a new libretto to embellish St Luke's narrative. "Jauchzet! Frölocket" is what Picander rhymed in 1734. The congregation at Thomaskirche expressed not the slightest delight at this music when fitted with a Sacred text. Something about pearls and swine comes to mind. Please explain. No rancor intend
So this DID come before the "Christmas Oratorio". Interesting, and just a few years also. But I hate the term used, "parody" because it implies something comedic or satirical. Nothing of the case. It's just that Bach "recycled" something that he thought was useful, maybe even expanded upon such as the last chorus of this cantata which he used as the opening for part 3 of his Christmas Oratorio. It's amazing as it is that he had the genius to write something new almost every week for church.
The word "parody" as used in this context has a very specific technical definition that is not divorced from its Greek etymology meaning "side song": from para- "beside, parallel to" + oide "song, ode". It just means existing music set to new words. There is no implication of satire. Bach NEVER reused sacred music for secular works. He reused both secular and sacred works in other sacred works, and Weihnachtsoratorium is a masterful example of Bach's parody process, in that the result (even though it was to be performed across six different days of Christmas) has remarkable cohesion and a voice as distinct and those of his two great Passions.
@ Hans-Otto Gade: Abgesehen von dieser polemischen Einlassung, über die man bestenfalls den Mantel des Schweigens decken sollte, liegen Sie - was das Tempo betrifft - z. B. wegen des Einleitungschors völlig daneben. Ein Blick in die Partitur belegt, dass von Bach ein 3/8-Takt vorgeschrieben ist, der im Barock generell ein schnelles Tempo fordert. Vaclav Luks hat das Tempo von daher ganz richtig genommen! Der Dirigent leitet die Interpreten zu einem leicht federnden Rhythmus an und lässt dabei eine allzu statische, feierliche Spielweise, wie sie noch der Tradition des späten 19. Jahrhunderts entstammt, weit hinter sich. Der Text der Kantate ist im Gegensatz zu manchen alt hergebrachten Einspielungen sehr verständlich gesungen. Die Chor- und Orchesterstimmen sind sehr gut durchhörbar. Fazit: eine hervorragende Interpretation der Kantate, die ich etwa bei deutschen Interpretationen so kongenial noch nie gehört habe!!
Wow! You're such an "expert"! Where would the rest of be without your....knowledge??? Maybe we read the same book but obviously your read it in some other language...like maybe pig-latin or maybe Venusian. The discussion is ended. Anything you say. Never argue with dementia patients....or looneys.
Those trumpets are better than most valved ones. Well done!
Díky Bohu za tyto české muzikanty v čele s jejich dirigetem.Srdce mi plesá při poslechu jejich hudby!
Когда слушаю этот коллектив, у меня возникает ощущение полёта. Зеленка прекрасен, Бах как вечность. Всем огромная благодарность!
I enjoyed every bit of it. Marian Krejcik is a fantastic baritone with a clear and warm voice... in wine terms: a voice with brown oak undertones...
Sublime, Sublime, Sublime. Merci à tous. Merci à l'orchestre.
Beautiful, wonderful. Thank you to remarkable choir and orchestra, soloists and the amazing Mr Vaclav Luks. Undiluted joy.
This is one of the very best performances of this cantata I have heard. Fine musicians. Kudos to the trumpeters - superb.
Collegium 1704 are seemingly incapable of a poor or disappointing performance of any piece they present: Simply THE masters of music of the high baroque.
Really intresting and exellent perfomance with original instruments. Wooden flutes and nature trumpet makes a very nice and softer soundworld in this cantata. Also the oboes sound very nicely. Thanks for setting this perfomance in TH-cam.
After only two seconds one is hooked and finding it impossible to switch off.
Never said it was "required" for him to write a new cantata every week. However, he wanted to establish himself especially since he held the title of Kapellmeister and also wanted to provide at least two cycles of cantatas to be used throughout the year. He also didn't have to write a lot of other works but apparently he was compelled to almost sum up the style and forms of the Baroque. Writing new cantatas every week besides other works and teaching music proves his genius. Prolific & profound.
Ms Hana Blazikova is on top form here. What a discovery! An absolute gem of a soprano.
Wonderful, what a joy to watch and listen to this wonderful ensemble -thanks to all including STIANVF for upload and providing very helpful, historical notes.
not much of a musician or anything else...but many thanks for presenting this 300 year old jewels to us common people via youtube. Just lovely.
My favorite Christmas song.
Magnifique et félicitations à tous !
Thank you for these 2 uploads. OMG... they were outstanding! I found the audience reaction to be rather reserved. I would have been up and shouting "BRAVO!" BRIAN
Had I been there I would have done precisely that.
SUPER DUPER O.T.U.(OUT OF THIS WORLD) IT APPEARS THAT LIGHTNING DOES STRIKE AGAIN IN THE SAME PLACE ! BOTH PARTS COMBINED ARE ; ' TOTALLY DELICIOUS '
Real nice , the choir although relatively small in number is still powerful
Wonderful piece of music, superbly executed, even if it is about kissing up to the Queen for her birthday. I guess times change, people don't :)
Danke für dieses herrliche Musizieren!
Hail to all performers. I think Johann Sebastian Bach would admire them I think
Excellent!!
Z pna dirigeta V.Lukse přímo tryská radost,které je nakažlivá .
Excellent, well done :)
Des critiques sur une mauvaise diction d'un chanteur s'élèvent. Elles sont probablement justes. Mais comme je ne comprends que le français , je ne suis pas dérangée tant la musique de Bach m'émeut. Je sais que les paroles pleines de foi et piété sont à la hauteur de cette musique sublime.
Not much" faith and piety" here. It's a secular cantata for royal birthday, in the form of a conversation, or at least a succession of addresses, by Greco-Roman gods.
GANZ TOLL BRAVO
John Elliot Gardiner and his musicians are getting serious competition here...
Me too!
🙏🏻🖤 ⚡ 00:11 ⚡ 🖤 *09:17* 13.13 🙇🏼♀️ 💐25:29 🖤🙏🏻
Nice to hear Bach borrowing from the Christmas Oratorio in that opening chorus. "Jauchzet frolokket", anyone?
@mizzothify mizzothifi the alto aria was reused as well
Truly Mr. Marian Krejcik sign soft Czech R, but in German it is very very long hard R, Ja das is Recht, Herr Marian Krejcikt singt weichen Brief "R"
Abgesehen von dem Tenor bei dem man kein Wort versteht hervorragend.
Ich weiß nicht was Sie haben? Ich habe alles gut verstanden.
Bill Rösel Dann sagen sie bitte genau den Text an der Stelle ;)
(8:43)"...mein Öber kriegt so Saft als fetten Rahm..." XD
What can I say? apparently they were more talented then if just through constant working on these things than we are today. People don't perform on a regular basis, except church choirs. In Bach's day, it was expected as merely part of the job. And if he didn't happen to have anything ready that was new, then he drew from previous works and also performed other composer's such as 18 cantatas by his cousin(s). It was job in those days, not an "artistic" endeavor as in the 19th-20th Centuries.
SUBLIMISSIME!!!
Musically excellent. A real pleasure to listen to.
But the diction... I am a German and I hardly understand a word of what they sing. Pity, really.
+Kai Broeking Czechs singing German .. sometimes tough indeed...
Kai Broeking chill bro I'm a native English speaker, and sometimes when choirs sing in English I don't fully comprehend everything they say. Probably it's due to the way they sing too
I really may have been much too harsh, here.
And you are right: they really are doing quite a good job.
Also, the text is a bit arcane for today's ears:
"Tönet, ihr Pauken! Erschallet, Trompeten!
Klingende Saiten, erfüllet die Luft!
Singet itzt Lieder, ihr muntren Poeten,
Königin lebe! wird fröhlich geruft.
Königin lebe! dies wünschet der Sachse,
Königin lebe und blühe und wachse!"
but even more so:
"Mein Ölbaum
Kriegt so Saft als fetten Raum.
Er zeigt noch keine falbe Blätter;
Mich schreckt kein Sturm, Blitz, trübe Wolken, düstres Wetter."
Loved the performance, but 8:17 shows six giant candlesticks in the altar area. This is very odd and just goes to show how much people (even priests) have forgotten about number symbolism in Catholicism. The "normal" number of giant candlesticks would be four (The four gospels, the four corners of the Earth, the four rivers that flow from Eden, etc.). Six is not a particularly good number (666 in Revelation, etc.). I've visited hundreds of churches and cathedrals and never seen six Giant Candlesticks in the altar area before.
Bach had to "prove" himself constantly with a non cooperative non appreciative church/town council. He was constantly "justifying" his expertise and talents hence why he applied for other titles such as court composer to the king of Poland. These titles would add weight to his arguments for doing anything that the council disapproved of. Read the excellent biography by Christoph Wolff where he goes into great detail about these circumstances Bach fought for over 20 years with the council.
Hello World !
like Bach meant it to be performed
Normally its hard to understand what is actually sung, because of the fact that more sentenses are sung simultaneously by the choir. Therefore you should always provide the audience with programmes with the text printed in it. I know that Bach used his own music over and over again while refining it adding other instruments and new scores. I have always thought that the music of "Jauchzet, frolocket" was unique until I listened to this magnificent piece of music. Well done Choir and orchestra.
That is a little exaggerated. Bach didn't recycle his music "over and over again". Sometimes he had to write other music apart from the cantatas he wrote for St. Thomas and St. Nicolas. As he did not always have time to write something new, he sometimes reused part of the music. That is why many of the movements of his secular cantatas are also found in his sacred music (or vice versa). However, he used them normally not more than these two times (and definitely not in hundred of works). Of course, he performed his cantatas more than one time in his life.
So i'm exaggerating things, huh? In how many editions do his Concertos for Harpsichord occur. I have heard transcriptions for flute, for violin etc. He used different passages from 12 cantatas in his Mass in b-minor. Even the first recitativo in this video has a few measures alike a recitativo from cantata no 16 'Herr Gott, Dich loben wir'. That was what I meant about reusing. But never mind; this music is great and thank you for upoloading somebody.
Please cite the basis for your claim that Zelinka supplied part of this music. Virtually all of this music was composed for a this secular cantata. Later, poet Picanded (among others) supplied a new libretto to embellish St Luke's narrative.
"Jauchzet! Frölocket" is what Picander rhymed in 1734.
The congregation at Thomaskirche expressed not the slightest delight at this music when fitted with a Sacred text.
Something about pearls and swine comes to mind.
Please explain. No rancor intend
So this DID come before the "Christmas Oratorio". Interesting, and just a few years also. But I hate the term used, "parody" because it implies something comedic or satirical. Nothing of the case. It's just that Bach "recycled" something that he thought was useful, maybe even expanded upon such as the last chorus of this cantata which he used as the opening for part 3 of his Christmas Oratorio. It's amazing as it is that he had the genius to write something new almost every week for church.
The word "parody" as used in this context has a very specific technical definition that is not divorced from its Greek etymology meaning "side song": from para- "beside, parallel to" + oide "song, ode". It just means existing music set to new words. There is no implication of satire. Bach NEVER reused sacred music for secular works. He reused both secular and sacred works in other sacred works, and Weihnachtsoratorium is a masterful example of Bach's parody process, in that the result (even though it was to be performed across six different days of Christmas) has remarkable cohesion and a voice as distinct and those of his two great Passions.
Dejlig munter musik og flot solosang....
Hatte der Dirigent Druck auf der Blase oder wollte er schnell nach Hause? WARUM SO GEHETZT????
@ Hans-Otto Gade: Abgesehen von dieser polemischen Einlassung, über die man bestenfalls den Mantel des Schweigens decken sollte, liegen Sie - was das Tempo betrifft - z. B. wegen des Einleitungschors völlig daneben. Ein Blick in die Partitur belegt, dass von Bach ein 3/8-Takt vorgeschrieben ist, der im Barock generell ein schnelles Tempo fordert. Vaclav Luks hat das Tempo von daher ganz richtig genommen! Der Dirigent leitet die Interpreten zu einem leicht federnden Rhythmus an und lässt dabei eine allzu statische, feierliche Spielweise, wie sie noch der Tradition des späten 19. Jahrhunderts entstammt, weit hinter sich. Der Text der Kantate ist im Gegensatz zu manchen alt hergebrachten Einspielungen sehr verständlich gesungen. Die Chor- und Orchesterstimmen sind sehr gut durchhörbar. Fazit: eine hervorragende Interpretation der Kantate, die ich etwa bei deutschen Interpretationen so kongenial noch nie gehört habe!!
Nadpozemské, nebeské...
zelenka melodrama
Wow! You're such an "expert"! Where would the rest of be without your....knowledge???
Maybe we read the same book but obviously your read it in some other language...like maybe pig-latin or maybe Venusian. The discussion is ended. Anything you say. Never argue with dementia patients....or looneys.
Remember, keep your comments respectful.
The tenor has absolutely no idea what he's saying.
graupner
Persons.... the drums sound like a bunch of GARBAGE CANS..
Thank you.♦
There are no drums here.
Tenor is terrible! Terrible.
Nay! Er is nicht so schlecht.
Pretty sloppy percussion in the first few bars...