J. S. Bach: Es ist dir gesagt, Mensch, was gut ist (BWV 45) (Koopman)
ฝัง
- เผยแพร่เมื่อ 19 ก.ค. 2013
- J. S. Bach: Es ist dir gesagt, Mensch, was gut ist (BWV 45)
Cantata for the Eight Sunday after Trinity 1726
Amsterdam Baroque Orchestra & Choir
Ton Koopman
Bogna Bartosz, alto
Christoph Prégardien, tenor
Klaus Mertens, bass
Part one
Chor: Es ist dir gesagt, Mensch, was gut ist
Recitativo (tenor): Der Höchste läßt mich seinen Willen wissen
Aria (tenor): Weiß ich Gottes Rechte
Part two
Arioso (bass): Es werden viele zu mir sagen an jenem Tage
Aria (alto): Wer Gott bekennt aus wahrem Herzensgrund
Recitativo (alto): So wird denn Herz und Mund selbst von mir Richter sein
Choral: Gib, daß ich tu mit Fleiß - เพลง
If there is dance music in heaven, THIS cantata will greet the blessed as they dance into Paradise!
OMG... this recording is so wild, these voices! Absolute new favorite...
Klaus Mertens ist mal wieder so unglaublich...
Ausgezeichnet!
One of my favourite cantatas! And Klaus Mertens is brilliant.
I particularly love the alto-recorder duet in the fifth part. Masterful recorder playing.
It's a flute playing ;)
Best music on Planet earth.
Bravo Herr Koopman - hier stimmt alles. Eleganz und musikalische Wucht (was für eine Chorfuge!), vorzügliche Solisten (dieser Prégardien!) - eine herrliche Kantate. Danke sehr.
Hundreds moments of happiness! 04:19 is one of them.
Ton Koopman, natürlich, PERFEKT...…..Vielen Dank, ich habe alles genoßen!!!
Magnifique ! Et le solo basse 😱🤩
Part one
00:00 1. Chor: Es ist dir gesagt, Mensch, was gut ist
05:01 2. Recitativo (tenor): Der Höchste läßt mich seinen Willen wissen
05:48 3. Aria (tenor): Weiß ich Gottes Rechte
Part two
09:52 4. Arioso (bass): Es werden viele zu mir sagen an jenem Tage
12:37 5. Aria (alto): Wer Gott bekennt aus wahrem Herzensgrund
15:38 6. Recitativo (alto): So wird denn Herz und Mund selbst von mir Richter sein
16:26 7. Choral: Gib, daß ich tu mit Fleiß
My 🐱 Juju loves this cantata so much and he can't help but dance about with his 🐱 pals! He wants all to know that if there is music at the end of the Rainbow Bridge this music will be playing forever for all his pals who have gone on!
Gracias.
Wunderbare Kantate, herausragend interpretiert!
This is the best version of this cantata that I’ve heard. The Gardiner version is great too.
I've listened to it numerous times and can't figure out how it is so effective. I've picked it out on the piano and am still puzzled. Is it inverted? So amazing, and can't still quite figure how how it is so effective.
16:26 This Choeur is so powerful.
an excellent interpretation!!Thanks für sharing!
あっさりとした演奏だ。
悪くはない。
This biscuit is hard!
The only hard thing is your soul.
mamma mia......... beleza
If Bach's only output had been this first movement, that would be enough for me. Transcendent joy! I own the Leonhardt version and the chorus (especially the men) are so out of tune it's difficult to listen to.
Hi am from India can we become friend I like u send me your email address
Hey this is pretty good....
What does the symbol with a crown, shown during the music, represent?
It is Bach's own seal, consisting of his initials "JSB", interwoven with these same initials mirrored. I don't know the meaning of the crown above it, but perhaps it is just to make it look more distinguished.
Thank you!
Bach's scoring of the first movement is SO fibrous (that is, there's so much doubling of the parts-too much, in my view) that it needs very clear, crisp performance and audio engineering. They succeed. Compare with Harnoncourt's sludgy offering.
Koopman seems to have some kind of a fetish for doing Bach a half-step down. In this cantata, that policy robs the bass-clef aria of much of its fire and power. It also puts the lyric baritone who sings that aria in this recording at a severe disadvantage. The aria is already low for a baritone, though high for a bass, at a=440. Is there a recording of Hans Hotter or Heinz Rehfuss, or even Fischer-Dieskau or Hermann Prey, singing this magnificent and highly graphic aria at the rightful pitch?
Playing Bach, or indeed Baroque music a half-step down is not a unique trait found only in Koopman's interpretations. In fact it is "historically informed" and almost ubiquitous in Baroque music produced today. This pitch is probably a better representation of what Bach wanted us to hear. If you are after recordings at A=440Hz then you should look for those made before the 80s such as Rilling's. In my opinion the matter of pitch is a personal taste. You rightfully implied that singing at a lower pitch generally means worse projection, and that the bass aria is "relatively high" amongst Bach's works, making it suitable for baritones but potentially not if sung at a lower pitch. However, Klaus Mertens, the singer here, is definitely not a baritone. Listen to Koopman's recording of BWV 172, 2nd mvt for evidence.
Du har jo fået at vide, hvad der er godt. Hvorfor spørger du igen..... .
the bas has a wonderfull voice, but I always think he sings too artificially. It's like he doesn't get the extreme seriousness of the answer of God at arioso, the 4th part.
Jonathan Valk it’s not as if Koopman ever encourages that from his singers and instrumentalists - he was never very interested in the text. Take the Credo in the B minor mass - always too slow tempo and sung in a wishy- washy manner- just because he thinks ‘it sounds nice’ that way. If you want conviction and text go with the Gardiner version - if you can cope with the sometimes breakneck speeds! I worked for them both and prefer Herrewege ! 😁
I completely agree with you!
Much Too Fast .......
Much too fast! ... This is impossible to listen to ... 👎🏻