The concert was played (intelligently) in late April, because these concerts require an enormous amount of work to produce a masterful, finished concert video, ready for New Years. The editing is absolutely masterful and mindful of the score, culling the best images from multiple cameras, conveying the emotion of music making and the different spot highlights of the concert. It does not end there: even more critical is the sound, gathered by a forest of microphones, needs to be separated: solos, arias, trios, ripieno, basso continuo, all need to be independent from each other within the totality of the music, it is an impressive accomplishment to attain such a clarity and crispness of sound without affecting the totality of the musical experience. It is absolutely stunning, and all under the masterful hand of Rudolf Lutz.
Your longwinded, romantic explanation for the supposedly deliberate 9-month delay between performance and publication on TH-cam is implausible. It would cost of small fortune to take 9 months to edit a video. Most likely, the performance took place "intelligently" in April, rather than on New Year's Day, simply for scheduling reasons; the editing was probably completed "intelligently" in a day to two back in April. The video was "intelligently" published on TH-cam on or about January 1st simply because the subject of the video is a New Year's Day cantata.
Quelle ferveur, quelle puissance et quelle joie dans toutes ces cantates ! Chaque dimanche, un nouveau chef d'oeuvre tel que celui-ci était offert aux fidèles de l'église St Thomas. J'en reste sidéré encore aujourd'hui ! Encore une fois merci à M.Lutz et tous ses brillants interprètes,
The singers make it sound and look so easy but that is a beast of an opening movement to sing well, especially for ATB. All of that dense polyphony, long, instrumental-like phrases and the abrupt changes of style. Bravo!
It's not as difficult as you imagine, since the singers are doubled by instruments. And what you perceive as "dense polyphony" is often singing in parallel 3rd or 6ths.
That's very encouraging, but I've sung it, so not imagining! Those ATB parts are constantly in motion and the fact that they are doubled sometimes underscores how Bach wrote for singers as instruments. Bravo to anyone who can make it sound this fantastic!
@@alexluck4420 I've also sung this cantata, twice: alto, the first time and tenor, the second. So I really do know what I'm talking about when I say it's not as difficult as you say. Since the cantus firmus appears in the soprano in long notes, it's to be expected that the ATB parts will be "constantly in motion." Virtually all church music composers in Bach's time (the Late Baroque) composed voice parts in an instrumental style, with the voices doubled by instruments in the choruses. But long before Bach, vocal parts in church music were being doubled by instruments. Apparently you didn't know any of this. I hope I've enlightened you.
Pour célébrer le Nouvel An, Bach utilise un très belle palette orchestrale : en plus de l'ensemble des cordes, il prévoit 3 hautbois, 1 basson, 3 trompettes, timbales et Orgue. Le Choeur d'Entrée est particulièrement somptueux ...
I have been waiting for this beauty. One of my favorite openings of a Bach Cantata. Great job and thanks so much from the U.S. You continue to enrich my life more than you’ll ever know.
There are other reasons: cantatas on Trogen are recorded twice for later post-production and conversion to CD and DVD. They need a long delay time between the different parts.
Herzlichen Gruß und besten Dank für eure wunderbare einzigartige Aufführungspraxis Es tut so gut euch zu kennen und ich genieße mit euch jeden Tages Beginn und Ausklang....
From the protestant church Trogen in Switzerland Choir and Orchestra of the J. S. Bach Foundation Rudolf Lutz - Conductor Soloists - Soprano: Julia Doyle Alto: Antonia Frey Tenor: Florian Sievers Bass: Stephen McLeod Johan Sebastian Bach - Cantata BWV 41 "Jesu, nun sei gepreiset" 00:00 Bach - BWV 41, Concert on 29.04.2022 00:32 Choir: Jesu, nun sei gepreiset 08:22 Aria (Soprano): Laß uns, o höchster Gott 14:50 Recitative (Alto): Ach! deine Hand, dein Segen muss allein 15:54 Aria (Tenor): Woferne du den edlen Frieden 23:46 Recitative (Bass, Choir): Doch weil der Feind bei Tag und Nacht 24:52 Chorale: Dein ist allein die Ehre, dein ist allein der Ruhm
Che gioia inaugurare il nuovo anno con questa cantata! La dolcezza e il timbro chiarissimo del tenore danno all'aria ""Woferne du den edlen Frieden" un nobile e intimo appagamento dell'anima. Bellissimo il suo fraseggio e la sentita recitazione del suo corpo: ogni parola viene valorizzata nel suo significato. Complimenti Maestro Florian Sievers, mi ha donato un messaggio dolcissimo e sereno!
I have been making my way through all the sacred cantatas of Bach, a joyous experience, and I would find it hard to disagree with any claims that he was the greatest! However, I have also been struck ,when viewing some of the lovely videos available , by the views of the audience, where one sees a mass of grey hairs. This makes me wonder if the young members of the orchestra and singers ever look to a few years ahead and ask themselves to whom they will be performing .This doesn't only apply to Bach, either, but to classical music in general, at least in Europe. This was not the case in the 60s and 70s , when I was a regular concert and opera goer in London, and where there were plenty of people of my age attending. Popular culture seems to me to have taken over completely, and 1000 years of musical history has been demolished in a few decades. I hope I am wrong!!!
I blame the cutbacks in musical education provision in schools for the phenomenon of aging audiences. Early exposure to "serious" music helps break down barriers as young children are more open-minded to different auditory stimuli. Many of my younger friends have not been exposed to a broader musical palette, sadly.
The audience reflects the demographic situation in Switzerland, all in all. That’s among others - why our foundation does these recordings and sends them for free to the world. Our web community is much younger…!😊
Sadly you are correct. We are in the era of the lady cacas, beyonces, rapppers, reggaeton and glorification of mediocrity. That being said, I can tell you my love story with Bach and His music goes back in time to my early childhood, ever since I can remember. I raised both of my daughters with His music, and my little 2 y/o grandbaby, my heir, my pride and joy, is being raised in the same manner, so here’s to hope 🥂🥂
Even in Bachs time his music was considered to be too complicated for the masses. So his music mostly requires an educated (and devoted) listener. Secondly, look at the people who regularly visit the (traditional) churches in Europe. The vast majority belongs to the grey-haired. The modern churches with the younger audience mostly don't favour the traditional "classical" music, because most of their members (and officials) didn't grow up in that higher educated spheres where Bach's music is still highly estimated. Thirdly, this was a recording situation where one had to be silent, patient and attentive. So most of the listeners probably were educated "Bach-nerds" and not normal congregation members.
That tenor aria breaks my heart.
Oh, great JS Bach, how many people you have made their soul rise to their creator through your beautiful music!
The concert was played (intelligently) in late April, because these concerts require an enormous amount of work to produce a masterful, finished concert video, ready for New Years. The editing is absolutely masterful and mindful of the score, culling the best images from multiple cameras, conveying the emotion of music making and the different spot highlights of the concert. It does not end there: even more critical is the sound, gathered by a forest of microphones, needs to be separated: solos, arias, trios, ripieno, basso continuo, all need to be independent from each other within the totality of the music, it is an impressive accomplishment to attain such a clarity and crispness of sound without affecting the totality of the musical experience. It is absolutely stunning, and all under the masterful hand of Rudolf Lutz.
Your longwinded, romantic explanation for the supposedly deliberate 9-month delay between performance and publication on TH-cam is implausible. It would cost of small fortune to take 9 months to edit a video. Most likely, the performance took place "intelligently" in April, rather than on New Year's Day, simply for scheduling reasons; the editing was probably completed "intelligently" in a day to two back in April. The video was "intelligently" published on TH-cam on or about January 1st simply because the subject of the video is a New Year's Day cantata.
Quelle ferveur, quelle puissance et quelle joie dans toutes ces cantates !
Chaque dimanche, un nouveau chef d'oeuvre tel que celui-ci était offert aux fidèles de l'église St Thomas. J'en reste sidéré encore aujourd'hui !
Encore une fois merci à M.Lutz et tous ses brillants interprètes,
Wonderful performance of a great work… and I so appreciate the sub-titles!!
Magnificent opening chorus
Julia Doyle was excellent
The singers make it sound and look so easy but that is a beast of an opening movement to sing well, especially for ATB. All of that dense polyphony, long, instrumental-like phrases and the abrupt changes of style. Bravo!
It's not as difficult as you imagine, since the singers are doubled by instruments. And what you perceive as "dense polyphony" is often singing in parallel 3rd or 6ths.
That's very encouraging, but I've sung it, so not imagining! Those ATB parts are constantly in motion and the fact that they are doubled sometimes underscores how Bach wrote for singers as instruments. Bravo to anyone who can make it sound this fantastic!
@@alexluck4420 I've also sung this cantata, twice: alto, the first time and tenor, the second. So I really do know what I'm talking about when I say it's not as difficult as you say. Since the cantus firmus appears in the soprano in long notes, it's to be expected that the ATB parts will be "constantly in motion." Virtually all church music composers in Bach's time (the Late Baroque) composed voice parts in an instrumental style, with the voices doubled by instruments in the choruses. But long before Bach, vocal parts in church music were being doubled by instruments. Apparently you didn't know any of this. I hope I've enlightened you.
Florian Sievers's performance is exceptional. Beautiful tone and phrasing, as also in BWV 31 with Bachstiftung.
This performance brings tears to my eyes! It was first performed at a gala event in Leipzig Rathaus on New Years Day and Bach will never forget it.
Ein gesegnetes, gesundes, erfolgreiches und glückliches neues Jahr
❤LA MUSICA❤DI J. S. BACH❤LA POSSONO SUONARE, E CANTARE❤SOLO MUSICISTI❤VIRTUOSI❤GRAZIE MAESTRO LUTZ❤STIFTUNG❤
Mind blowing polyphony great performance but all credits go to JS Bach ❤❤❤
Very beautiful! Very transparant! Briljant! And I am happy to see the uncovered faces of the musicians. 😏
Quando dico " Bach e' Gioia e Meraviglia ".....Mi sa che ho indovinato la Questione 😊❤
Thanks for publishing another cantata and happy new year to all participants!
Sencillamente espectacular .......
Genieße den Neujahrsmorgen in der Stille mit Ihrer Kantate, ein besonderes Musikereignis....Wünsche ein gesegnetes Neues Jahr 2023 dem ganzen Ensemble
Another superb performance from the Bachstiftung. Bravi a tutti!!
Pour célébrer le Nouvel An, Bach utilise un très belle palette orchestrale : en plus de l'ensemble des cordes, il prévoit 3 hautbois, 1 basson, 3 trompettes, timbales et Orgue. Le Choeur d'Entrée est particulièrement somptueux ...
Thank You for the Music...
I have been waiting for this beauty. One of my favorite openings of a Bach Cantata. Great job and thanks so much from the U.S. You continue to enrich my life more than you’ll ever know.
This is probably one of my favourite major-key openings to a cantata! I cannot get enough of it!
That opening!
Bach at his glorious best.
You're being bedazzled by trumpets and timpani.
@@herrickinman9303
First thing I listened to, early this morning. Magical!
Greetings from the netherlands.What a performance.Wonderful.❤
This is educate audience. They initiated to clap when the reverbered sound decreased.
There are other reasons: cantatas on Trogen are recorded twice for later post-production and conversion to CD and DVD. They need a long delay time between the different parts.
Herzlichen Gruß und besten Dank für eure wunderbare einzigartige Aufführungspraxis
Es tut so gut euch zu kennen und ich genieße mit euch jeden Tages Beginn und Ausklang....
Perfect in both its fiery energy and its tenderness. Lovely!
Feliz año amigos de al Fundación Bach! (desde Argentina)
Puissante ,maîtrisée et lyrique , c'est pour moi la meilleure version de la 41 .
Immer wieder, aufs Neue.....geniesse ich !!
Ein gesegnetes neues Jahr
Wonderfull! Greetings from Brazil.
Gorgeous!!! Happy new year!!!
Leaves me breathless.
Fantastique !!!
Que sentimientos transmite ......
Enhorabona per la vostra tasca de difusió de la música de J.S. Bach!
Dorothee Dolder-Metzger ein wahrer Traum ist diese wunderbare Musik! Vielen Dank
Hermosa interpretación 🎻🎶😀
Unglaublich schön.
From the protestant church Trogen in Switzerland
Choir and Orchestra of the J. S. Bach Foundation
Rudolf Lutz - Conductor
Soloists -
Soprano: Julia Doyle
Alto: Antonia Frey
Tenor: Florian Sievers
Bass: Stephen McLeod
Johan Sebastian Bach - Cantata BWV 41 "Jesu, nun sei gepreiset"
00:00 Bach - BWV 41, Concert on 29.04.2022
00:32 Choir: Jesu, nun sei gepreiset
08:22 Aria (Soprano): Laß uns, o höchster Gott
14:50 Recitative (Alto): Ach! deine Hand, dein Segen muss allein
15:54 Aria (Tenor): Woferne du den edlen Frieden
23:46 Recitative (Bass, Choir): Doch weil der Feind bei Tag und Nacht
24:52 Chorale: Dein ist allein die Ehre, dein ist allein der Ruhm
Una maravilla!
¡Ha sido un placer!
Liebe Grüße ins schöne Appenzeller Land und in Gedanken bin ich bei den Appenzeller Bachtagen 2022
Auf ein baldiges Wiedersehen....
Espetacular!!! Feliz / Frölich 2023!!!
Che gioia inaugurare il nuovo anno con questa cantata! La dolcezza e il timbro chiarissimo del tenore danno all'aria ""Woferne du den edlen Frieden" un nobile e intimo appagamento dell'anima. Bellissimo il suo fraseggio e la sentita recitazione del suo corpo: ogni parola viene valorizzata nel suo significato. Complimenti Maestro Florian Sievers, mi ha donato un messaggio dolcissimo e sereno!
Bravo, bravissimo.
I have been making my way through all the sacred cantatas of Bach, a joyous experience, and I would find it hard to disagree with any claims that he was the greatest! However, I have also been struck ,when viewing some of the lovely videos available , by the views of the audience, where one sees a mass of grey hairs. This makes me wonder if the young members of the orchestra and singers ever look to a few years ahead and ask themselves to whom they will be performing .This doesn't only apply to Bach, either, but to classical music in general, at least in Europe.
This was not the case in the 60s and 70s , when I was a regular concert and opera goer in London, and where there were plenty of people of my age attending. Popular culture seems to me to have taken over completely, and 1000 years of musical history has been demolished in a few decades. I hope I am wrong!!!
I blame the cutbacks in musical education provision in schools for the phenomenon of aging audiences. Early exposure to "serious" music helps break down barriers as young children are more open-minded to different auditory stimuli. Many of my younger friends have not been exposed to a broader musical palette, sadly.
The audience reflects the demographic situation in Switzerland, all in all. That’s among others - why our foundation does these recordings and sends them for free to the world. Our web community is much younger…!😊
Sadly you are correct. We are in the era of the lady cacas, beyonces, rapppers, reggaeton and glorification of mediocrity. That being said, I can tell you my love story with Bach and His music goes back in time to my early childhood, ever since I can remember. I raised both of my daughters with His music, and my little 2 y/o grandbaby, my heir, my pride and joy, is being raised in the same manner, so here’s to hope 🥂🥂
Even in Bachs time his music was considered to be too complicated for the masses. So his music mostly requires an educated (and devoted) listener. Secondly, look at the people who regularly visit the (traditional) churches in Europe. The vast majority belongs to the grey-haired. The modern churches with the younger audience mostly don't favour the traditional "classical" music, because most of their members (and officials) didn't grow up in that higher educated spheres where Bach's music is still highly estimated. Thirdly, this was a recording situation where one had to be silent, patient and attentive. So most of the listeners probably were educated "Bach-nerds" and not normal congregation members.
Bravo!!👏Feliz Año Nuevo🇪🇸
Looking at the autograph score, it's mentioned "violoncello piccolo solo"; and not the "da spalla" that Wikipedia claims...
🌟💖🌟
😌🤗💝🎁💝💞
Beautiful Cantata, beautifully sung and performed. (PS did the strings nip out for a glass of schnapps after the first part?).
😮
Voortreffelijk!
Meer dan dát!
The Instruments played well and with no vibrato. The chorus sang well, with no obvious warble. So why do the solo singers need to oscillate?
i never bought a bachstiftung recording because of their incomprehensible lettering...
Forse le vostre cantate sono troppo veloci,si nota un po' di confusione grazie.
Wonderful, thank you. But please could the list of movements and timestamps be added to the blurb?
Le 4 voci non sono ben chiare né tanto meno distinte