J.S. Bach - Cantata BWV 2 "Ach Gott, vom Himmel sieh darein" (J.S. Bach Foundation)
ฝัง
- เผยแพร่เมื่อ 6 ก.ค. 2024
- Would you like to donate?
Paypal.me/bachstiftung
IBAN: CH73 0900 0000 8558 5738 0
Choir and Orchestra of the J. S. Bach Foundation
Rudolf Lutz - Conductor
Soloists:
Alex Potter - Alto
Georg Poplutz - Tenor
Markus Volpert - Bass
Johann Sebastian Bach - Cantata BWV 2 "Ach Gott, vom Himmel sieh darein" (Oh God, from heaven look in there)
00:00 Cantata BWV 2, Concert from 28.06.2019
00:40 Chorale - Ach Gott, vom Himmel sieh darein.
06:13 Recitative (tenor) - Sie lehren eitel falsche List,
07:21 Aria (alto) - Tilg, o Gott, die Lehren,
10:55 Recitative (bass) - Die Armen sind verstört,
12:35 Aria (tenor) - Durchs Feuer wird das Silber rein,
17:43 Chorale - Das wollst du, Gott, bewahren rein
Subscribe to our channel: goo.gl/8R4k9P
For further information on the Bach Foundation, go to: www.bachipedia.org
The complete cantata, introductory workshop and reflection lecture (in German) are available at: www.bachipedia.org/werke/ach-... - เพลง
Wonderful. The short organ interludes are marvelous and reinforce the spontaneous nature of true Baroque performance.
The interludes to the final Choral are stunning. My best greetings to the colleague.
Bach'S Music are the thoughts of God
Chorus opening is really quite magnificent
ya think?
That first alto aria violin accompaniment is amazing. Love these JS Bach Foundation recordings.
Cuánta enseñanza encierra esta Cantata! La larga lucha de los fieles contra herejias, renovándose a lo largo de siglos, cuando momentos de desesperacion inunda las almas humildes.
Ademas de la soberbia musica de Bach, son palabras que estremecen.
La iglesia tenía excelentes métodos para combatir tales °herejes°. Los quemaba vivos en hogueras con presencia de la comunidad local. La religión siempre fué la causa de disputas y guerras a traves de la historia. A Bach le pagaban.y a pesar de su genialidad sus patrones lo maltrataban.
Fantastic and always renewed ... Bach is and endless source of beauty ... Excellent cover as well.
Herzlichen Dank für diesen wunderschön vorgetragenen musikalischen Hochgenuss.
Tutte le Potenze dei Cieli si sono riversate sulla terra! 👼👼👼😇😇😇🙏💘🕊️
Слышно каждую ноту! Прекрасно!
And why did I have to find this only when I'm 64? Stunning music . (better than Procol Harum and Steely Dan - but they might have found inspiration in Bach of course). Stunning text too...! We don't dare to sing this in our churches. We're too sweet.. Bach was confronting the same lukewarm Christianity as we have today.
_lukewarm_ not "look warm."
@@herrickinman9303 merci !
07:23 "Tilg, o Gott, die Lehren"
12:37 "Durchs Feuer wird das Silber rein"
Thanks for the time code. They are my favorite movements of the whole composition 😊🙏
Grazie Bach per cotanta bellezza
Stunning video quality. As close to 4K you can reach without being shot in 4K. Artistically brilliant as always!
Vielen Dank, Bachstiftung. Ein Trost in bösen Zeiten.
Wohl wahr ...
Charming cantata, great visuals, good voices, grand choir, Thank you from Canada.
Fantastic rendition! Special appreciation to fellow organist, wonderful interludes!
It is very nice. Vielen Danke.
A very interesting cantata and amazing performance.
00:40 chorale Ach Gott, vom Himmel sieh darein. 4 POSAUNEN
7:22 aria altus Tilg, o Gott, die Lehren VIOLINE solo
gorgeous
Rara gravação, obrigado por essa bela gravação.
I WANT that baroque bassoon! 😁
It is obvious that after the opening Chorus, there is a significant downturn. Nothing I mean nothing can exceed the opening Chorus.
Rudolf Lutz understands perfectly that Bach is first and foremost a rethorian. Whoever understands that has found the key to reveal all the secrets of the world's greatest composer. Eg. in the opening chorus of BWV 2 everyting hangs together by the complete helplessness. Thatswhy this performance is such a powerfull protest song!
It's spelled "rhetorian," which is a quaint word for _rhetorician._
How is this performance is a "protest song"?
@@herrickinman9303 Thank you for the improvement. The answer to your question is in my statement.
@@kereldeman2989 No. A protest is a public expression of objection, disapproval or dissent towards an idea or action, typically a political one. Neither the opening chorus nor its performance is a protest. The chorus is a whining song.
Lidt sørgmodig højkirkelig musik og sang. Men meget smukt....
Sacred minutes!
Schöne anfängliche Improvisation auf der Orgel. Ich erinnere mich noch, als ich sie 18 Juni 1724. Bevor ich die Kantate auf der Orgel dirigierte, hatte auch ich ein kleines einleitendes Chorvorspiel gespielt.
Bach Cantata Translations www.emmanuelmusic.org/notes_translations/translations_cantata/t_bwv002.htm
BWV 2- "Ach Gott, vom Himmel sieh darein"
Cantata for the Second Sunday after Trinity
1. Chor
Ach Gott, vom Himmel sieh darein
Und laß dich's doch erbarmen!
Wie wenig sind der Heilgen dein,
Verlassen sind wir Armen;
Dein Wort man nicht läßt haben wahr,
Der Glaub ist auch verloschen gar
Bei allen Menschenkindern.
(Ach, Gott, vom Himmel sieh darein," verse 1)
1. Chorus
Ah God, look down from heaven
and have mercy yet upon us!
How few are Your saints,
we poor ones are abandoned;
Your Word is not upheld as true,
and faith is also quite extinguished
among all mankind.
2. Rezitativ T
Sie lehren eitel falsche List,
Was wider Gott und seine Wahrheit ist;
Und was der eigen Witz erdenket,
- O Jammer! der die Kirche schmerzlich kränket -
Das muß anstatt der Bibel stehn.
Der eine wählet dies, der andre das,
Die törichte Vernunft ist ihr Kompaß;
Sie gleichen denen Totengräbern
Die, ob sie zwar von außen schön,
Nur Stank und Moder in sich fassen
Und lauter Unflat sehen lassen.
(Ach, Gott, vom Himmel sieh darein," verse 2)
2. Recitative T
They teach vain, false deceit,
which is opposed to God and His truth;
and what their own wits think up,
- O sorrow! which so painfully weakens the church -
must take the place of the Bible.
One chooses this, the other that,
and foolish reason is their compass.
They are just like the tombs of the dead,
which, though they may be fair on the outside,
contain mere stench and mould within them
and display pure obscenity.
3. Arie A
Tilg, o Gott, die Lehren,
So dein Wort verkehren!
Wehre doch der Ketzerei
Und allen Rottengeistern;
Denn sie sprechen ohne Scheu:
Trotz dem, der uns will meistern!
3. Aria A
O God, remove the teachings
that pervert your word!
Ward against heresy
and all dissenting spirits;
for they say without any shame:
we defy Him who would govern us!
4. Rezitativ B
Die Armen sind verstört,
Ihr seufzend Ach, ihr ängstlich Klagen
Bei soviel Kreuz und Not,
Wodurch die Feinde fromme Seelen plagen,
Dringt in das Gnadenohr des Allerhöchsten ein.
Darum spricht Gott: Ich muß ihr Helfer sein!
Ich hab ihr Flehn erhört,
Der Hilfe Morgenrot,
Der reinen Wahrheit heller Sonnenschein
Soll sie mit neuer Kraft,
Die Trost und Leben schafft,
Erquicken und erfreun.
Ich will mich ihrer Not erbarmen,
Mein heilsam Wort soll sein die Kraft der Armen.
(Ach, Gott, vom Himmel sieh darein," verse 4)
4. Recitative B
The wretched are confused,
their sighing "Ach," their anxious crying
out of so much torment and anguish,
through which the foe troubles righteous souls,
rings in the gracious ear of God Almighty.
To this God says: I must be their helper!
I have heard their weeping;
the rosy dawn of help,
the brilliant sunshine of pure truth
shall with new power,
creating hope and life,
refresh and make them glad.
I will take pity on their suffering,
My healing word shall be the strength of the weak.
5. Arie T
Durchs Feuer wird das Silber rein,
Durchs Kreuz das Wort bewährt erfunden.
Drum soll ein Christ zu allen Stunden
Im Kreuz und Not geduldig sein.
5. Aria T
Through fire, silver is purified,
through the cross the Word is verified.
Therefore a Christian must continually
bear his cross and suffering with patience.
6. Choral
Das wollst du, Gott, bewahren rein
Für diesem arg'n Geschlechte;
Und laß uns dir befohlen sein,
Daß sichs in uns nicht flechte.
Der gottlos Hauf sich umher findt,
Wo solche lose Leute sind
In deinem Volk erhaben.
(Ach, Gott, vom Himmel sieh darein," verse 6)
6. Chorale
This, God, you would keep pure
Before this wicked race;
And let us be obedient to you
Lest it be stained within us.
The godless crowd surrounds us,
Where such wanton persons are
exalted among your people.
Thank you!
Das hohe, eigentlich kaum mehr steigerbare Niveau der Bachstiftungskonzerte ist immer wieder erstaunlich, so auch diesmal! Ein bitterer Wermutstropfen sind aber die neukomponierten oder improvisierten Orgelvor- und Zwischenspiele, die besonders im Schlusschoral den musikalischen Fluss hemmen, ja geradezu entstellen. Es gibt lediglich eindeutige Quellen, dass Bach in seiner frühesten Zeit in Arnstadt eine derartige Praxis pflegte, was ihm die Gemeinde aber reichlich verübelt hat. Dafür, dass diese Jugendsünde von Bach in Leipzig weitergeführt wurde, gibt es keinerlei Quellen- und letztendlich spricht musikalisch auch rein garnichts dafür, so etwas im 21. Jhrhundert wieder einzuführen. Danke trotzdem an all die wunderbaren Interpreten!
Wie so oft, gibt es auch da unterschiedliche Sichtweisen. Selbstverständlich soll man zurückhaltend sein, Bach zu "komplettieren". Aber dort, wo Fermaten stehen: Die Wahrscheinlichkeit ist doch sehr gross, dass Bach (an der Orgel) sie nicht ungefüllt hat stehen lassen! Hier, in concreto, erhält der Schlusschoral damit ein ganz anderes Gewicht gegenüber den Eingangschor.
@marcomposer Wrong.
You're misconstruing the Arnstadt anecdote.
The fermata were meant to signify that an interpolation can occur. Bach didn't invent the practice of interpolating bridges at the fermata. The practice began generations before him and persisted into the 19th century.
It's unlikely that the congregation in Bach's time sang along with the chorus. When the congregation sang a hymn, they would sing all the stanzas, not just one stanza like the chorus does at the end of a cantata.
You seem to be forgetting that cantatas were composed for the liturgy, not for the concert hall.
❤️
Well done. I realise the cantatas are not numbered consecutively and wonder when during his life this was written. He really reaches back to an earlier style...almost ars nova in feel with the sackbuts and the vocal opening. Very enjoyable.
written in 1724, cheers, Willem
Note that the arias of this cantata (first performed in 1724) are set in the modern concertante style.
The text of the cantata is based on Martin Luther's hymn "Ach Gott, vom Himmel sieh darein", which paraphrases Psalm 12. When setting Old Testament texts in a chorale fantasia, Bach often used the older motet style in which each line of the hymn is prepared fugato style and the hymn is sung as a cantus firmus in long notes. (While the contrapuntal style is old, the harmony is not!)
Trombones were traditional in German churches, even in Bach's time. Bach's immediate predecessor in Leipzig, Johan Kuhnau, had complained to the town council that the trombones they had were junk and needed to be replaced. The town council apparently followed Kuhnau's recommendation. Bach used trombones in several of his early Leipzig cantatas, mostly in the traditional way: doubling the corresponding voice parts.
Pity there's no subtitling in different languages. The text is even more stunning than the music and performance.
Bachstiftung cantatas with subtitles:
th-cam.com/play/PLk8lf2IHuDQk1fD_JxaROH5TXKtiJ4qvI.html (69)
We are fans and admirers of these wonderful voices singing Bach.
Cantatas with subtitles and the voice of:
Núria Rial (9) th-cam.com/play/PLk8lf2IHuDQmDuEXxQujVe4BgHcG23RGp.html
Elvira Bill (8) th-cam.com/play/PLk8lf2IHuDQn6wpEfsfo-NYXiPrKJ_B__.html
Miriam Feuesinger (19) th-cam.com/play/PLk8lf2IHuDQma5OtxjN2TXOX-32Wsem1k.html
Claude Eichenberger (10) th-cam.com/play/PLk8lf2IHuDQmT0kIaOLxBk1XcO7AFxYV1.html
Daniel Johannsen (20) th-cam.com/play/PLk8lf2IHuDQl2avwbPb1Bg0NIUWB4PFu_.html
Alex Potter (9) th-cam.com/play/PLk8lf2IHuDQkLKK_zm3ch2r9A2YrWDKE5.html
I just turned on the German subtitling, from the gear icon.
Ach Gott, vom Himmel sieh darein
Ah God, look down from heaven
Und laß dich's doch erbarmen!
and still have mercy on us!
(translation from bach-cantatas.com/Texts/BWV2-Eng3.htm)
Bachstiftung cantatas with subtitles:
th-cam.com/play/PLk8lf2IHuDQk1fD_JxaROH5TXKtiJ4qvI.html (69)
We are fans and admirers of these wonderful voices singing Bach.
Cantatas with subtitles and the voice of:
Núria Rial (9) th-cam.com/play/PLk8lf2IHuDQmDuEXxQujVe4BgHcG23RGp.html
Elvira Bill (8) th-cam.com/play/PLk8lf2IHuDQn6wpEfsfo-NYXiPrKJ_B__.html
Miriam Feuesinger (19) th-cam.com/play/PLk8lf2IHuDQma5OtxjN2TXOX-32Wsem1k.html
Claude Eichenberger (10) th-cam.com/play/PLk8lf2IHuDQmT0kIaOLxBk1XcO7AFxYV1.html
Daniel Johannsen (20) th-cam.com/play/PLk8lf2IHuDQl2avwbPb1Bg0NIUWB4PFu_.html
Alex Potter (9) th-cam.com/play/PLk8lf2IHuDQkLKK_zm3ch2r9A2YrWDKE5.html
@17:00 sounds very dissonant. Bach; very modern and ahead of his time
Yeah, try listening to some Guillaume de Machaut :D
Dissonance has been a compositional tool throughout the history of music. Bach made use of everything in his toolbox. Strangely enough by the end of his life his contrapunctal way of composing was regarded as old-fashioned. I think trying to be modern in stead of the best you can with the means at your disposal makes for outdated art.
@Violin Star There's nothing at all dissonant in the passage you refer to, namely, the 2-measure passage on the words "Durchs Kreuz das Wort bewaehrt erfunden" ("Through the cross the Word [of God] has been tried and tested").
You're confusing melodic chromaticism with dissonance, specifically the tenor's descending chromatic tetrachord on the words "durchs Kreuz" ("through the cross").
The descending chromatic tetrachord was the traditional lament motif from the Renaissance to the late 18th century.
It's only natural that Bach would employ the traditional lament motif on the words "through the cross" to convey Christ's suffering on the cross.
@@rjwusher "Contrapunctal" is not a word. The word you intended is _contrapuntal._
However, what you're hearing in the 2-measure passage in question is neither harmonic dissonance nor dissonance arising from counterpoint.
You're hearing the tenor singing the traditional lament motif, namely, the descending chromatic tetrachord:
G F# F E Eb D
Durchs Kreuz_______
_Durchs_ means "through the" and _Kreuz_ means "cross." "Through the cross" is a traditional Christian reference to Christ's suffering on the cross.
The descending chromatic tetrachord was the traditional lament motif from the Renaissance until the late 18th century.
A sophisticated listener in Bach's time would have recognized that the tenor is singing the lament motif.
Enjoy mixing up the orchestrations in these performances. Does Lutz decide this?
Eine wirklich beeindruckende Aufführung. Ich bin nur der Meinung das die Orgel Zwischenspiele beim Schluss Choral zuviel Gewicht haben. Sie stören die Intensität des Chorals. Ansichtssache 😅
Danke für Ihre Rückmeldung - wir schätzen es, wenn hier Ansichten diskutiert werden. Das macht Bachs Erbe lebendig. Weiterhin viel Freude mit den Aufnahmen der J. S. Bach-Stiftung.
Which organ piece was used here to match the final choral? anyone?
It is not an organ piece but are situational interludes composed either by the organist or by Rudolf Lutz for this specific concert.
Different church?
Dieses überlange Orgelgeklimper beim Schlusschoral nimmt der tollen Bachischen Harmoniserung die Kraft. Falsche künstlerische Entscheidung Bach nachäffen zu müssen.
This series has begun inserting organ improvisations between lines of the final chorale. I find it very disruptive to the overall line of the chorale. Did Bach improvise thus? If so, was this perhaps what some of his parishioners complained about?
What do you suppose the fermata at the end of each line signify? The practice of inserting bridges between lines was customary long before Bach and continued well into the 19th century.
@@herrickinman9303 I always supposed that it was a time for the congregants to arrive at the same destination (some people do lag!) and to take a breath. In some cantatas of this series, the organist played a very brief bridge, which worked well. However, later posts involved longer bridges that really interrupted the flow of the music. In all my years (about 50) of church-going and choir-singing in the U.S.A., I never heard an organist interrupt the congregation for this long. I do agree that some resting point is necessary at the end of a line (or two, if the phrase overlaps the lines); organists who moved straight on to the next line of the chorale always left some of the congregation in the dust.
Hello, just want to join the interesting discussion peacefully. Btw I liked it when the organist puts a bridge between two lines, especially for the final choral, it seems the longer the bridge the more grandeur it would be, at least to me (apologize my childlike amazement, I become rather a simpleton judging such beatiful intermezzi). However here is my second opinion of this, that, as long as you don't perform lengthy bridges like that in an actual congregational setting I think there will be no problem at all. Concerts, recital etc are exactly the place to do this. 😊
Bach did in his youth at Arnstadt, but the listeners didn`t like at all. Later in Leipzig he abolished this. It´s not a good idea to insert those embellishments because the clearness and unity of the chorale is totally destroyed. Besides this it`s a great performance!
@@marcomposer Thank you for confirming my memory. I never knew what the bios were talking about until I heard this video. And you're right, it is a great performance.
Bitte, what is the church where there are singing?....Danke.
It is the church in Speicher, ref-speicher.ch/ 💒
10:00
What is NikitaVenturesMusic doing here recommending that you go from the Bachstiftung channel to her WokoMusic channel, before you can read all the additional information about this beautiful cantata, and miss the links to the fantastic Bachipedia. It's absolutely shameful!
Wo sind die jungen Leute???
Sie sind am Internet. Während die Zuhörerschaft ziemlich genau unsere alternde Gesellschaft abbildet, erfreuen sich die Kanäle der Bachstiftung (TH-cam, Facebook etc.) eines erfreulichen Interessens aus der ganzen Welt, namentlich auch Lateinamerika. Und dort sind ganz viel junge Zuhörer!
20, gebürtiger Hamburger
why is the crowd always only old people?
Because they have to stand in line for a long time to get in.
@@kennethduckworth8100 Such a great reply! :)
Because young people do not listen to this kind of music. They rather rap !🤣
I thought it was funny that I was always the youngest and only African American at the classical concerts. I think honestly our world has lost its substance to some degree. Anyway, I love math and science too. Yes, the world doesn't like that stuff much either. It's a more instant pop world. Understandably so... But, just happy I can still listen to Bach 😁
@@JustinGarfield1 And long may you continue to enjoy it!
칸타타 2 아 하나님 천국에서 우리를 굽어 살피시고 (Korean Translation)
삼위일체 주간 후 2번째 일요일.
작사가는 미상임
라이프찌히에서 1824년 6월 24일에 연주됨
1. Martin Luther, verse 1 of the hymn,
based on Ps. 12, 1524 (Wackernagel, III, #3);
2-5. based on verses 2-5;
6. verse 6 of the hymn.
1. Chorus [Verse 1] (S, A, T, B)
아 하나님 천국에서 우리를 굽어살피시고
우리에게 여전히 당신의 은총을 베풀어 주십니다.
당신의 성도가 되려는 자가 얼마나 적은지
저희는 버려진 비참한 사람입니다.
당신의 말씀이 이제 진실로 생각되어지지 않습니다.
그리고 믿음 역시 완전히 죽어버렸습니다.
모든 인간의 자식들에는.....
2. Recit. (T)
그들은 쓸모 없고 그릇된 거짓을 가르칩니다.(1)
그것은 하나님과 모든 그의 진실에 위배됩니다.
방종한 마음이 품는 생각이란 것이
오 슬픔! 이것이 그리스도인들을 괴롭힙니다.
그것(슬픔)은 성경의 자리를 분명 빼앗습니다.
성경이 아니라 이제 슬픔을 선택하였습니다.
그리고 (이런) 어리석음의 이유는
그들의 충분한 자유 때문입니다.
그들은 죽은 자의 무덤과 같습니다.
그들이 비록 겉으로는 아름답게 보이지만
그들 속은 악취와 곰팡이로 차 있습니다.
그리고 열려졌을 때 모든 더러운 것들이
보여지게 됩니다.(2)
3. Aria (A)
하나님 당신을 곡해하는
가르침들을 이제 지워 버리소서!
진실로 모든 이단과
되는대로 하는 영들을 저지하소서.
왜냐하면 그들은 두려움 없이
우리를 다스리고자 하시는 그분에
반하는 말들을 내기 때문입니다.
4. Recit. (B)
불쌍한 자는 혼란스럽습니다.(3)
그들의 한숨 “아” 그들의 걱정스러운 비탄
십자가와 괴로움 가운데서..
이를 이용하여 적들은 경건한
영혼들에게 고통을 나누어줍니다.
이제 전능의 하나님의 인자하신 귀가 뻗칩니다.
하나님께서 이 것을 말해 주십니다 ;
나는 그들을 도울 것이다.
나는 그들의 흐느낌을 들었다.
구원의 장밋빛 아침,
가장 순수한 진리의 광체가 밝게 빛난다.
새로운 힘과 함께
삶의 근원이요, 희망이 그들을 새롭게 하고
기쁘게 만들 것이다.
나는 그들의 슬픔을 동정할 것이다.
나의 치유의 말씀이 불쌍한 자에게 힘이 될 것이다.
5. Aria (T)
불이 은을 순수하게 만듭니다.
십자가가 말씀의 위대한 진리를 드러냅니다.
그러므로 그리스도인들은 그의 끊임없는
십자가의 고통을 인내심을 가지고 참아야 합니다.
6. Chorale [Verse 6] (S, A, T, B)
말씀은 당신 하나님을 더럽히지 않은
상태로 유지시킵니다.
이러한 사악한 사람들 앞에서...
걱정들이 우리 속에서 일그러지지 않도록
우리의 걱정을 당신께 맡깁니다.
믿음이 없는 군중들이 우리를 둘러쌉니다.
그들 가운데 방자한 사람들이 당신의 백성가운데서
숭고해 집니다.
1. 이 구절은 찬송가에서 그대로 온 것임
2. 마태복음 23장 27절 : 화 있을찐저 외식하는 서기관들과 바리새
인들이여! 회칠한 무덤 같으니 겉으로는 아름답게 보이나 그 안
에는 죽은 자의 뼈와 모든 더러운 것이 가득하도다.
3. 이 구절은 찬송가에서 그대로 온 것임
SACRED CANT
Sorry but I don't approve at all the invented organ soli
It is a cantata that lacks creative momentum and responds to the need to fulfill its duties as "Thomaskantor". A paid job for Bach, a boredom for us!🥱🥱
Each to their own. I found the opening movement, a massive motet-style chorale setting with the chorale in the alto to be dignified and beautiful. Interesting to see the chorale tune appearing at various points in the recitatives and arias, and then the final chorale setting was full of harmonic interest. Then there was the orchestration, with sackbuts and cornett, and a florid violin obbligato in one of the arias.
One of the most austere but highly inspired cantatas. Apparently you haven`t understood nothing of this great music!
@@marcomposer 😭😢🥺🤷♂️
It's actually permeated with incredibly harmonic innovation, and therefore the opposite of lacking "creative momentum." This has gone right over your head.
You might have that feeling from the fact that it has a generally melancholic tone, without the usual progression towards light/hope that many of Bach cantatas have, so the atmosphere doesn't change much across the cantata. The fact that the text of the cantata as well as the Luther hymn it's based on are quite "hard". Not the easiest piece in Bach's production in terms of being approachable. But I wouldn't call it creatively dry, just a tougher nut to crack.