0:07 Herr, deine Augen sehen (Chor) 7:00 Wo ist das Ebenbild (Rezitativ) 7:58 Weh der Seele (Arie) 13:33 Verachtest du den Reichtum (Arioso) 16:37 Erschrecke doch (Arie) 20:47 Beim warten ist Gefahr (Rezitativ) 22:04 Heut lebst du (Choral)
ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-B6Loyexw3uk.html Bach and the Coffee Cantata March 28, 2019 by Juliette Appold This is the second post in a two-part blog series by HACU National Internship Program digitization intern Hannah Noël about the life and work of Johann Sebastian Bach, in honor of his 334th birthday last Thursday, March 21; the first post can be read here. During his tenure in Leipzig, toward the middle of his career as Cantor of St. Thomas Church, Bach was heavily involved with the city’s Collegium Musicum, a secular performance ensemble started by Georg Philip Telemann in 1702. Bach assumed directorship of the collegium in 1729 and began to perform with the ensemble regularly at Café Zimmerman (Zimmermannsches Kaffeehaus), a coffeehouse and local social centre for gentlemen in Leipzig. One of the more unique works that Bach composed at this time was the secular cantata Schweigt stille, plaudert nicht (literally “be still, stop chattering”), better known as the Coffee Cantata (BWV 211). Composed probably between 1732 and 1735, the cantata is essentially a miniature comic opera that tells the story of a disgruntled father, Schlendrian, who argues with his caffeine-obsessed daughter, Lieschen, about what he perceives to be her bad habit of indulging in too much coffee. The opera consists mostly of a back-and-forth dialogue between these two characters; bewildered by Lieschen’s devotion to the drink, Schlendrian unsuccessfully tries to bribe his daughter into renouncing caffeine in favour of settling down with a husband while Lieschen evades his commandments with clever manoeuvres and outright disobedience. The work lampoons both the wild popularity of coffee in 18th century Leipzig, as well as the mildly sanctimonious belief held by some of Leipzig society at the time that coffee drinking was a bad habit that needed to be broken. The libretto was written by Bach’s longtime collaborator Christian Friedrich Henrici (better known as Picander) and consists of 10 movements, composed for three vocal soloists in the roles of: Lieschen (soprano), the Narrator (tenor), and Schlendrian (bass). The NLS Music Section currently only has the second movement from the cantata, Schlendrian’s bass solo Hat man nicht mit seinen Kindern, in braille (BRM22691). We here at the Music Section feel this cantata is particularly timely, as the recent switch to daylight saving time has left many people a little dazed and perhaps more dependent on caffeine than they would normally be. It is some comfort to think that the humans of nearly four centuries ago could so readily identify with the modern world’s dependence on the cherished, fragrant coffee bean. Perhaps, had he been born into this modern world, you might have found Bach hanging out at his local Starbucks in Leipzig, drawing inspiration (and sweet sustenance) from the joy of coffee just as he did at the Zimmermannsches Kaffeehaus in 1702.
In this difficult moment in my life, I thank God that he gave us Bach. Listening to this magnificent cantata and this perfect interpretation and rendition, I opened up and all my toxins have been washed away, at least momentarily.
La Musica di Bach mi ha aiutato a sconfiggere la mia Depressione. Soli Deo Gloria. Questa Musica è Divina e terapeutica. Saluti da Lecce ( Italy )....🌌❤
Need this music more than ever. Disconsolation running unbridled. Bach lost his parents, first wife and nine children. Yet he gave such consolation to generations. Peter Kooy has to be one of the finest Bach basses.
Het is altijd weer schokkend om vast te stellen dat sommigen blijkbaar nog de moeite nemen om een cantate negatief te waarderen, in dit geval zijn dat er op heden een twintigtal, dan is mijn vraag : waarom dan wel? De composities van Bach worden wereldwijd beschouwd als de basis van de klassieke muziek. Generaties en eeuwen componisten zijn hem gevolgd, zelfs in de jazz nam men elementen over, zoals becijfering en basso continuo! Het secure werk tot in het kleinste detail van dirigent Jos van Veldhoven en zijn ensemble verdient enkel maar diep respect en bewondering uiteraard, bravo!
Moment sublime de beauté. Si nous apprécions ces instants on ne peut-être qu'heureux. Merci chers artistes et merci au très grand Bach. Amitié de France...
@@toniotonio4366 Gentilissimo Tonio, Bach glorifica Dio con una parte di intelletto terreno, facendo raggiungere all'umanità la soglia del cielo Immagina la totale glorificazione di Dio con l'insieme delle intellettualità celesti! Questi faranno entrare l'umanità nel seno materno di Dio!
Wunderschöne und tiefempfundene Aufführung dieser perfekt komponierten Kantate mit gut harmonisierten und perfekt vereinigten Tönen aller historischen Instrumente sowie herrlichen Stimmen aller genialen Solisten und himmlischen Stimmen des ausgezeichneten Chors. Der gelehrte Dirigent leitet das ausgezeichnete Ensemble im gut phrasierten Tempo und mit perfekt kontrollierter Dynamik. Alles ist wunderbar!
Reconnaissance et remerciements à Van Veldhoven à son prestigieux orchestre de la Netherlands Bach Society, de nous restitutuer avec tant d'émotion et de délicatesses tout l'art de BACH, toutes ses incomparables et profondes cantates . Vous êtes mon rendez-vous quotidien avec Bach. Merci!
This ensemble excells by its simplicity and its professional approach. In that way it is very forceful and powerful in communicating the music of J.S. Bach to the whole world !
Totally agree, and I've been thinking the same. It seems like everyone has a humble approach and you always get the feeling the music is number one, above everyone, which is positively surprising as they choose to record all of this with video
Am i think right that there are rarely find countertenors or male alto singers? Very hard to find Bach Cantatas where male artists sing that parts. I am especially in love with Potters voice.
Yes, he's great, isn't he? There are quite a few, though. Off the top of my head: Robin Blaze in Suzuki's traversal of the cantatas, Paul Esswood (and Rene Jacobs) in the "old" Harnoncourt/Leonhardt, and the wonderful Drew Minter who was in Rifkin's BWVs 147 and 80 as well as his B Minor Mass and later with American Bach Soloists (ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-3iKFi2DH-sA.html). etc
La capacita' straordinaria che aveva questo uomo di scrivere cori favolosi si ribadisce pure qui, come in parecchie altre "cantate" le successive arie non sono allo stesso sublime livello
lo mejor que me ha pasado en este confinamiento muchas gracias muchas gracias muchas a todos lo que hacen posible que yo solo a borde del pacífico goce de esta música y de esta filmación
Una maravilla. Como todo lo de Bach. ejecutada con el añadido virtuosismo de esta magnífica orquesta. A mi juicio, la mejor interpretando al Genio del Barroco, al número uno de todos los tiempos... 👏👏👏👏👏👏👏👏
To the 20 people that gave this video a thumbs down: What about this magnificent performance did you not like? Was someone off by a note or two? Just curious. 🧐
3 года назад
May be some people didn't appreciate the introducing choir à bit too slow, the absence of a female alt, and the strange répartition between soli and choir... maybe...
Je vais reprendre malgré tout l'écoute de la musique de Bach Mozart et tant d'autres car j'apprécie beaucoup la musique classique. Merci de votre compréhension.
Beautiful performance: feeling behind the words brought to life by the music. My problem is the theology. How do we reconcile man as needing punishment with God's forgiveness and love?
I liked mostly the performance of the solo parts and in particular the Arioso. The performance of the concluding Choral was superb. Bravi!!! However, if I may suggest, the opening Chor should be, according to my own taste, a little bit slower, with half-staccato (and not a shorter one) and maybe more singers, in order to express better what the conductor himself talked about in his interview about this Cantata: the feel of horror, despair and punishment, revealed in the religious text. Thanks NBS for another unique performance and upload.
Me encantaría saber las causas por las que alguien le da "dislike" a esta clase videos. Música que han perdurado durante siglos en el gusto de de un mar de generaciones. ¿Troles, desquacerados, gente extremadamente conocedoras que encuentra errores, o quizá son demaciado afectos a Maluma, error de dedo, traumaditos, enfermos mentales, inconformes con la vida. Sería interesante escuchar la opinión de un sociólogo al respecto
Je vous ai envoyé un message vous demandant un sous-titre en français du morceau interprété pour que je puisse comprendre et poursuivre à nouveau l'écoute de Netherlands Bach society. Merci de votre compréhension. Je ne comprends pas les langues étrangères.
4 Arioso B Verachtest du den Reichtum seiner Gnade, Geduld und Langmütigkeit? Weißest du nicht, daß dich Gottes Güte zur Buße locket? Du aber nach deinem verstockten und unbußfertigen Herzen häufest dir selbst den Zorn auf den Tage des Zorns und der Offenbarung des gerechten Gerichts Gottes. (Romans 2:4-5)
You people objecting to the "unnatural" or "creepy" man singing alto need to get out more often! (and check your bizarre prejudices) Yeah, it's as "unnatural" as the singing of Eddie Kendricks, Smokey Robinson, Michael Jackson, Richard Manuel, Frankie Lymon..... And maybe listen to some Baroque music. There have been dozens of prominent male altos in so-called classical music since Alfred Deller brought the voice back into prominence in the 1950s and some (Andreas Scholl, Philippe Jaroussky) have been big stars in classical music for years now. PS I think this alto is an excellent singer and he is in many of this group's Bach cantata performances. In this piece his aria is perhaps rather "creepy" in the sense that Bach wrote a very dissonant and wailing piece all about "woe" -- the word he keeps singing.
