0:07 Ich will den Kreuzstab gerne tragen (Aria) 7:39 Mein Wandel auf der Welt (Rezitativ) 9:22 Endlich (Aria) 16:20 Ich stehe fertig un bereit (Rezitativ) 17:52 Komm, o Tod (Choral)
I am won over by this bass, as I am by all the other singers in this glorious series. To hear an alto who doesn't wobble and whose timbre is implicitly pleasurable! (I was born in the 50s, so this has happened in my lifetime). This lovely man encapsulates all the virtues. He never forces the tone, so he is sharing with us, not dominating. This also means he is agile enough so sing all the notes accurately. No mean virtue in a singer! He is plainly aware of what he is singing, but presents it without ego. I don't know what that bottom note was, but it was wonderful. All credit to everyone. I have waited a long time for this.
With "wobble" do you mean vibrato? I could agree with that. As a bit of ornamentation on some notes it can be nice, but at the point you turn down the volume and the last you hear is the vibrato all over the piece, I really dislike it.
In his interview, the conductor Fabio Bonizzoni concluded with the beauty of the chorale. In fact, this cantata is one of the most beautiful cantatas ever, as a whole, and so is this performance. Bach's orchestration here is wonderful - one feels as if it should be exactly as it is - no omitting and no adding another instrument. There is a very good sound-balance between the bass-vocalist and the other instruments. He is very good and strong enough to match with all the instruments and to perform his difficult tiring role. The other vocalists do not 'steal the show' from him and all of them sing beautifully the short chorale. Bravi to all of you and thanks for giving us this special unique musical and spiritual experience.
J'avais 23 ans en 1980, lorsque j'ai découvert cette cantate, l'une de mes préférées de Bach ! A 63 ans je l'écoute à la fin de cette affreuse année 2020 (COVID 19 et récents attentats en France et en Autriche )...La sérénité, la paix et l'Esperance chrétienne qui nous "tombent dessus" par la grâce de Jean Sébastien, ange du Seigneur...
C EST UNE HORREUR avec des crétins assassins de baroqueux une monstruosité ECOUTEZ LA MEME CANTATE PAR KARL RICHTER ET SON ENSEMMBLE MUSICALE DE MUNICH
Fantastic performance of this very difficult cantata. Top marks to the bass on a fabulous performance. Mention to the oboist and the rest of the ensemble too. Beautifully balanced and recorded throughout
La NBS m'ha permès de descobrir moltes peces excel·lent del mestre Bach que passaven desapercebudes a l'algorisme de recomanació de RU-vid. Moltes gràcies, NBS!
Bach enormous musical imagination is indeed astounding. Nearly 200 cantatas, each one a masterpiece. surpasses comprehension. As usual, rendering by the Netherlands Bach Society is faultless, the recording and video are excellent.
This day, the feast of Our Lady of Sorrows in Passion Week, marks my return to the Catholic Church, over twenty-five years ago. The idea of my Redeemer mopping my brow and helping me carry my cross to eternity is glorious. Deo Gratias for the cantatas of JSBach!
1968- Vorlesung Formenlehre bei Prof. Richard Rudolf Klein, einem bekannten Frankfurter Komponisten , Thema ist die Kreuzstabkantate. An der Stelle „da wischt mir der Heiland“ bricht er in Tränen aus. Wir waren beeindruckt. Nach über 50 Jahren muss ich immer noch an diese Szene denken, wenn ich diese Kantate höre und verstehe heute auch seine Reaktion. Wie hätte er sich über diese perfekte Interpretation gefreut!
those harmonics and the mystic soundscapes of the first aria and arioso could only be created by J.S. Bach. The modulation at end is so moving. Winckhler might be currently the best choice here. Very intelligent and sophisticated interpretation.
ONE COULD NOT IMAGINE A MORE BEAUTIFUL SUCCESSION OF RICHEST AND UNEXPECTED HARMONIES IN THE OPENING. BACH´S IMAGINATION NEVER SURPASSED BY ANYONE. THIS SCOULD BE SCORED AS A SINFONIA AND HOLD UP EQUALLY WELL IT IS TO PROFOUND.
Una delle migliori orchestre specializzate, bravi cantanti, rendono la bellezza anche sotto la direzione di un direttore preciso, rigoroso e puntiglioso che nello spirito bachiano muore perchè incapace di respirarlo.
Forse quello che scrivo si rivelera' un giorno illusorio pero' ho proprio la impressione che questa sia una cantata dove JSBach scrive musica nuova per la occasione facendolo pure con un elevato grado di ispirazione E non sono poi cosi' tante E' favoloso come la musica, di elevato livello, sia collegata al testo in maniera perfetta: basti pensare al recitativo dove si "sentono" le onde
Thank you! Adding subtitles is something we are considering indeed. On our website you can already view the text & translation: allofbach.com/en/bwv/bwv-56/
That would be wonderful. Im sure it will happen in the future, but i would love it soon. I read the translation. But to be in sync without having to take an eye off of musicians. Would be wonderbar.
Can someone tell me the name of the Solo-Oboist at Min. 09:23? I follow the performances of the Bach-Stiftung St. Gallen, Switzerland and saw this musician perform with the orchestra there in some videos. He's a real virtuoso on his instrument. He once had a wonderful solo part with Maria Keohane, which i adore.
English Translation 1. Arie Ich will den Kreuzstab gerne tragen, er kömmt von Gottes lieber Hand, der führet mich nach meinen Plagen zu Gott, in das gelobte Land. Da leg ich den Kummer auf einmal ins Grab, da wischt mir die Tränen mein Heiland selbst ab. 1. Aria Gladly shall I bear the cross; it comes from God’s beloved hand, and leads me, after my torments, to God, into the promised land. Then into my grave shall I place all my grief, that shall my Saviour wipe the tears from my eyes. 2. Rezitativ Mein Wandel auf der Welt ist einer Schiffahrt gleich: betrübnis, Kreuz und Not sind Wellen, welche mich bedecken und auf den Tod mich täglich schrecken; mein Anker aber, der mich hält, ist die Barmherzigkeit, womit mein Gott mich oft erfreut. Der rufet so zu mir: ich bin bei dir, ich will dich nicht verlassen noch versäumen! Und wenn das wütenvolle Schäumen sein Ende hat, so tret ich aus dem Schiff in meine Stadt, die ist das Himmelreich, wohin ich mit den Frommen aus vielem Trübsal werde kommen. 2. Recitative My life on earth is like a voyage at sea: sorrow, affliction and distress engulf me like waves and daily frighten me to death; my anchor, though, which sustains me, is God’s mercy, with which He often gladdens my heart. He calls out to me: I am with you, I shall never leave you nor forsake you! And when at length the raging foam is calmed, I shall step from my ship into my own city, which is the kingdom of Heaven, where I with all the righteous shall enter out of so great tribulation. 3. Arie Endlich, endlich wird mein Joch wieder von mir weichen müssen. Da krieg ich in dem Herren Kraft, da hab ich Adlers Eigenschaft, da fahr ich auf von dieser Erden und laufe sonder matt zu werden. O gescheh es heute noch! 3. Aria At last, at last my yoke?shall fall from me again. Then shall I find strength in the Lord, then shall I, like an eagle, rise up from this earth without ever growing weary. O may it come to pass today! 4. Rezitativ Ich stehe fertig und bereit, das Erbe meiner Seligkeit mit Sehnen und Verlangen von Jesus Händen zu empfangen. Wie wohl wird mir geschehn, wenn ich den Port der Ruhe werde sehn. Da leg ich den Kummer auf einmal ins Grab, da wischt mir die Tränen mein Heiland selbst ab. 4. Recitative I stand here ready and prepared, to receive my heritage of bliss with yearning and desire from the hands of Jesus. How happy I shall be, when I behold the harbour of rest. Then into my grave shall I place all my grief, than shall my Saviour wipe the tears from my eyes. 5. Choral Komm, o Tod, du Schlafes Bruder, komm und führe mich nur fort; löse meines Schiffleins Ruder, bringe mich an sichern Port! Es mag, wer da will, dich scheuen, du kannst mich vielmehr erfreuen; denn durch dich komm ich herein zu dem schönsten Jesulein. 5. Chorale Come, O death, brother of sleep, come now and lead me away; loosen now my small bark’s rudder, bring me safely into port. Let them who wish to, shun you; you can all the more delight me. For it is through you that I shall enter, to be with my sweetest Jesus. (Accessed from www.bachvereniging.nl/en/bwv/bwv-56/)
Sicher eine sehens- und hörenswerte Aufführung; natürlich kann sie (wer könnte das je?) nicht an die Einspielung mit Dietrich Fischer Dieskau heranreichen, nicht nur wegen des unvergleichlichen Solisten, sondern auch wegen der Ausführung des Schlußchores, wie sie Richter schon einmal in einer Aufnahme der Johannespassion mit der überwältigenden "treppendynamischen" Version des Schlußchorals angewandt hat. Gottseidank kann man diese noch im Netz herunterladen.
I read somewhere that in Bachs time there would not be a cpnductor as we know it today. Did i misread or can someone explain. I mean someone has to keep the sapranos in line...
Kompliment für die hervorragende Leistung. Eine Frage: warum steht das Orchester hier mit dem Rücken zum Publikum? Weil sie so besseren Kontakt zum Solisten haben, den sie endlich mal richtig hören können, weil er sie ansingt?
Wenn Sie sich auf Google Bilder der Kirche ansehen, dann erkennen Sie, daß die Bänke an 3 Seiten um Kanzel und Altar herum gruppiert sind. Es sitzt daher wohl nur ein kleiner Teil des Publikums hinter den Musikern
Philip K is right: we deliberately set up the orchestra in the middle of the church. This allows the audience to have the best view on the musicians and this also works well in terms of acoustics.
Nice performance. Winckhler has a beautiful timbre but I would prefer if he sang more legato. Mathias Stadler is perfection. Unfortunately the Netherlands Bach Society gives in to this horrible trend of letting countertenors sing music that hasn't been written for them but for altos (women or children). It even ruins one of Bach's most beautiful choral. An unforgivable sin.
