Das ist das richtige Tempo, die neuesten Versionen bekannter Orchester überbieten sich tempomäßig, schlampen rum, denken, dass Tempo die Qualität verbessert. Bach, in der Ruhe liegt die Kraft. Ich liebe diese Version...❤
….ein Opus Magnum der Musikliteratur, für alle Zeiten exemplarisch interpretiert durch die größten Künstler ihrer Zeit. JSB und seine Interpretationen durch Karl Richter werden die meisten der heutigen Parforceritte durch dieses Werk, durch frugale Besetzungen schwach ausgeleuchtet, durch die Zeiten überdauern. Die Stimme von Walter Berry ist große Oper. So wollten das Richter und seine Zeit. Mi piace moltissimo. Mich beeindruckt das wesentlich mehr als die sparsamen Klangentwicklung der meisten heutigen Solisten, verbunden mit falschen Tempi.
@@FranzAM86why would he play this solo sat down? Soloists typically stand! But I do agree, Otto Büchner was an extremely talented musician!! Shame he doesn’t get that recognised!
Yes, Berry saved this otherwise horrible performance. All of Richter's interpretations sound awfully primitive to me. They sound exactly how his face looked like: clenched teeth and a broomstick up his arse. Every now and then, I try to give him another chance, but the impression is always the same. I truly cannot understand how people can like Richter. Thankfully, better conductors, like Harnoncourt, came along and restored Bach's music to its original glory.
Timrath Sorry - but I wonder what planet you live on. This performance lets every note sing, every bar live, the music is really alive here. Not rushed through like it is some essay that has to be finished in time for the lecturer. Learn to breath and live......
Berry loses his breath and cannot get out the "gebt" at 2:25. But it does not detract otherwise from a brilliant interpretation. The revisionists are full of nonsense. This is how Mendelssohn interpreted the Passion, and who are we to say that was wrong?
Fast does not equal good. Arias like this do not need to be sped up like crazy since they need to convey a MESSAGE. The only reason people like the clown you mentioned like to push tempo beyond the limits of what is decent, is only for exibition purposes. A fast tempo makes a great excuse to make a lot of unnecessary body movement, shaking and useless grimaces, while wrong notes, uncareful phrasing and poor intontaion pass in front of the public's marveled faces. Many emblasoned HIP performers and conductors will not even be able to keep the insane pace chosen at the beginning of every piece and will gradually slow down, like in the worst amateurish pereformances.
@@PetkoM78 No! That is NOT how the violin solo needs to be played. THIS is what this music is. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-snlpq2SXBdQ.html I do like the singer though.
Thank God, the era of Karl Richter is gone, and people play Bach faster, with more dynamics, agogics and articulation today, like Bach intended his music to sound.
Dreadful! I'll forgive the old timers their nostalgia for liking their Bach curdled, sclerotic and half-dead, but how people prefer this schlock to the the scintillating historically-informed practice of the modern era I will never comprehend.
