Boy soloists: Elias Mädler (14, mezzosoprano) at 10:40, 1:05:00, 1:10:18, 1:46:26 and 2:07:09 Pascal Pfeiffer (14, soprano) at 52:50, 1:18:48, 1:39:12 and 2:27:06 Lionel Wunsch (13, soprano) at 15:44 Daniel Henze (13, soprano) at 25:45 Laurenz Ströbl (15, alto) at 52:50, 1:21:14 and 2:27:06
Liebe Verantwortliche in Südtirol, diese Aufnahme hier hätte es längst verdient gehabt, im TV gesendet zu werden ! Arte, 3Sat oder Stingray Classica ? So würde z.B. der TKC sicherlich zustimmen. Was meinen Sie ?
The terrible thing about hearing the St Matthew Passion is that once you have heard it, you realise that you will probably never hear anything more divine than this again.
Yes, there are not many things superior to the St. Matthew Passion! That is true! But there are many other things that are different but equal, like the St. John, the B Minor Mass, etc, the Benjamin Britten War Requiem, many other musical pieces, and works of art in other media. And also, when one is experiencing something divine, need one be sad some other thing will not surpass it? Another thought would be just to totally be in the experience and let go of the future. Also, I do agree that experiencing something amazing for the first time has a special feeling all its own. But with true art, and above all with an incredible masterpiece like Bach's St. Matthew Passion, there is always more joy to be had as one gets to know the piece more and more deeply. To be moved to tears yet again hearing "Mache dich mein Herze rein", or the opening sinfonia of the St. Matthew after knowing them for years is also a divine experience. And in another hearing at a different time, to be comforted, made to smile or to feel relieved by joy..... This incredible art always evolves in our understanding, our hearts. It is a gift that remains ever new.
I honestly never thought a child choir could be this good. I was searching for a Matthew passion for a long time, i wanted to hear/see a big choir and orchestra. Most people seem to think that Bach envisioned a small group of people performing this masterpiece. But i never heard a child Choir this perfect, everything about this version is perfect. I love Bach and these boys are absolutely perfectly performing the Matthews passion, it brings tears to my eyes.
Actually what I like about this ensemble is that its neither an overly "Period correct" chamber group, OR a symphony orchestra trying to make the Matthew Passion sound like Verdi's requiem. It's the perfect medium and what Bach would probably want if he'd had the resources.
Des jeunes garçons pour les choeurs ... très rare aujourd'hui et pourtant la règle à l'époque de J.S.B, les filles étaient interdites ! Bravo aux musiciens, aux chanteurs et merci au chef pour tant d'authenticité.
Durch die jugendlichen Stimmen wird diese Passion auf eine noch höhere spirituelle Ebene gehoben! Was für eine großartige Aufführung! Ein wirkliches Geschenk an jeden Zuhörer!
Jedes Jahr am Karfreitag ein Muss: Diese außerordentliche Aufführung mit wunderbaren ChorSolisten und einem großartigen Orchester unter präziser Leitung, berührend und ergreifend. Danke!
Diese Auffuehrung ist ein grosses Geschenk! Gott sei Dank haben wir diese Musik noch nicht vergessen, so wie wir viele andere Hoehepunkte unserer Kultur zum alten Eisen gelegt haben. Eine dankbare Kanadierin aus Vancouver.
@@Hallo1357ollah Which ”church” are you referring to, specifically?.. Look, once I got saved by Christ I soon left my national so-called ”church”, which was supposedly protestant. The fact is, that ”church” isn’t a building or religion, but a congregation. I don’t belong to, nor am a member of, any of the worldly churches, of which there are many. The one true church is not of this world, just as with Yeshua the Messiah Himself. There’s no need for any worldly church, which have already ”adapted” to this world more than enough, at the cost of the truth. They needn’t adapt more, they’re corrupted enough already. To the contrary, one must seek the pure root, which the churches have corrupted through adaptation. Luther was a great guy, but he was dissecting one of worst cases, the RCC, and couldn’t cut deep enough to get rid of all the corruption. Like polishing and spraying a turd for better appearance. Even the messed up 10 commandments of the RCC stuck with him. IE, The second commandment is removed, and the tenth is instead split into two, even though the 10th is obviously one commandment. The RCC just had to get rid of the 2nd, you can easily figure just why (icons etc)... Not saying there aren’t any good ”churches” in the world at all, there are, but the true church is not of this world at all, but spiritual. And its doctrine exists in the divinely inspired Holy Scriptures (in this world, that is).
@@Hallo1357ollah So, to somewhat summarize, Jesus isn’t a religion... He is the Truth. And the flesh (of this world) is corrupted. Men cannot be trusted, but God, Jesus, is trustworthy. There is no fault in Him. Trust in God alone, many of the churches of men will go to hell.
@@maxhult830 So kann man Musik mißverstehen, sie in einer und für eine fanatischen Religiosität mißbrauchen. Sie verdunkeln das Schöne, die Liebe allgemein. Traurig.
In this world, in these moments when everything seems wrong... this is just right. Erbarme dich just made me cry. There’s a lot humanity needs to be forgiven for. Might this glorious music be a reminder that mankind can be divine, not just destructive... thanks for sharing
I'm truly 'blown-away' by this magnificent performance - which I only discovered a few days ago! St John/Matthew Passions/B minor Mass are, literally, my favourite (large scale) choral masterpieces by the Great Master! The young Boy's/young adult choir (and soloists) were utterly - and truly - amazing! Performances/uploads like this really help to restore faith in the human spirit ... God bless you all!
An amazing performance. The Evangelist in particular impressed me. So fluid and at the same time with absolute confidence and authority. Bach almost has me believing St Matthew was a singer.
Boy soloists: Elias Mädler (14, mezzosoprano) at 10:40, 1:05:00, 1:10:18, 1:46:26 and 2:07:09 Pascal Pfeiffer (14, soprano) at 52:50, 1:18:48, 1:39:12 and 2:27:06 Lionel Wunsch (13, soprano) at 15:44 Daniel Henze (13, soprano) at 25:45 Laurenz Ströbl (15, alto) at 52:50, 1:21:14 and 2:27:06
Toll, was die Jungen für geniale Stimmkraft vor der Mutation haben! Und dass BAch mit der Arie "Aus Liebe will mein Heiland sterben" allen alles abverlangt kann man nicht verlangen dass es ein so schuldloser Sopran besser macht! Um so beachtlicher wie er dann weiter singt!
What an astounding performance of what must be one of Bach's finest works. The orchestra, choir and soloists all perform with perfection - both from a musical point of view and the way they interpret the story. The choice of the various boy soloists is magnificent - each of them must be proud of their performance. I have seen and heard many performances of this, and this one must set the gold standard for all others - even for the St Thomaschor in Leipzig!
Cette interprétation est juste magnifique. On ne comprend pas comment il est possible d obtenir une telle impression de clarté et de simplicité avec cette musique si complexe sur le plan de la polyphonie (premier chœur par exemple). Certes il y a le génie de JS Bach mais c est la première fois que je l entends aussi bien interprété !! Quand aux voix des enfants elles sont magnifiques mais avec la même précision et technique impeccable que le meilleur chœur d adultes que je connaisse. Bref c’est juste magnifique !!!
Wow, what an energized and powerful performance. I love the fact the tempo is a bit quicker than usual performances standards, and you can really feel the musicians emphasize the beat, which is how it should be with Bach, in my opinion.
This version is great. Not overromantized but pure Bach. Bach has to be played honestly rapid with a study mechanical touch but with passion. And of course it's a German orchestra
So... My Violin teacher heard I wanted to go through this piece (as presented by Südtirol) and fulfill my dream of adding German and English subtitles. I'm about 5 minutes in and I can promise I will be in tears by the end of this. I got the idea b/c 1. my daughter is learning German and loves to listen to Rammstein with lyrics on. She consequently reads German very well. 2. I have serious issues with listening to the hearbeat, pulse, and soul of a lot of what I play on the fiddle. So I suggested this project as a way to maybe tune my ears with my love of German's poetic beauty & this masterfully done version of such a beautiful work. Going through this piece and lining up the captions is painstaking but I'm really hearing much more of the piece than I ever have before.
Eine so transparente und dichte Aufführung, wunderschön! Vielen herzlichen Dank! Ich hoffe, alle Mitwirkenden haben immer noch Freude und Spaß am Singen! Liebe Gedanken aus Heidelberg ❤ und eine gesegnete Osterzeit ❤
As a choir director, I must say this is a simply amazing performance, and the boy soloists are fantastic in every way. It's so nice to hear my absolute favorite piece of music done so beautifully. Well done!!
This morning my neighbour died from the Corona disaster. This music gives me time to be sad and also makes me happy. Well, happy is not the right word. Comfort is better.
Drama queen, er is geen oversterfte en de griep is 'verdwenen'. Mensen gaan al duizenden jaren dood aan virussen. Mensen zoals u verpesten de wereld voor andere weldenkende mensen.
@@presidentstaatshoofd473 Mensen zoals jij horen hier niet. Jij hebt net verpest wat ik zo prachtig vond. Je bent duidelijk te dom en te grof om deze muziek te kunnen apprecieren.
Superb performance at so many levels. All the soloists were outstanding. The boy soloists sounded more like concert artists rather than from a boys choir. Their tonal range and control added significantly to this great performance. I’ve already listened to this concert several times and will do so again and again. Bravo!
Roberto Fiorini, I'm sorry for my inadequate English. After visiting Karl Richter's performances of Bach's church music, I can understand those 220. I support HIP-performances myself, but it is hard to get any support amongs Richter's fanclub. They feel that the music goes way too fast, it don't match the solemnity. They also find HIP-performances boring without any expressions, it's breathless. Some of them hate "peiod instruments" and even this: "Period instruments are too weak for baroque music." Sometimes I make attempts to tell then a little about old written sources, and the connecting between time signatures and different tempi, but often without any success. One time the reply to my information was very short: "geir øyvind eskeland ignorance." :-)
@@marciomartin7296 hah. what do you mean "just a boy" this music is written for boys voices, written for it. You're talking about a 900 year or more cultural tradition here. "JUST!" Flippety. But I agree with you as I've posted elsewhere the goodness of this is actually causing me some distress, a massive recalibration of some sort
Goodness is it’s own reward. Bach embraced goodness at the spiritual level and reflected it back out over a lifetime of composing. It’s no wonder people feel challenged, flattened, and uplifted by this piece and others he wrote. It draws us in, calls us to be good, judges us and finds us wanting. As it should. Christ came in to the world for this same purpose of both judgement and redemption.
@@marciomartin7296 These kids have more musical discipline and intuition than many singers who have studied for decades. Would be fascinating to learn about the training process and what happens to their musical lives as years go by.
Mit welcher Leidenschaft diese Bachpassion wiedergegeben wurde ist einfach großartig. Erstaunlich sind auch die Solisten, die Jungen ergreifen mit den besonders verschiedenen klanglichen Farben ihrer hervorragenden Stimmen. Wunderbar, dies hier zu hören. Wirklich himmlisch! Äußersten Dank an alle Beteiligten!
Absolutely outstanding. Superb boy soloists - clear, confident and musical. Have never heard better. Great conductor and such a magnificent orchestra. Completely out of superlatives to describe such a performance.
It is- without a doubt, one of mankind's highest artistic achievements. I almost feel overwhelmed to explain the variety of emotions that this magnificent Passion brings to me, to the heart and soul, even as a non believer. Thanks for sharing this with every one of us
To some extent anyone who appreciates the St Matthew’s passion believes on some level. I think we all have a longing for the divine that’s expressed in different ways.
This performance is truly astonishing: Three hundred years after it was written - it is still possible to gather a few hands full of competent musicians & vocalists, with dozens of little kids, many of whom look totally over-awed and worried (if not actually terrified) by the demands of the occasion. Yet the performance is still way beyond merely "faultless". It is miraculous.
All the boy soloists are very good, but Elias Mädler is remarkable. His voice is well placed, the timbre is sure and of rare beauty. It is by far the best !
I think that the Thomanerchor boys might have something to say about that! As would the trebles, past and current, of the English cathedral choir in which I sang for almost five years, as a boy...! ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-yKqjtA5HiQU.html
@@jonb6417 Yes, I know. But this is truly stunning too. I've been addicted to it and posted it all over my facebook and my son and wife are bored of me going on about it, and I'm normally going on about Chichester or Portsmouth cathedral choirs. This is such a different way of singing and yes I've watched the Thomas Leipzig choir they're flipping awesome too, but this took me by surprise. And you, surely! Which cathedral were you at?
@@LAsparkTVWireTestLimited Hi. Well of course I'm glad you enjoyed it. It has to be one of the world's greatest classical sacred works, but I'm still not convinced by Fliegner's direction, though the choir is excellent. The Herreweghe version is also supposed to be one of the best. It was recommended to me a while ago and I was instinctively dismissive (being of the belief that soprano choirs in this kind of repertoire are never as good as boys & men) but in all honesty that was narrow-minded of me, as it is a stunning version. Herreweghe is a truly brilliant musician and conductor, and if he's doing something you can usually (in my experience) rely on a first-class performance. Here is the chorus: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-6As1Pvz-mHs.html And here's a Thomanerchor version with Biller: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-Hl5ftd8uOxY.html You'll note that Fliegner takes things much faster with the Tolz, and with Kommt, ihr Toechter, I suppose he just about gets away with it. What he doesn't get away with is the final chorus, Wir setzen uns, at 2:28:50, which he takes at such a gallop as to be both a mockery of the text and an insult to the music. It really is unbelievable. One can only assume he had a train to catch. :-) There are a few other quibbles too, but I won't go on!
@@jonb6417 I like Herrewheghe he has a good look, and that opening chorus is finely poised and had I not seen the Tolzer one It'd have been the best. I agree the last chorus is fast. But, in a way, you can listen to that in your own time. The rest of the work stands without it, big time it does.
My only regret to this performance is I was not there in person to experience it. Thank God for this technology that we are able to experience it virtually! Absolutely stunning performance. I owned the CD and played it often. Imagine my shock and delight to see the live performance on RU-vid!
Outstanding ! I've listened to this work countless times and performed it at least twice, so I believe I can say I know it fairly well. This is by far the best performance I've experienced. The boys were magnificent, especially the soloists, and in particular the altos. Using several boys for the different solos meant their different voices matched the piece they were singing. Everyone w a s clearly well rehearsed. From start to finish the singing was absolutely enchanting. The conductor held everything together with a very good orchestra under his baton. The evangelist was one of the best I've heard, and in fact all of the soloists were very good. I was riveted. Bravo.
Thank you for your comment. It makes me feel less bonkers for my reactions to it. I seriously was in turmoil when I saw this. It was, is, so affective.
Meravigliosi ! Boy soloists: Elias Mädler (14, mezzosoprano) at 10:40, 1:05:00, 1:10:18, 1:46:26 and 2:07:09 Pascal Pfeiffer (14, soprano) at 52:50, 1:18:48, 1:39:12 and 2:27:06 Lionel Wunsch (13, soprano) at 15:44 Daniel Henze (13, soprano) at 25:45 Laurenz Ströbl (15, alto) at 52:50, 1:21:14 and 2:27:06
Im so happy that ancient european Knabenchortradition is still there and doing well! These guys have something good and loving to lean on, in times of violence and war, which are assumed to be traditional manly values...
Pour la énième fois je viens d'écouter la PASSION SELON ST MATTHIEU DE J-S BACH. La première fois, c'était, il y a 52 ans dans l'église St Thomas d'Aquin de Paris. Merveilleuse et sublime interprétation qui me porte à la méditation, à la contemplation et à la prière en ce début de semaine sainte 2021.
My favorite part is the one-line Chorus "Wahrlich, dieser ist Gottes Sohn gewesen," "Verily, he was the son of God." At 2:16:00. Just after the earthquake that makes the curtains in the temple tear apart. The harmonies are out of this world, truly amazing, even by Bach's standards. I sang both passions with the Tolzer Knabenchor almost 50 years ago (soprano). Every time we reached this part, shivers ran down my spine.
Because he comes so early in the long stream of excellent soloists, it is easy to forget Lionel Wunsch, the small boy with the beautiful voice, who sings "Blute nur... " with such joyfull feeling and obvious happiness after 15:44.
52sport6469 Well said, I was blown away when I heard this for the first time. Am I right in thinking that Lionel is the understudy for Elias? Wish there had been more from him.
@@artfuldodger4850 - One of several YT changes to the worse is that they don´t notify about sub-comments, so it's only by a sheer coincidence that I now see your question. - Yes, LIonel was a back-up for Mädler like by ´Alcina´ in Aix and Dresden plus other occasions. His beatiful but small voice never got strong enough to match big orchestras. So for "Yniold" and other solos they used stronger voices like that of Mädler, Eilers and Göritz. The problem is shown/heard on Bachkantaten Stift Melk Part 1 at 27:00 and Part 3 at 1:00. .
@@52sport6469 Lionel Wunsch and Pascal Pfeiffer (who hasn't been mentioned a lot, but who had an absolutely wonderful voice) seem to have been excellent soloists whose voices must have been strong enough. Otherwise they wouldn't have been chosen to sing the role of Oberto in Haendels Alcina at Wiener Staatsoper (!) in October 2016.
Easter 2021. Most easters I search around for a Matthew Passion to listen to. This year I hit the jackpot finding this utterly riveting performance. Not so much conducted as driven and my goodness how wonderfully it works! initially one thinks "wow that's a bit fast" but there is such a sense of propulsion through the narrative. The soloists in every department were just excellent. Those wonderful violin solos, those cellists and flautists playing so beautifully and this astonishing boys choir. Breathtaking singing! Superbly controlled by this brilliant choral conductor and quite definitely the best performance of this Passion that I have ever heard. I could go on but I think I made my point. Thank you!
What a talent Bach had for musically expressing the emotion of a theme through music! And how wonderfully does this ensemble bring it to life, faithfully and beautifully. Praise God for Bach and the earnest, timeless art that his humble vessel produced as an outworking of the deep faith he held.
Poor creature, there is no god. This music was written by a human being, so was the bible. They did well, our christian civilisation is the best ever. Marxist globalist however are now destroying it!
The Tölzer Knabenchor is a German boys' choir founded in 1956 in the Bavarian town of Bad Tölz and, since 1970, based in Munich. The choir is ranked among the most versatile and sought-after boys' choirs in the world, and is still led by its founder and musical director Gerhard Schmidt-Gaden.
A year later since I first watched this, I have yet to find another performance that matches this one. Of course, there are several really excellent performances but none that give me goosebumps like this one. I wonder what the boy soloists are doing five years after singing here. Their voices will never be what it was in 2017. But I feel certain their voices have matured wonderfully. If anyone knows I'd love to know.
Il s'agit là sans conteste d'une admirable interprétation, prise de son, captation et réalisation vidéo de la fabuleuse Messe selon St-Mathieu de J-S Bach. La précision de la prise don nous fait entendre chaque instrument, chaque inflexion de la voix du choeur et des solistes. Une direction haletante, vive, précise, des plus musicale. On ne se lasse pas... Bravo à toutes les personnes qui rendent possible un si plaisant et achevé accomplissement. Elias Mädle y est notamment au sommet de son art fabuleux. La maîtrise de son souffle, de ses vibratos, de son phrasé, de sa pose de voix, de son rythme et de l'ensemble de sa vibrante et émouvante musicalité fait de chacune de ses prestations dans ce concert un chef-d’œuvre exceptionnellement abouti. Notamment l'Aria « Ach! nun ist mein Jesus hin! » 01:05:00 la profondeur de ses basses et la précision éclatante, lumineuse et parfois déchirante de ses aigües sont saisissantes. Manifestement il a été à bonne école. Bravissimo! Ce n'est là qu'à l'image de chacune des parties de cet ouvrage exceptionnel, comme par exemple dans le vertigineux Aria Gebt mir meinen Jesum wieder! 01:29:28 Ici, la prestation des cordes, autant celle des violoncelles que celle de la soliste sont à la hauteur de ce tout monumental, débordant de rythme et de vie. Je pourrais continuer ainsi indéfiniment à décrire la beauté de l'architecture sonore de chacune des parties de ce tout merveilleux. Les gothiques volutes musicales se succèdent avec le même bonheur comme elles se déploient par exemple dans le célèbre Aria « Aus Liebe will mein Heiland sterben (Arie) » 01:40:08 et dans la imposante prestation du soliste anonyme qui psalmodie de manière admirable de profonds et vibrants aigües si bien ajustés à l'envoûtante mélopée des flûtes agiles, mélancoliques hautbois et autres vents. Les mots me manquent pour décrire le très rythmé et non moins célèbre Aria qui suit « Können Tränen meiner Wangen » 01:47:20 avec une prestation remarquable du magistral Elias Mädle précité. Un dialogue parfait entre les cordes vibrantes et le contrechant virtuose du soliste. Digne des plus grandes interprétations. Le duo de violoncelles dans l'Aria « Komm, süßes Kreuz » 01:58:40 déchirent littéralement l'air en interprétant si bien cette partition enlevante et le baryton Samuel Hasselhorn y chante admirablement bien cet air vigoureux et dansant. Le ténor Benjamin Glaubit se lance ensuite dans un récitatif bien senti et comme dans le reste de ses nombreuses prestations, ne manque pas de séduire par semblables et non moins nombreux exploits vocaux précités. La direction d'orchestre est à l'avenant. Christian Fliegner obtient ce qu'il veut de ses interprètes et de manière jamais aussi contrastée que dans le furioso récitatif qui sui le très doux, mesuré et mélodieux choeur « Wenn ich einmal soll scheiden » 02:13:30 ce qui se répercute dans le récitatif lui-même qui s'adoucit au fur et à mesure où il se déploie au gré des arpèges du ténor précité Benjamin Glaubit. Suit un magistral et profond solo du solide et mélodieux baryton Samuel Hasselhorn dans un récitatif imposant suivi par un Aria majestueux. « Mache dich, mein Herze, rein » 02:19:18
I'll have to take your word for it. My mother, a frustrated music prodigy, was unable to find a viable career in this field because of her gender. Because of this, she put undue pressure on we, her 7 children to have the same level of skill as she once had. Unfortunately, none of us were never better than slightly above average in our prowess. In pressuring me in that way, she killed any joy or passion I might have learned to feel in music as a whole. Occasional pieces may move me to a limited extent, but I never achieved any kind of ecstasy such as you and others here have described.
Oui, c'est une interprétation remarquable, la meilleure que je connaisse. Le jeune soliste alto est sublime et aussi le jeune soliste soprano, qui est à la même hauteur. Merci surtout à Jean Sébastien Bach, le 5è évangéliste ! .
Merveilleux, mille fois écouté, mille fois émue, quel génie Bach. Quelle merveilleuse interprétation. Le final est un concentré de génie humain quel espoir.
What an astonishingly exciting, achingly wonderful and inspired performance! From the initial pulsing tempi that never drags and continually propels one forward with emotional intensity into this Bach masterpiece, it offers a different perspective from the usual slow, somber performances. The choral sound is full and lush with a delicious deep richness and purity of tone. The male soloists are superb. The boy soloists are jaw-droppingly amazing. Conductor Christian Fliegner is fabulous - his body literally appears to sing its way through the music, flawlessly leading, encouraging and guiding. It's really quite wonderful to behold. The orchestra is absolutely incredible, with some fantastic soloists. And, there is something to be said for the unique emotional intensity infused into Bach's vocal music by native German-speakers. This is one of my truly treasured St. Matthew Passion performances, and I can only imagine it is how J.S. Bach would have wanted it. Thank you so much for posting this masterpiece.
Opening chorus lyric's guides the mood of the music therefore tempi. Bach carefully selected this lyrics, and they are asking the daughters of Israel to grive the Lord's passing. In my opinion a fast tempo as the historically informed versions do, just does not make sense, despite the hammering theory that Bach supposedly wanted to represent.. lyrics are not talking about hammering Jesus in the cross, they are talking about mourning, never occurs to me someone would do that singing a lively valse like tune.
Johan Urena, let us forget the blacksmith for a moment and read some other comments to Richter’s performance of the opening choir. . A Jalapeno, quote: «Bach wrote this for this church. The tempo is so slow n the opening chorus that words become pure vowels; it would have lost all meaning to the audience. So yes, there is such a thing as too slow. And yes there are many scholarly and practical reasons to question Richter’s tempos». Georges E. Melki, quote: «…the content of the opening calls for a faster pace: it represents a crowd in confusion asking about the Master and what happend to him. Even a Bach scholar like Albert Schweitzer supports this point of view». And I repeat: Richter’s performance has 35 heartbeat per minute. No one can function normally with only 35 heartbeat per minutes. Therefore we understand that Richter’s tempo in the opening choir is too slow.
🎵 "Classical music is a voyage into the sublime, where every crescendo and diminuendo is a brushstroke on the canvas of the human experience. It's a timeless dialogue between the composer and the listener, a conversation that transcends epochs and speaks to the very essence of our shared humanity." 🎹🌌
Das ist tatsächlich ausgezeichnet - die Tempi sind frischer als beim Thomanerchor - der Chorklang sehr weich und rund - die Solisten durch die Bank ausgezeichnet! Wirklich ein Hochgenuss und ein großer Trost in der Zeit der Vereinzelung! Vielen herzlichen Dank allen Beteiligten!
On the afternoon of Good Friday, 1958, we boys at St. Albans School (which provided choristers for the Washington Cathedral) had the afternoon off. The Cathedral Choral Society was giving a performance of the St. Matthew Passion, which I had never heard. As a 16-year-old boarding student with nothing better to do on a winter’s afternoon, I wandered over to the Cathedral to see if anything worthwhile was going on. This was going on (in English)! These days concerts by the Society are standing room only; then, on a Good Friday afternoon, I had the balcony in the South Transept to myself. Magical three hours. I immediately went out and bought the music and a Deutsches Gramophone record set. Terrific! But the record was inexplicably in German! Still have it. Wonderful recording - as is this.
Какое счастье слушать такую великую божественную музыку! И как же повезло этим мальчикам, с детства исполнять такие шедевры !Хору, Оркестру ,Солистам, Дирижёру Браво! Брависсимо!
Not all of them have the confidence to belt out their parts. But they're better than the bass, whose tempi and pitch both wander at times. You can see the conductor's reactions . . .
Eine ganz großartige Interpretation. Mir gefällt vor allem die Dynamik am Anfang. Nicht zu schnell, nicht zu langsam. Da wird richtig die emotionale Dramatik der Passionsgeschichte deutlich. Ganz großes Kompliment an alle Ausführenden (Orchester, Chor, Solisten, Dirigent)! Das ist die beste Interpretion, die ich bisher auf RU-vid gefunden habe.
What a wonderful performance. Bachs giant masterpiece just in the right tempi. The Tölzer boys choiristers just on the climax of their musical skills and Christian Fliegner ist right on the way to enter the footsteps of Nicolas d'Harnoncourt.
What a wonderful performance. The Tölzer Boys are stunning. Now I understand why conductors of the highest rank such as Karl Böhm, Georg Solti, Nikolaus Harnoncourt, Claudio Abbado, Sergiu Celibidache, and many others always wanted to work with that choir. Herbert von Karajan even counted the Tölzer among (quote) „the world’s greatest choirs“. Their founder and master, Gerhard Schmidt-Gaden (now +80 years old) is still active, and their current director, Christian Flieger, is one of his pupils, used to be one of the best boy trebles. I wish this boys choir would get more recognition by today‘s critics and concert managers!
Bach's Matthew Passion performed by the "Tölzer Knabenchor". Not only the soprano part but also the alto part is sung by boys. It is no exaggeration to say that this is the "best Matthew Passion" that can be heard today. #baroque #bach #片山俊幸
I had never heard a Passion in which the female voices were performed by boys. Dazzling. The pace is also much faster than usual, and more pronounced, which attenuates the funeral air that other versions have.
Avec l'Évangile selon St Jean... St Mathieu... Aussi l'interprétation est peut être trop rapide (pour moi..) Mais.. ce que j'écoute bien bien .. avec ferveur...c'est le BACH ...que j'adore ..l'orchestration et choeurs... Parfait.. cela fait je ne sais ...combien d'années que je n'avais eu le grand plaisir d'écouter..d'entendre cette oeuvre... Très belle interprétation... Beethoven et BACH... Les plus grands... Merci....
Музыка Небес,ангельский хор и солисты - раскрывают наши сердца Божественному Духу Вечности и Гармонии... Благодарю за эту очищающую души людей Красоту!
