Can I just say I sincerely agree with everybody complementing this exquisite performance and the wonderful performers. This is a very moving and convincing interpretation. By all involved. Admittedly, Andrew Bearden Brown, Christopher Moore and Oscar Golden-Lee are particularly beautiful! In more ways than one. But I have to add … what struck me as well, is the first row of very young listeners on the left isle behind the conductor - some in shorts, and one of them wearing flip flops even (and yes I know it was mid summer, and yes I understand and no, I don’t mind that one bit. On the contrary.) - I find it strangely hopeful that still quite a (happy) few of our young generation are open to this profound and exceptional cultural heritage. I think the presence of these "young'uns" is a strangely beautiful testament to the timeless quality of the music as well as the story.
as you can hear, voces8 are all really hidden german native speakers :-), so I continue my comment in german. Es ist fast ungerecht eine Stimme besonders hervor zuheben, weil alle Voces8Solisten eine hervorragende, engagierte Interpretation geben. Trotzdem für mich sticht eine Arie besonders hervor. Es ist ja bezeichnend, dass der Meister JSB die größten Worte des christlichen Evangeliums "Es ist vollbracht" in eine auf den ersten Blick fast unscheinbare Altarie "gepackt" hat. Aber wie die hier interpretiert wird!! Riesenkompliment an Katie! Ich empfinde, dass sie in ihrer Darbietung die Größe des Inhaltes voll erfasst hat und, ich finde kein besseres Wort, in erschütternder Weise gesungen hat. Ganz große Musik! Hammer! - Vielleicht hören wir Katie mal mit der Alt-Arie "Vergnügte Ruh" (Kantate BWV 170). Grüße aus dem Salzkammergut in Österreich!
It is good we can appreciate the refined things that have come from human kind, past or present. Full, exceptional performance. Katie's last aria was STUNNING and dramatic.
Bach hat ja keine Oper geschrieben. Aber diese Johannespassion ist besser als viele Opern. Ich habe die Johannespassion in drei Ensembles gesungen. Unvergesslich die Turbae-Chöre und Eingangs- und Schlusschor. Die Aufnahme hier ist einfach perfekt. Es liegt auch daran, dass es keine externen Solisten gibt, sondern diese singen alle Chöre mit. Ich werde mir mal wieder den Klavierauszug vornehmen und die Chöre mitsingen - natürlich nur in dieser Aufnahme.
This is another 'masterpiece performance' by the combined VOCES8 Scholars, Apollo5, and the Academy of Ancient Music. To those of us who appreciate fine musical presentations, what a mega treasure to the ears and soul. Many, many thanks again to Artistic Director, Barnaby Smith for another 'perfect' offering. BRAVO!!!
The most beautiful, expressive, and honest Evangelist I have heard. And everyone in this performance seemed to sing not just with exquisite artistry but from the heart. Thank you for a moving experience.
I am deeply moved by this outstanding performance - it brought tears to my eyes. Such a beauty and such intensity, such wonderful musician and singers. Thank you for this gift. Even now, after some days, I am carrying with me the impact and amazement from hearing it the first time. Love.
PARTE PRIMA 1. 0:00 Chorus: Herr, unser Herrscher 2. 9:28 Recitative: Jesus ging mit seinen Jüngern über den Bach Kidron 3. 11:50 Choral: O große Lieb 4. 12:36 Recitative: Auf dass das Wort erfüllet würde 5. 13:37 Choral: Dein Will gescheh´, Herr Gott zugleich 6. 14:29 Recitative: Die Schar aber 7. 15:12 Aria (Alto): Von den Stricken meiner Sünden 8. 20:12 Recitative: Simon Petrus aber folgete Jesu nach 9. 20:23 Aria (Soprano): Ich folge dir gleichfalls mit freudigen Schritten 10. 23:58 Recitative: Derselbige Jünger war dem Hohenpriester bekannt 11. 26:49 Choral: Wer hat dich so geschlagen? 12. 28:38 Recitative: Und Hannas sandte ihn gebunden 12a. 28:54 Chorus: Bist du nicht seiner Jünger einer? 13. 30:37 Aria (Tenor): Ach mein Sinn 14. 33:11 Choral: Petrus, der nicht denkt zurück PARTE SECONDA 15. 34:30 Choral: Christus, der uns selig macht 16. 35:36 Recitative: Da führeten sie Jesum 16a. 36:13 Chorus: Wäre dieser nicht ein Übeltäter 16b. 37:30 Chorus: Wir dürfen niemand töten 17. 39:38 Choral: Ach großer König 18. 41:23 Recitative: Da sprach Pilatus zu ihnen 18a: 42:42 Chorus: Nicht diesen, bitte nicht, nicht diesen, sondern Barrabam 19. 43:17 Arioso (Bass): Betrachte, meine Seele 20. 45:51 Aria (Tenor): Erwäge, wie sein blutgefärbter Rücken 21. 54:26 Recitative: Und die Kriegsknechte flochten 21a. 54:42 Chorus: Sei gegrüßet, lieber Jüdenkönig 21b. 56:09 Chorus: Kreuzige ihn! 21c. 57:18 Chorus: Wir haben ein Gesetz und nach dem Gesetz soll er sterben 22. 59:53 Choral: Durch dein Gefängnis, Gottes Sohn 23. 1:00:58 Recitative: Die Juden aber schrieen und sprachen 23a. 1:01:01 Chorus: Lässest du diesen los 23b. 1:02:53 Chorus: Weg, weg mit dem, kreuzige ihn! 23c. 1:04:02 Chorus: Wir haben keinen König 24. 1:04:53 Aria (Bass): Eilt, ihr angefochtnen Seelen 25. 1:08:40 Recitative: Allda kreuzigten sie ihn 25a. 1:09:53 Chorus: Schreibe nicht: Der Judenkönig 26. 1:10:46 Choral: In meines Herzens Grunde 27. 1:11:55 Recitative: Die Kriegsknechte aber 27a. 1:12:25 Chorus: Lasset uns den nicht zerteilen 28. 1:15:12 Choral: Er nahm alles wohl in acht 29. 1:16:28 Recitative: Und von Stund an 30. 1:17:53 Aria (Alto): Es ist vollbracht 31. 1:23:02 Recitative: Und neigte das Haupt und verschied 32. 1:23:24 Aria (Bass): Mein teurer Heiland 33. 1:27:55 Recitative: Und siehe da 34. 1:28:19 Arioso (Tenor): Mein Herz, indem die ganze Welt 35. 1:29:16 Aria (Soprano): Zerfließe, mein Herz 36. 1:36:16 Recitative: Die Juden aber 37. 1:38:17 Choral: O hilf, Christe, Gottes Sohn 38. 1:39:21 Recitative: Darnach bat Pilatum 39. 1:41:12 Chorus: Ruht wohl, ihr heiligen Gebeine 40. 1:49:07 Choral: Ach Herr, lass dein lieb Engelein Please tell me if I made any mistakes.
Magnifique qi'il s'agisse de l'orchestre ou des solistes Une attention particulière pour l'infinie douceur d'Andrea Haines dans l'aria Zerfließe, mein Herz.
Thank you Voces8 and company for the most memorable Palm Sunday ever. We are quarantined all over the world, and yet we can share something so profound and beautiful. This performance has passion and perfection all wrapped in one. (from someone who specialized in Bach my whole working life....Bravissimo.
Phenomenal performance by all. As a former chorister, I can appreciate all the hard work put into this performance of such a wonderful work, though I never was in a choir that performed this. I look forward to seeing and hearing future videos.
Excellent bassoonist! excellent everybody of the orchestra! (people usually compliment soloists, oboes, 1st violin and conductor) the bassoon has such a melodious sound and together with the bass is of such fundamental importance!
Very gorgeous interpretation of this great music of the fifth evenvelist. Ad maiorem Dei gloriam. Thanks very much for uploading this master piece of art. Warm greetings from Santiago,Chile. Dr. Fernando Rivas-Burattini.
nice remembering of our coaches of Milton Abbey , few days with aim of singing "the dream of Gerontius " by E.Elgar; and great thanks for this wonderful Passion ! thanks very much to Voces Eight and all the musicians ! best regards from Didier Mayer of France
When, back in 1980, I was 24 and living as an ex-pat Canadian student in Florence, Italy, I first listened to the St. Matthew Passion one night in my landlady's garret. Right away a relationship began with Bach through that music which continues to this day. -- Only recently have I begun to listen to the more 'radical' and youthful Johannespassion. I find this earlier work just dizzying and, like the later Matthew's Passion, mezmerizing. -- It's nice to listen to both and appreciate them, and to have RU-vid bringing us such a bounty of options to savor and enjoy. This English performance of the Johannespassion is beautifully sung with verve and great concentration. The work begs for it. Nonetheless upon repeated listenings, I keep hearing myself say that there's just something basically amiss with the acoustics in this recording. It's as if the choir and orchestra (though not generally the soloists) were projecting the music from behind a veil of heavy gauze in Milton Abbey Church. There's a kind of aural smokiness here that sometimes muddies the all-important words. Maybe it is just the acoustics of the church; it's certainly not the performers or the performance. Nonetheless the opacity just keeps getting in my way. -- To demonstrate what I mean, compare this performance in Milton Abbey to the 2018 Nederlands Bach Society's performance at the Grote Kerk in Naarden (ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-zMf9XDQBAaI.html). "Waere dieser nicht ein Uebeltaeter" in The Voces8 performance begins here at 36:13; the Dutch in Naarden set on at 39:31 in the above-linked RU-vid video. Am I wrong? What do you other careful lovers of this music think? -- Both renditions are full of life and emotion but the Dutch performance has an aural incisiveness and immediacy that I really often find wanting in the Milton Abbey recording. -- You could say: he havers. But I rather think that the Old Man of Leipzig himself would want us to haver over his exquisitely wrought creations. Genius is like that, rather self-referential. Bach himself must have been a very exacting master of musical story-telling. Clarity is everything here. Just my few random thoughts....
Can we compliment the oboist? He is absolutely phenomenal. And I am in love with the mezzo (Katie). She is the first ever female alto in Voces8. I am so glad they accepted her in the choir. She's a gem.
I had to pace viewing this over 4 days. AWESOME job everyone! Having been raised in the Lutheran Church hearing several of the chorus selections brought back memories of learning those same tune arrangements from a Bach Chorale book as a teenager. Also realizing they are part of Lutheran hymnody to this day. Looking forward to seeing more uploads of full concert performances from Voces8 in the future, oh, but keep uploading individual selections just the same.
@@jimrains4406 Checkout Bach Netherland Society they also rock it! But indeed it is, I remember I strugled a bit with this piece, so magical it is nonetheless!
Those dissonant beginning harmonies must have been electrifying to Bach's church goers. With a few exceptions, you have to jump ahead to the future works of Mahler to hear these again.
Whoop John They probably hold their knives and forks in the most un-elegant way, keep their mouths open (like a cement mixer) while eating their dinner and hold their pens (sorry, biros) like monkeys as is the modern way
Und sagte niemand diesen jungen Leuten wie man sich zu kleiden und zu benehmen hat? Der Anblick ist fast unerträglich! Und das bei einem solch excellenten geistlichem Konzert!
Herrlich! The unanswerable question however, @1:04:55 remains (surprise surprise) unanswered. Namely, at what tempo to take; "Eilt! eilt!" Hurry! hurry! Musical purists would say, Vivace, in the spirit of the imperative. Theologians however, might think otherwise. "Wohin?" Where to? Whereupon the sheer horror of the reply, "Nach Golgatha". The hill of crucifixion!, lends itself more naturally to largo. After all mourners don't normally run. Neither to the execution nor the funeral. (but I'm sure JSB left a note in the score).
A great version that rivals the Academy of Ancient Music' s (late) Christopher Hogwood's version. They're different but... Pity that Bach can't tell us which he prefers.
Such a small choir - a really fresh sound. Only in the last Choral your musical performance doesn't follow the text. In my eyes, the music should always go hand in hand with the text. And by the way, Christopher Moor should improve his pronunciation. Sam Dressel was outstanding in this topic.
20:22 come on now people. (the dangers of live recordings I suppose!) Also rip the principal second violinist, his amore went out of tune which he couldn't help. he wasn't happy with it haha
What is your problem? Have you never had a problem performing live? Have you ever even performed live? I bet you listen for wrong notes on your recordings. GET A LIFE!!!
@@tomradcliffe7084 do you even realise what I was referring to? I meant the person loudly knocking over the cup. This recording is absolutely phenomenal (the orchestra in particular).
The first choir should be played and sung in a more dramatic way . You find the same the same problem further in some choirs of Jesus trial . There is problem with the prononciation of this choir which too soft ( probably english speakers). They should work on it because their vocal performance is quite good. In Ruht Wohl , they are ok but in the dramatic parts there is a lack of character. I listened their the video of the BWV 150 , they are very nice but this piece in an old style ( Buxetehude) which fits them. Bach has composed a lot of dramatic works and pieces. The Passions are the most iconic of those.
The problem with the St. John Passion is that it contains the vicious blood libel that the Jews killed Christ. Some minor modifications in the text are necessary before it can be sung in good conscience, with moral rectitude.
rien qu en écoutant le début , qch ne me convient pas dans cette interprétation. on entend pas bien disctinctement le leitmotiv des violons. ça dénature l original. mieux celle là : ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-SiKgrevzT-g.html
Trotz der unerträglichen Unterbrechungenn durch diese unzeitgemäße Werbung behält für mich die Johannes-Passion immer wieder ihre unausweichliche Überzeugskraft. Der aktuelle Bezug zu den frevelhaften Entscheiidungen in Moskau, Teheran oder Israel ist verblüffend visionär von Bach und seinen Texten.
Bach's masterpiece is definitely based on the the Gospel of John, the Anti-Judaism in this passion is based on him. It is definitely true that Martin Luther was a bastard, not just an anti-judaistic but more even misogyn, anti-disabled and paulinic. So much to discuss about this guy. But I don't have a clear insight that Bach himself was anti-judaistic and as long as I don't have a clear evidence for it, I see him as not guilty.
Elenore... (blond?) this piece is not opera... you do not need to be cute, just the deliver of Gods words through the blessing of Bach! LOL Oh Voces8 .. your choir music, motets are without equals... but this piece is too much for you. I'm sorry (its like fencing against a battle ax with a fencing sword.)
