Merci pour la mise en ligne de ces extraits commentés , un tout grand moment de musique divine et si pure qui nous entraîne tout là-haut vers le divin . Que d'émotions !!! Je ne puis que m'incliner avec respect devant l'oeuvre de Bach . Roland
Il est difficile de mal interpréter une telle partition tant cette musique est d'essence divine. Nos hommes d'état devraient en écouter + souvent, il s'en trouveraient certainement plus apaisés...et plus humbles !
Marc Minkowski est véritablement un génie....il vit la musique qu' il interprète et nous la retransmet en plein coeur avec une communication si particulière avec ses musiciens...époustouflant...i love you
I'll buy it, but I'm not expecting much. Emanuelle Haim's Magnificat has broken my faith in the French as great Bach interpreters. Jos van Veldhoven is STILL the reigning champion of Bach interpretation and execution.
recreating the vocal forces? wtf...bach had boy sopranos and altos, not women. it's a great recording but the BS about recreating the forces is just lame. were they just talking about number of bodies or the right types of numbers of bodies? :P
The body in Bach's day would go through puberty at a much later age than today. You could have a boy of 14, 15, or even 16 singing in the soprano register. It was probably due to medical and nutritional standards. Many believe it would sound more developed, somewhere between a boy and an adult woman. Also, the later age would give the boys a longer time to train in their technique, an opportunity most of today's boy choristers can't have. So no, it's not "BS."
Marc knows better, and mostly for lack of time to find a decent sounding group of boy sopranos and altos, he went with the adult singers. Bach used falsetists, adult males, singing alto lines but he never had female singers in his services singing sacred music. The sad thing about most of the recordings Marc does is that the band is fantastic and the singers are usually quite bad, as far as singing in early style goes. Are there any good sources you recommend regarding 18th c. puberty?
Yes- one of them was Philippe Herreweghe who lectured on the problem of using boys, using adult women instead for the same reason. If you've heard the voice of an older boy soprano on the verge of 'breaking,' (about 12-13 these days) the difference would be obvious. And Bach didn't only use falsettists, he used natural (meaning not castrato) male altos and sopranos who did not sing in falsetto voice, but with a full chest register.
What?! Natural male altos and sopranos not using falsetto? I'm afraid voices like this do not exist, and I don't think ever did, certainly not in great enough numbers to be used regularly by any composer. There are voices which never 'broke' because of hormonal complications, perhaps you are thinking of these? Again, where is the evidence to prove that these were any more common in Bach's day than they are nowadays? Michael Maniaci is one such example.
No, I'm not thinking of those "natural castrati." Maniaci is a medical exception. I'm thinking of natural male altos and sopranos using chest voices because their voices broke later in life - into the mid-teens, as many did in the Baroque period. The evidence is in the rosters of the St. Thomas School and other boy choirs whose histories extend back into the Baroque period and before. You have instances of boys' voices breaking as late as 16-17 years old.
Ah, that certainly makes more sense. And Bach would have had these boys in abundance. Using the word 'male' threw me, I obviously forgot teenage boys were male!
Another thing- the book 'Essential Bach Choir' by Andrew Parrott includes a roster of St. Thomas School where Bach served as cantor until his death. From the list it's clear that were boys singing at higher ranges as late as 16 years old (one of them is named: G. C. Hoffman, a 16 year old alto).
I meant first-hand sources, treatises? I know Parrot's book. Phil hates using kids because he's a control freak with a seriously short fuse and anyone who's done recordings with boy altos and sopranos is well aware of the time constraints involved...believe me. lolz! Leonhardt had the same problem when he recorded all the cantatas. On the plus side there's a great music school in Hamburg, the Johanneum, which trains boy singers and you can call them up if you need altos and sopranos.
@tatalito Saw Gardiner tonight playing this mass, two years after having heard Minkowski's version. Even if Gardiner's version was superb, in my humble opinion, Minkowski's was much better, Gardiner is 8/10 and Minko 9.5/10
This entire recording is transcendent. Minkowski has broken through and found the true work.
badbird100 2 weeks ago in playlist Naïve Classique - MARC MINKOWSKI
Listen to the sanctus of this version. Transcending and Magnificent
arkantoxic 10 months ago
Los musicos del Louvre y Minkowski son magnificos!!!
violinhunter2 1 year ago
Merci pour la mise en ligne de ces extraits commentés , un tout grand moment de musique divine et si pure qui nous entraîne tout là-haut vers le divin . Que d'émotions !!! Je ne puis que m'incliner avec respect devant l'oeuvre de Bach . Roland
parapente2011 1 year ago
Il est difficile de mal interpréter une telle partition tant cette musique est d'essence divine. Nos hommes d'état devraient en écouter + souvent, il s'en trouveraient certainement plus apaisés...et plus humbles !
jmiducdm 1 year ago
Bravo Bravo!!
I want to run out and buy the cd..
SPACETIMEBEAUTY 1 year ago
Amazing music and rendition.
GerardDrozd 1 year ago
Marc Minkowski est véritablement un génie....il vit la musique qu' il interprète et nous la retransmet en plein coeur avec une communication si particulière avec ses musiciens...époustouflant...i love you
frede77ric 1 year ago
Bravissimo. touching!
KosteckiAdam 1 year ago
Can't describe in words! Minkovski is a genius!
znbr1 1 year ago
The greatest music in the universe.
jsnauwaert 1 year ago 2
wonderful. thank you.
lovehaendel1 2 years ago 4
splendid work!!!
nelsonpianista 2 years ago 5
Unique!!!!
EugenioAmorim 2 years ago 2
Magnifique
izifit1 2 years ago 2
Comment removed
jeansguy79 2 years ago
Comment removed
jeansguy79 2 years ago
I absolutely need this CD.
MegaCawotte 2 years ago 2
une oeuvre eternelle
anisometropie 2 years ago
quelle voix Nathalie Stutzmann !!!!
boisfarine1970 2 years ago 3
La vôtre n'est pas mal non plus
saturne46 2 years ago
Yes ,me too , I want the name of the CD , please !!
M11Aaa 2 years ago
what is the name of the CD? Thanks
adibhaddad 2 years ago
amazon + Marc Minkowski + h-moll
there you can listen to more tracks and order the record.
I did it 4 min ago ... now i have to wait for 3 days and then i will enjoy!
elbwiesen 2 years ago
I'll buy it, but I'm not expecting much. Emanuelle Haim's Magnificat has broken my faith in the French as great Bach interpreters. Jos van Veldhoven is STILL the reigning champion of Bach interpretation and execution.
doctorfate77 2 years ago
recreating the vocal forces? wtf...bach had boy sopranos and altos, not women. it's a great recording but the BS about recreating the forces is just lame. were they just talking about number of bodies or the right types of numbers of bodies? :P
sk8nruff 2 years ago
The body in Bach's day would go through puberty at a much later age than today. You could have a boy of 14, 15, or even 16 singing in the soprano register. It was probably due to medical and nutritional standards. Many believe it would sound more developed, somewhere between a boy and an adult woman. Also, the later age would give the boys a longer time to train in their technique, an opportunity most of today's boy choristers can't have. So no, it's not "BS."
norcalrobbie2 2 years ago
Marc knows better, and mostly for lack of time to find a decent sounding group of boy sopranos and altos, he went with the adult singers. Bach used falsetists, adult males, singing alto lines but he never had female singers in his services singing sacred music. The sad thing about most of the recordings Marc does is that the band is fantastic and the singers are usually quite bad, as far as singing in early style goes. Are there any good sources you recommend regarding 18th c. puberty?
sk8nruff 2 years ago
Yes- one of them was Philippe Herreweghe who lectured on the problem of using boys, using adult women instead for the same reason. If you've heard the voice of an older boy soprano on the verge of 'breaking,' (about 12-13 these days) the difference would be obvious. And Bach didn't only use falsettists, he used natural (meaning not castrato) male altos and sopranos who did not sing in falsetto voice, but with a full chest register.
norcalrobbie2 2 years ago
What?! Natural male altos and sopranos not using falsetto? I'm afraid voices like this do not exist, and I don't think ever did, certainly not in great enough numbers to be used regularly by any composer. There are voices which never 'broke' because of hormonal complications, perhaps you are thinking of these? Again, where is the evidence to prove that these were any more common in Bach's day than they are nowadays? Michael Maniaci is one such example.
olialto7 2 years ago
No, I'm not thinking of those "natural castrati." Maniaci is a medical exception. I'm thinking of natural male altos and sopranos using chest voices because their voices broke later in life - into the mid-teens, as many did in the Baroque period. The evidence is in the rosters of the St. Thomas School and other boy choirs whose histories extend back into the Baroque period and before. You have instances of boys' voices breaking as late as 16-17 years old.
norcalrobbie2 2 years ago
Ah, that certainly makes more sense. And Bach would have had these boys in abundance. Using the word 'male' threw me, I obviously forgot teenage boys were male!
olialto7 2 years ago
Another thing- the book 'Essential Bach Choir' by Andrew Parrott includes a roster of St. Thomas School where Bach served as cantor until his death. From the list it's clear that were boys singing at higher ranges as late as 16 years old (one of them is named: G. C. Hoffman, a 16 year old alto).
norcalrobbie2 2 years ago
I meant first-hand sources, treatises? I know Parrot's book. Phil hates using kids because he's a control freak with a seriously short fuse and anyone who's done recordings with boy altos and sopranos is well aware of the time constraints involved...believe me. lolz! Leonhardt had the same problem when he recorded all the cantatas. On the plus side there's a great music school in Hamburg, the Johanneum, which trains boy singers and you can call them up if you need altos and sopranos.
sk8nruff 2 years ago
Comment removed
elbwiesen 3 years ago
I already have the CD. Don't miss this one. As good as the concert. It will be a first choice as soon as it appears in the market
asisecanta 3 years ago
amazing! I have the Eliot Gardiner Version,but I love this one!
Bravo! great posting!
fabian
tatalito 3 years ago
@tatalito Saw Gardiner tonight playing this mass, two years after having heard Minkowski's version. Even if Gardiner's version was superb, in my humble opinion, Minkowski's was much better, Gardiner is 8/10 and Minko 9.5/10
asisecanta 1 year ago
I had the big pleasure of having been present at one rehershal and at the Concert at Santiago. Unforgettable!!!
What Stutzman did with Agnus Dei was INCREDIBLE.
asisecanta 3 years ago
Breathtaking!
Asisecanta: Happy you (I mean the concert and rehearsal)!
Marc Minkowski rulez :)
musicca75 3 years ago
@asisecanta ah, i am envious...
bmgharst 1 year ago
Holy f&*@in God!!
Marc Minkowski recording Bach?! Finally!! I cannot wait until it comes out! XD
Viahandel06 3 years ago
thanks for uploading this wonderful clip!
Anyone knows where can I buy this CD?
I'm in love with this music and it's such a great performance!
RomanasK 3 years ago