another "historically informed" Harnocourt's clueless "creation" and the singers seem to be falling asleep, bored, much rather than expressing what the the text says. Unbelievable!
@TheSammadan - it is latin: This is the whole text in english My soul proclaims the greatness of the Lord, my spirit rejoices in God my Savior for he has looked with favor on his lowly servant. From this day all generations will call me blessed: the Almighty has done great things for me, and holy is his Name. He has mercy on those who fear him in every generation.
He has shown the strength of his arm, he has scattered the proud in their conceit. He has cast down the mighty from their thrones, and has lifted up the lowly. He has filled the hungry with good things, and the rich he has sent away empty. He has come to the help of his servant Israel for he has remembered his promise of mercy, the promise he made to our fathers, to Abraham and his children for ever.
doesn't it feel like it slows down from the starting tempo, and even then its very rubato!? Bach's music is not meant to be performed with all that rubato.
@jhernandez16 Will all respect, it's perfectly reasonable for 20th century musicians to play Bach's music informed by not only the 17th but also the 18th and 19th centuries. As much as museum music is exciting to listen to, interpretations like this don't degrade the music, they keep it alive. Personally, I love Harnoncourt's interpretations; though I will assent that they're not quite orthodox, what passion they convey!
Because we are taught all our lives to hide our grief. And to experience it here, in the master's music. I cry at the pristine beauty of this performance. It is total perfection, and that is because every single singer and musician feels the music deeply and personally. It is a love affair between great music, and great musicians. Soli Deo Gloria
This is a lovely version as the tenor and mezzo have blended together, which is so important with this duet. I once had the painful experience of hearing a version where the singers simply did not listen to each other - they sang like soloists, and it was awful.
Every time I listen to this it makes me wanna cry. I've been wondering: what is the reason of this spiritual masochism? Why do we enjoy the sensation of grief so much?
What genius! Bach, here, takes the two more resmbling voices timbre-wise and has them intertwine their melody lines at such a majestic pace. Excepting the opening Magnificat, this has remained a great favorite. Splendid!
Genius of Bach truly felt in his Magnifiact. Never dated, the harmonies and melodies he uses always feel comfortable in the present day, not like you're listening to "old" music. Love it.
Ce duo Ian Bostridge - Bernarda Fink est miraculeux de justesse d'expression et d'intonation. Leur voix s'accordent à la perfection. Très émouvant. Un des passages les plus réussis de ce magnificat d'Harnoncourt. Bravo aux deux solistes.
However, having a low voice myself, we swopped parts so the range was more comfortable for Matej (the tenor part went quite high for him)
We had such fun performing it, especially since the last note (E below middle C) is my lowest and I was vibrating like a washing machine spin cycle XD
Erhm, it's Bostridge dude, can't go wrong there... Could you just give a little less specific details as how this is wrong insead of flaming like a moron? Probably not I guess...
Guess again my friend. Firstly, the alto part is being sung by a contralto - not an issue of gender; rather, one of instrumentation. This was written for two male voices (there's no way female voices would have been used in c.17 Leipzig). Exactly the same reason that I wouldn't have a man singing Strauss' "Vier Letzte," for example. Secondly, the orchestral ensemble is oversized - as is the choral ensemble (admittedly not an issue in this movement, but it does affect the piece overall). Cont'd:
Thirdly, Koopman's tempo is lugubrious, the dynamics are unsubtle, & the phrasing is overtly weighty. Just open your ears & listen to the ridiculous ritardando beginning at 3:00 (and carrying on until 3:19!!). It sounds as if Koopman thinks it's a tragic love duet written by Brahms. I recommend Paul McCreesh's recording, which is far more in keeping with what we know about Bach's performance practices & subsequently a far more rewarding listen. Are those details specific enough for you??
I think that the director of the orchestra can change a little the performance, or in this case a big change, but we have to accept it, it's the hear of the director that who made the decission.
Well it's just that this arrangement it's already done, and this concert was played, I mean, we can not change anything discussing this in youtube, but I agree with you, it's like a fault of respect.
I agree that adhering to period guidelines as well as guidelines set forth by the composer is important. With that said, I also believe that this music should also be listened to as an expression of all performers involved. We can't be creative in our own interpretations if we are so adament about following the composer's vision (have you spoken to Bach bout it?). Let's be progressive and open-minded.
In principle, you're right. My real problem with people like Harnoncourt is that they go against period guidelines while simultaneously laying claim to authenticity. If Harnoncourt wanted to re-arrange this for saxophone & bagpipe ensemble in the name of creative interpretation, then that would be just fine, *if* he was agreed to lay down his claim to authenticity. I love Karajan's "St Matthew," but he (rightly) never once said "this is Bach's way of doing it." Cont'd:
Sadly, Harnoncourt (& Koopman even more so) claims to be authentic all the time. & there's ample evidence (see below) to suggest that he's wrong. He needs to reconsider the purposes of his performances. If he said "this is my creative interpretation, & nothing more," I'd find it much easier to accept.
& to answer your question: why yes, I just got off the telephone with J. S. Bach. He said that he's never heard of you ;-) !
Has this been recorded as a CD for purchase? The whole recording (I have listened to all clips) is exquisite, especially this Et misericordia. It is divine. Perhaps not everyone agrees, but that is the beauty of variation - chacun a son gout.
I got chills with this one. I always do when I hear this done well. You can FEEL the song. Beautifully done. Thank you for sharing this performance with us.
The only word I can say: BEAUTIFUL!!! One of my favourite parts, tenor and alto perfectly equilibrated. His voice is like a caresse, her voice like a kiss in my hair.
1:48 That face...that face sort of sums up most of life, I think.
StoryNClark 1 week ago
Take me now, Mr. Bostridge...
PatroniFan 1 month ago
another "historically informed" Harnocourt's clueless "creation" and the singers seem to be falling asleep, bored, much rather than expressing what the the text says. Unbelievable!
David45NV1 1 month ago
How beautiful this interpretation is! There is so much intelligence and beauty and their voices unify themselves so harmoniously...
angelofsundown 2 months ago in playlist Altri video di jormundgard
Very nice!
pegcrain 3 months ago
Love her voice... so warm, full and pure
Polpy68 5 months ago
il tenore? due braccia sottratte all'agricoltura!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
un "asino" con persino difficoltà di lettura (dello spartito!)
Mi spiace per Harnoncourt...ma dove l'ha trovato? alla pesca di beneficenza?
carlocorbacolombo 5 months ago
Great!
BrittanyAlto 5 months ago
Wunderschön!
1976DSCH 5 months ago
Marty Feldman is alive and well.
Celestined 7 months ago
@Celestined wat
DannyDaWriter 2 months ago
Bostridge makes you proud to be British!
mattvid00 7 months ago
@mattvid00 ?
MrSportingdave 3 months ago
C'est superbe, merci
Delphinesque 8 months ago
Göttlich...
louvainman 9 months ago
this is my favorite piece from the Bach magnificat
roriechris7508 11 months ago
@roriechris7508
I agree
Schakowski 7 months ago
thank u very much ZAGGY110
great words
TheSammadan 1 year ago
wich language they talk??
can any body tell me what did they say??
i realy love it
TheSammadan 1 year ago
@TheSammadan - it is latin: This is the whole text in english My soul proclaims the greatness of the Lord, my spirit rejoices in God my Savior for he has looked with favor on his lowly servant. From this day all generations will call me blessed: the Almighty has done great things for me, and holy is his Name. He has mercy on those who fear him in every generation.
zaggy3110 1 year ago
@zaggy3110 part 2 -
He has shown the strength of his arm, he has scattered the proud in their conceit. He has cast down the mighty from their thrones, and has lifted up the lowly. He has filled the hungry with good things, and the rich he has sent away empty. He has come to the help of his servant Israel for he has remembered his promise of mercy, the promise he made to our fathers, to Abraham and his children for ever.
zaggy3110 1 year ago
Predivno! Svaka čast na izvođenju! Pozdrav iz Srbije!
TheMaliPerica 1 year ago
my community college choir is doing this piece for our christmas concert
The soloist for this part are awesome
hawaii808asian 1 year ago
Comment removed
glenngrande 1 year ago
Comment removed
glenngrande 1 year ago
Comment removed
glenngrande 1 year ago
check that bold guy on the right (choir). his face....
surrealIdeal 1 year ago
1:25- Ti Maaaantibus eum;
Ti MEEEEEhntibus eum
falstocat 1 year ago
doesn't it feel like it slows down from the starting tempo, and even then its very rubato!? Bach's music is not meant to be performed with all that rubato.
jhernandez16 1 year ago
@jhernandez16 Will all respect, it's perfectly reasonable for 20th century musicians to play Bach's music informed by not only the 17th but also the 18th and 19th centuries. As much as museum music is exciting to listen to, interpretations like this don't degrade the music, they keep it alive. Personally, I love Harnoncourt's interpretations; though I will assent that they're not quite orthodox, what passion they convey!
falstocat 1 year ago 4
@jhernandez16 Shhh
XxXxMoMoStewxXxX 1 year ago
Desde Montevideo, Uruguay...Marivolloso, Sublime. Acerca a Dios. Bach, hombre de fe.
susanauruguay1 1 year ago
Sem duvida o regente é um visionário...
avalokiteshivara 1 year ago
Stunningly gorgeous!
mlc2005 1 year ago
Because we are taught all our lives to hide our grief. And to experience it here, in the master's music. I cry at the pristine beauty of this performance. It is total perfection, and that is because every single singer and musician feels the music deeply and personally. It is a love affair between great music, and great musicians. Soli Deo Gloria
pgnorgan 1 year ago 3
This is a lovely version as the tenor and mezzo have blended together, which is so important with this duet. I once had the painful experience of hearing a version where the singers simply did not listen to each other - they sang like soloists, and it was awful.
yezdnil 1 year ago
Une interprétation sensible et touchante.
Sketchturf 1 year ago
Ein Tag ohne Bach ist ein verlorener für mich
aljoscha24 1 year ago
Wonderful. Thank you.
ssskpsso 1 year ago
fucking exquisite
kadjrare 1 year ago
Is she a contralto?
nightmarelab 1 year ago
Every time I listen to this it makes me wanna cry. I've been wondering: what is the reason of this spiritual masochism? Why do we enjoy the sensation of grief so much?
AikiNick102 1 year ago
Ian Bostridge, I love you so.
PatroniFan 2 years ago
Get to perform this tonight :] super excited!
TenorMan90 2 years ago
What genius! Bach, here, takes the two more resmbling voices timbre-wise and has them intertwine their melody lines at such a majestic pace. Excepting the opening Magnificat, this has remained a great favorite. Splendid!
vsv818 2 years ago 4
This is my 2º song from this piece of Bach...
MY first is Omnes Generationes
MilDarkAngel 2 years ago
C´est tout simplement sublime,tu as raison.Sublime et intemporel.
fulmet 2 years ago 3
Genius of Bach truly felt in his Magnifiact. Never dated, the harmonies and melodies he uses always feel comfortable in the present day, not like you're listening to "old" music. Love it.
elvenlove 2 years ago
whos the klingon alto
squashroe 2 years ago
jerk, her name is Bernarda Fink, a mezzo, and I'll wager she has more stylish hair than you.
gigie555 2 years ago 3
I always thought kilgons were notorious for the excessive brow, but if you think her hair is great thats fine.
Think her singing is probably main attribute though..
squashroe 2 years ago
Lo mejor ! :D i love this
artofmymusic 2 years ago
This comment has received too many negative votes show
Et misericordia...but the conductor is pitiless!
razowiec69 2 years ago
Je trouve cela sublissime.
Andthomremas 2 years ago 17
This comment has received too many negative votes show
He sounds a little under the pitch most of the time thru!!!!
GosfordAbercrombie 2 years ago
Is he a contra-tenor?
edancoll 2 years ago
No he's not. He's a Tenor!
dreioktaven 2 years ago
wow......simply amazing performance
Bach is simply music's number one genius
afffred 3 years ago
lol 3:37 he looks like a goldfish XD
shaun7angel 3 years ago
LOL
sojutofu 2 years ago
LOL
sojutofu 2 years ago
LOL! hahah...
MrBertholdo 2 years ago
Ce duo Ian Bostridge - Bernarda Fink est miraculeux de justesse d'expression et d'intonation. Leur voix s'accordent à la perfection. Très émouvant. Un des passages les plus réussis de ce magnificat d'Harnoncourt. Bravo aux deux solistes.
saturne46 3 years ago 9
I sang this with a male friend
However, having a low voice myself, we swopped parts so the range was more comfortable for Matej (the tenor part went quite high for him)
We had such fun performing it, especially since the last note (E below middle C) is my lowest and I was vibrating like a washing machine spin cycle XD
TamsintheAlmighty 3 years ago
bello!!
carloslopezluna 3 years ago
This comment has received too many negative votes show
This performance is just *criminally* wrong.
magdluke 3 years ago
Erhm, it's Bostridge dude, can't go wrong there... Could you just give a little less specific details as how this is wrong insead of flaming like a moron? Probably not I guess...
zinutile 3 years ago
Guess again my friend. Firstly, the alto part is being sung by a contralto - not an issue of gender; rather, one of instrumentation. This was written for two male voices (there's no way female voices would have been used in c.17 Leipzig). Exactly the same reason that I wouldn't have a man singing Strauss' "Vier Letzte," for example. Secondly, the orchestral ensemble is oversized - as is the choral ensemble (admittedly not an issue in this movement, but it does affect the piece overall). Cont'd:
magdluke 3 years ago
Thirdly, Koopman's tempo is lugubrious, the dynamics are unsubtle, & the phrasing is overtly weighty. Just open your ears & listen to the ridiculous ritardando beginning at 3:00 (and carrying on until 3:19!!). It sounds as if Koopman thinks it's a tragic love duet written by Brahms. I recommend Paul McCreesh's recording, which is far more in keeping with what we know about Bach's performance practices & subsequently a far more rewarding listen. Are those details specific enough for you??
magdluke 3 years ago
*slip of the tongue/fingers: Harnoncourt.
magdluke 3 years ago
I think that the director of the orchestra can change a little the performance, or in this case a big change, but we have to accept it, it's the hear of the director that who made the decission.
didoipod 3 years ago
Accept it? Surely the composer's wishes ought to be respected above & beyond any ideas that the performer brews up?
magdluke 3 years ago
Well it's just that this arrangement it's already done, and this concert was played, I mean, we can not change anything discussing this in youtube, but I agree with you, it's like a fault of respect.
didoipod 3 years ago
I agree that adhering to period guidelines as well as guidelines set forth by the composer is important. With that said, I also believe that this music should also be listened to as an expression of all performers involved. We can't be creative in our own interpretations if we are so adament about following the composer's vision (have you spoken to Bach bout it?). Let's be progressive and open-minded.
connellje 3 years ago
In principle, you're right. My real problem with people like Harnoncourt is that they go against period guidelines while simultaneously laying claim to authenticity. If Harnoncourt wanted to re-arrange this for saxophone & bagpipe ensemble in the name of creative interpretation, then that would be just fine, *if* he was agreed to lay down his claim to authenticity. I love Karajan's "St Matthew," but he (rightly) never once said "this is Bach's way of doing it." Cont'd:
magdluke 3 years ago
Sadly, Harnoncourt (& Koopman even more so) claims to be authentic all the time. & there's ample evidence (see below) to suggest that he's wrong. He needs to reconsider the purposes of his performances. If he said "this is my creative interpretation, & nothing more," I'd find it much easier to accept.
& to answer your question: why yes, I just got off the telephone with J. S. Bach. He said that he's never heard of you ;-) !
magdluke 3 years ago
where can I find this DVD for sale (online) ?
pslaureenha 3 years ago
very nice play between the soloists, it's a real pleasure :-)
SimplyDavid42 4 years ago 2
Absolutely exquisite!
musodan 4 years ago 4
AWESOME ... AWESOME... Beatifull !!! This is the etalon !!!
mixolid 4 years ago
Has this been recorded as a CD for purchase? The whole recording (I have listened to all clips) is exquisite, especially this Et misericordia. It is divine. Perhaps not everyone agrees, but that is the beauty of variation - chacun a son gout.
bachsonata 4 years ago
Its on DVD.
Bachsoboe 4 years ago
HE IS AWESOME ... AWESOME
Martinou1975 4 years ago
we're doing this in my choir.
never heard anything this beautiful... ever.
anyway i could get a hold of it?
like... to put it on an ipod or a CD maybe?
Braceleteer 4 years ago
Tell me a e-mail. I can send you this song, this version, in mp3.
abnerwagner 4 years ago
I got chills with this one. I always do when I hear this done well. You can FEEL the song. Beautifully done. Thank you for sharing this performance with us.
snuggykitten 4 years ago
The only word I can say: BEAUTIFUL!!! One of my favourite parts, tenor and alto perfectly equilibrated. His voice is like a caresse, her voice like a kiss in my hair.
abnerwagner 4 years ago
How could you ever have
Escaped this siren song then?
10st1n111us10ns 4 years ago