my only complaint (as it is really beautiful) is that it sounds a whole tone higher than as displayed on the score. But is lovely singing for what worth of my opinion :-)
Has anyone else noticed that Buxtehude uses the raised sixth of the melodic minor scale quite a bit in this piece, and that he even harmonizes with it? Dominant chords sound almost as if they were tonic major chords, which sounds like the "naive joy" which dis0guise had mentioned. I've also noticed that Bach's harmonies do not use the melodic scale quite so much... Is this difference accounted for by the fact that Buxtehude was one generation before Bach?
@b0ttomzone The artificial distinction between the natural, harmonic and melodic minor scale was unheard of during the Baroque period (like many other contemporary aspects of music theory). And yes, the diminished triads built on the raised sixth scale degree may be in fact remnants of the older modal style - Bach also makes extensive use of the raised sixth, though in his music it's usually part of the major subdominant chord.
I live presently in France and with our small choir we will be doing a Buxtehude programme in May 2009. I absolutely adore what you do on You-Tube, Eser and your score setting is amazing! And then of course, this recording is just simply the cherry on the cake - you've got the very best of all, Emma, Andreas Scholl and so many others.....
This is some serious good stuff! Thank you civileso. We did this piece in my choir. But I feel pretty stupid posting here, every other poster comes across as a professional musician =)Again, many many thanks!
My viola da gamba is tuned to (Kammerton) A415, so to me this historically informed performance sounds a MINOR 3rd higher than scored.
The tuning fork was invented by John Shore in 1711, and it had a pitch of A423.5.
The A440 standard wasn't adopted until 1936.
But for those who still haven't gotten the memo about A415 and historically informed performances, you would assume this performance sounds, in the A440 world, a whole tone higher.
There may be a simple explanation for the piece sounding a note higher than written. Buxtehude probably used church pitch, which is around a note higher than today. Bach used church pitch in his Weimar cantatas, but switched to chamber pitch, around a half note lower than today, at Leipzig, and transposed the organ part (the organ still being in church pitch).
What do you mean "sounding a note higher than written?"
A few posters have observed that this performance sounds a "step", "note" or "tone" higher than the score.
However, the performance here is actually a minor 3rd (1 1/2 steps) higher than the score.
As I understand it, Bach, like everyone else in his day, used Kammerton for chamber music and Chorton (determined by the organ) for church music. In Leipzig church music, he adopted Kuhnau's practice of transposing the organ parts.
I, like a lot of people, don't have perfect pitch. This helps listening to HIP baroque music, since I'm not bothered in the least by the piece sounding in the "wrong key" like some posters have complained about. Anyway, I can't tell how much higher this is than what modern ears expect. Your comments about Bach's cantatas reflects what I wrote. I have the complete cantata set by Hanoncourt/Leonhardt, which originally came with the complete scores and went over the key difficulties.
Bach' Weimar cantatas seem to reflect the problem he was having with the difference between Chorton and Kammerton. The wind parts are written in Kammerton, so the players would have had to transpose on the fly. Harnoncourt thinks that the strings played on slightly smaller instruments and tuned up. Anyway, adapting Kuhnau's solution made things easier all around, especially since Bach probably tuned the organ to a well temperament so he could use some of the remote keys the organ ends up in.
The "perfect pitch" people believe A440 is stamped in the genes.
Right key/wrong key is a late 19th century Romantic notion.
Bach had no such Romantic notions when he turned his A minor violin concerto into a G minor harpsichord concerto so that it would fit the range of the keyboard.
Did Bach use mean tone or some kind of "well tempered" tuning in BC5 (from 1717-23), in WTC1 (1722), WTC2 (1742), or the harpsichord concertos performed at Zimmermann's coffee house (1729-40)?
According to Forkel, Bach tuned his own harpsichords and clavichords and found other people's tunings unsatisfactory; his own allowed him to play in all keys and to modulate into distant keys almost without the listeners noticing it.
I liked this so much, I bought the CD. Honestly. Yes, I have another performace of it on another CD, but this is better. Buxtehude has a naive, almost idiotic capacity for sheer joy that Bach could rarely match. This is little more than an ornate hymn setting, but look what he did with it: one gets a taste of that joy already. Try "Mein Herz ist Bereit" or "O Gottes Stadt" for a jolt of it in a solo cantata, or "Herzlich lieb hab ich dich, o Herr" (BuxWV 41) for choral/hymn setting.
Buxtehude's works are very interesting... he should be more famous than he is ;) I appreciate your vids, civileso :) How about Bach's setting of this (BWV 227)?
Beautiful
funion987 2 months ago
Es heißt doch aber im Original "Lauter Zucker sein" -was ja auch gesungen wird- Warum steht dann im Video die neuere Version "Lauter Freude sein"?
Maxi777ize 5 months ago
Very nice.............
peacemaker2020 5 months ago
I find this piece so touching. Not only because of the intrinsec beauty of the piece, but also because of Buxtehude's faith. Lovely :)
GothicalSOberhauser 1 year ago
my only complaint (as it is really beautiful) is that it sounds a whole tone higher than as displayed on the score. But is lovely singing for what worth of my opinion :-)
jezHB333 1 year ago
Has anyone else noticed that Buxtehude uses the raised sixth of the melodic minor scale quite a bit in this piece, and that he even harmonizes with it? Dominant chords sound almost as if they were tonic major chords, which sounds like the "naive joy" which dis0guise had mentioned. I've also noticed that Bach's harmonies do not use the melodic scale quite so much... Is this difference accounted for by the fact that Buxtehude was one generation before Bach?
b0ttomzone 1 year ago
@b0ttomzone The artificial distinction between the natural, harmonic and melodic minor scale was unheard of during the Baroque period (like many other contemporary aspects of music theory). And yes, the diminished triads built on the raised sixth scale degree may be in fact remnants of the older modal style - Bach also makes extensive use of the raised sixth, though in his music it's usually part of the major subdominant chord.
Nachtmarchen 1 year ago
Maravillosa obra de un maravilloso compositor. Se respira paz, alegría y esperanza¡
paripe 1 year ago
pax
Composerland 1 year ago
Awful German pronunciation!
Jolie voix de sopran.
thanks for posting : the piece is interesting and, if one finds a real Bass, not difficult to mount.
1401JSC 1 year ago
@1401JSC I'm a native speaker, their German is near-flawless - they even use the Baroque "itzt" rather than the modern "jetzt".
Nachtmarchen 1 year ago
haha..the text is extremely stupid...
Not Buxtehudes fault, I suppose.
Esosphere 1 year ago
@Esosphere
Why is the text stupid?
butterbrot1988 1 year ago
@Esosphere Buxtehude was a man with very deep faith, so he probably composed this because of his love for God.
GothicalSOberhauser 1 year ago
I was so happy when i got the bottom D's and C, turns out its not A=440 :(
dannypurtell 1 year ago
hmzHm kuschelbedarf und keiner da jemd Lust zu chattn
ChantellYonan65 1 year ago
Gotta love the 4:25-4:30 transition.
AkhmedSync 2 years ago
Ahhh, reminds me of Orchestration class. ;) Beautiful. He is my idol... hence the ID! Thank you for this.
JSB741 2 years ago
I love this harmony and this atmosphere! Beautiful ornaments. Fantastic rhytms. That's why I love Buxtehude :D
KasiaBrzozowska 2 years ago 3
I love this song so much, I'm singing the second soprano solo in my chorus!!
Animagirl1024 2 years ago
We're singing this in chorus. I want the first solo (Verse 2)
moopadoo 2 years ago
I love this cantata! ^^
auroradawn122 2 years ago
I live presently in France and with our small choir we will be doing a Buxtehude programme in May 2009. I absolutely adore what you do on You-Tube, Eser and your score setting is amazing! And then of course, this recording is just simply the cherry on the cake - you've got the very best of all, Emma, Andreas Scholl and so many others.....
THANK YOU
Kiki
kikivolauvent 3 years ago 2
me encanta... BUXTEHUDE!!
medescentras 3 years ago 2
This comment has received too many negative votes show
Bah, viel zu viel Buxtehude!
BuxtehudeBuxtehude 3 years ago
???
praisethelord333 3 years ago
Bella idea! Nice idea the score walking along with the music! The voice seems to belong to Emma Kirkby. Grazie 1000!!:)
clubindahol 3 years ago
It is Kirkby's voice. There is also Suzie LeBlanc and Peter Harvey singing the other parts.
civileso 3 years ago
Impresionante.Extraordinario.
debartzen 3 years ago
This is some serious good stuff! Thank you civileso. We did this piece in my choir. But I feel pretty stupid posting here, every other poster comes across as a professional musician =)Again, many many thanks!
Siuil 3 years ago 2
Absolutely beautiful!
johanovich777 3 years ago
Very good.. My skin was crawling!!
henka8 3 years ago
My viola da gamba is tuned to (Kammerton) A415, so to me this historically informed performance sounds a MINOR 3rd higher than scored.
The tuning fork was invented by John Shore in 1711, and it had a pitch of A423.5.
The A440 standard wasn't adopted until 1936.
But for those who still haven't gotten the memo about A415 and historically informed performances, you would assume this performance sounds, in the A440 world, a whole tone higher.
wcbroccoli 3 years ago
There may be a simple explanation for the piece sounding a note higher than written. Buxtehude probably used church pitch, which is around a note higher than today. Bach used church pitch in his Weimar cantatas, but switched to chamber pitch, around a half note lower than today, at Leipzig, and transposed the organ part (the organ still being in church pitch).
AML2000 3 years ago
What do you mean "sounding a note higher than written?"
A few posters have observed that this performance sounds a "step", "note" or "tone" higher than the score.
However, the performance here is actually a minor 3rd (1 1/2 steps) higher than the score.
As I understand it, Bach, like everyone else in his day, used Kammerton for chamber music and Chorton (determined by the organ) for church music. In Leipzig church music, he adopted Kuhnau's practice of transposing the organ parts.
wcbroccoli 3 years ago
I, like a lot of people, don't have perfect pitch. This helps listening to HIP baroque music, since I'm not bothered in the least by the piece sounding in the "wrong key" like some posters have complained about. Anyway, I can't tell how much higher this is than what modern ears expect. Your comments about Bach's cantatas reflects what I wrote. I have the complete cantata set by Hanoncourt/Leonhardt, which originally came with the complete scores and went over the key difficulties.
AML2000 3 years ago
The organ Bach wrote for at Weimar sounded a MINOR 3rd higher than A415, as does the organ in this Buxtehude performance.
Hmmm....
wcbroccoli 3 years ago
Bach' Weimar cantatas seem to reflect the problem he was having with the difference between Chorton and Kammerton. The wind parts are written in Kammerton, so the players would have had to transpose on the fly. Harnoncourt thinks that the strings played on slightly smaller instruments and tuned up. Anyway, adapting Kuhnau's solution made things easier all around, especially since Bach probably tuned the organ to a well temperament so he could use some of the remote keys the organ ends up in.
AML2000 3 years ago
The "perfect pitch" people believe A440 is stamped in the genes.
Right key/wrong key is a late 19th century Romantic notion.
Bach had no such Romantic notions when he turned his A minor violin concerto into a G minor harpsichord concerto so that it would fit the range of the keyboard.
wcbroccoli 3 years ago
One can only imagine their reaction listening to a harpsichord tuned to mean tone! I love growling wolves.
AML2000 3 years ago
Did Bach use mean tone or some kind of "well tempered" tuning in BC5 (from 1717-23), in WTC1 (1722), WTC2 (1742), or the harpsichord concertos performed at Zimmermann's coffee house (1729-40)?
According to Forkel, Bach tuned his own harpsichords and clavichords and found other people's tunings unsatisfactory; his own allowed him to play in all keys and to modulate into distant keys almost without the listeners noticing it.
wcbroccoli 3 years ago
Wunderbar, diese Stimme von Emma Kirkby!
Geliebte01 3 years ago
c nul parcke jcompren rien du tou a langlé
cindycrofor 3 years ago
I had sing this music, and gott hilf mir to.
mariecib 3 years ago
this is a master pice love it
sergiel777 4 years ago
I liked this so much, I bought the CD. Honestly. Yes, I have another performace of it on another CD, but this is better. Buxtehude has a naive, almost idiotic capacity for sheer joy that Bach could rarely match. This is little more than an ornate hymn setting, but look what he did with it: one gets a taste of that joy already. Try "Mein Herz ist Bereit" or "O Gottes Stadt" for a jolt of it in a solo cantata, or "Herzlich lieb hab ich dich, o Herr" (BuxWV 41) for choral/hymn setting.
dis0guise 4 years ago 5
Nice work with the score! Love it!
Monrealese 4 years ago
:D Gänsehaut!!! :)
derposi 4 years ago
que lindoooo! how beautifull performance, aparte q la obra es muy interesante
melisandedebussy 4 years ago
really fantastic music and voices...does anybody have this song in mp3 file??
oli7689 4 years ago
I do:))
civileso 4 years ago
great
yehan44bro 4 years ago
very nice job,thank you!and great,great music...
Mahlerienne 4 years ago
Buxtehude's works are very interesting... he should be more famous than he is ;) I appreciate your vids, civileso :) How about Bach's setting of this (BWV 227)?
EvelynCor 4 years ago
Nice suggestion.. I can do it next.. Do you have a certain performer in mind?
civileso 4 years ago
No, I don't... I only have an old recording of Windsbacher Knabenchor...
EvelynCor 4 years ago