Added: 5 years ago
From: Bacholoji
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  • she makes it sound so easy

  • what a BEAUTIFUL voice! :)

  • She is pure elegance

  • divine!

  • comment s'appelle la soliste? elle est extraordinaire!

  • Une voix pareille ne peut faire qu'élever nos âmes

  • Very good redention

  • Is Koopman controlling the big organ behind the choir? Or is that a little upright reed organ?

  • @Classicalguy12 This is a small organ, called 'Portativ' with flue pipes (as recorder) - a little organ with reed pipes called 'Regal'.

  • @LifeforArt ahh okay, thanks for that. I couldn't tell what it was exactly.

  • I can hear the joyful songs from Maria...

  • This is really beautiful, and the singer is wonderful!

  • composed between 1728 and 1731 to be performed during the eve of either christmas or easter, this is one of the most brilliant and shining works written by the leipzig kantor

  • Desde Uruguay....Magnífica.

  • esta obra el titulo de la misma dice lo que es, es magnifica

  • wow brilliant voice

  • we did this song last night at our winter concert....it was beautiful

  • really? who sang it? u a professinoal group??

  • Amazing! The Soprano 2 is very elegant!

  • Magnifico!

  • The alto is Bogna Bartosz, she also sings in Koopman's Matthew Passion.

  • what is the name of this lady?

  • genial (:

  • I like this rendition as well.

    Translation: He exalts my spirit? That would be my first guess.

  • And my spirit hath rejoiced in God my Saviour

  • Yup. The only thing.... all booklets, etc. write "exSultavit", while the real Latin word is simply "exultavit", no need for the extra "s". I know, I know.... who cares? ;-)

  • @bersa888 My Vulgate Bible says "exsultavit". So does wikipedia. I think you are incorrect. Or maybe both ways are correct.

  • Not a big deal. I just looked again: I'm no latinist, but had 10 years of Latin, and my version of the Vulgata - and the Latin dictionary - say "exultavit". The "s" is redundant and it's not needed in Latin (or Italian or English) to pronounce the term. It might be a later anomaly - 5th-6th Cent. - in the spelling though...

  • Exspecto te vel exultavit vel exsultavit invenire.  Eigitur sive exsultavit vel exultavit invenias, expectandum est.

  • I thought we were done discussing the "s" problem (see below)! LOL

  • We are...I just couldn't resist the opportunity for obscure chiasmic phrasing. :)

  • :-)

  • ...and I wouldn't trust Wikipedia here...

  • Yup: in all (good) Latin dictionaries, the root is "exult-", no doubt about it. The Latin Bible I own is the most reliable (Bibla Sacra - Iuxta Vulgatam Versionem, by th Deutsche Bibelgesellschaft, Stuttgart). I had to check to make sure :-)

  • @bersa888 Maybe that's the problem. Mine is the Vulgata Clementina. Maybe it's just a redundancy. I don't think it would be necessarily incorrect though? LOL We are making a very big deal of this. Take care.

  • You too. Bye! But, the music..... :-)

  • Johann Sebastian Bach... one of the last true human beings, much of actual people born for anything, persons as Bach born only once time on history and never die.

  • Again... wonderful singer and great playing..koopman at his best....

  • que bien lo hace!!!!!!!!!felicitaciones

  • are you kidding ? she is excellent !

  • tout a fait ::!!! il faut de la joie et la lumière et la vibration vocale aurait apparue!!! mais sinon le tempo est très bon je trouve.

  • Now Ton is conducting from the organ, as Bach did.

  • @BayAreaBiker2001 In his younger days, when Ton Koopman had longer (and more) hair and had a longer beard, I always had the impression that he conducted the orchestra with his beard when he was sitting behind the organ or behind the harpsicord.

  • @BayAreaBiker2001 Sorry I meant harpsichord..........not a native speaker ☺

  • @BayAreaBiker2001 can you imagine how happy was Bach playing and conducting the orchestra and singers in his own masterpiece?

  • Perfect tempo played with fresh, springy rhythms. Singer is really good: wonderful phrasing, excellent intonation, sparing use of vibrato. No Brunhilde. No 19th Italian opera. No dreamy-eyed romanticism to gag on. No ugly modern metal strings.

  • @wcbroccoli in other words just crap. singing with no vibrato should be banned. and by the way straight singing is flat singing!! get a clue!! you people know nothing about singing. go eat your broccoli!!!!!!

  • Gran trabajo de las cuerdas. Que bueno que no se ahoga al laud, que se puede distinguir con poco esfuerzo. La voz bella.

  • Et ex sul tavit spirutus maus een deo salu ta hahhahahahahahahaha-ri me o een deo saluta salutaria meo..... I am learning this song in choir and this lady is RELLY BAD!

  • et exultavit spiritus meus in deo salutari meo.

    She isn't THAT bad. Most of her notes are correct.

  • Aren't they supposed to be ALL correct?...

  • For what is worth (not much, I suppose...), my favorite interpretation of "Et exsultavit" is by Hertha Töpper (under Karl Richter).

  • baba, she's not really bad. she has just a lack of vibration for me.

  • Very pretty voice but a little joy will be better for this performance to make it perfect.

  • Playing a piece in a "fasionable" way is not what is being done here. There is much research to prove that this is the very same performance practice used by Bach himself at the time of this pieces conception. This performance is historically informed, which for me is the way to get closest to the authenticity of a piece of music. It begins here and goes outward towards personal impositions on the music, which is good or bad depending on who you are and what you desire from the music.

  • In spite of all the historical research, I must confess I'm yet to see a concludent proof that this was the tempo Bach had in mind when he composed "Magnificat". Besides, just looking at the prayer, I simply can't imagine the Blessed Virgin saying it in "full speed" to Saint Elisabeth!...

  • To my mind, "Magnificat" is to be performed with something like a quiet joy - if you prefer, with a contained happiness. If Bach had conceived it in a "just make it snappy" tempo, he would have been a very cold-hearted man - but this I find very hard to believe...

  • "To my mind, "Magnificat" is to be performed with something like a quiet joy". But this piece was not written with you in mind. Personal preference has nothing to do with the performance practice of the 18th century. We are entitled to prefer that which we find more pleasing and if you find a modern interpretation of Bach over a historically authentic version then I certainly will not argue with that.

  • To my mind, we have become much too hung up on authenticity at the expense of simply making the music as moving as possible. 18th century practice was in spirit the very opposite of modern sterile pedanticism: Bach freely transcribed, adapted, improvised, plagiarized from himself and others ... given modern instruments, you don't think he would have used them to the fullest? And I doubt he used a single tempo - he would have interpreted it differently each time.

  • If all were just a matter of taste, I would agree with you; but, as I've said, I'm not sure about the proofs given so far about this matter of tempo, and my doubts are even greater when I think about these lyrics and their spirit. It may be a defect of mine (I'll assume it) but I can't imagine Bach writing this particular score with such speed in mind. Let's not make a fuss about it, though: this is too beautiful for that!

  • Beautiful. I dream for a voice like hers. 'one day in heaven!

    And my spirit hath rejoiced in God my Savior. Luke 1:47

    Amen!

  • In the 50's it was fashionable to play Bach slow - now it's the opposite.

    Take it easy Mr.Koopman. There's another train in 30 minutes. We won't leave without you. Slow down!!!!!!!

  • I believe Koopman's way of playing Bach is the most authentic one.

    There may be more slower versions but I think Koopman's is more enjoyable

  • As always with Bach, the vocal lines are long and breath control is a problem for the singers. Notice she has to catch an extra breath at 1:10 and runs out of steam at the end of phrases several times. Any slower, and she'd need an extra pair of lungs.

  • I find this hard to agree with. Agnes Giebel did it almost flawlessly under Kurt Thomas in a 1963 recording I have - and, believe me, it was pretty slow...

  • Anyway, since the words are "and my spirit exulted in God", this is joyous music, so a jaunty tempo is entirely appropriate. She catches an extra breath at 1:02 as well, so whatever Agnes Giebel could do, this singer can't.

  • I fully agree with you here.

  • I think this was common in the 18th century to have long vocal lines. Handel and Mozart also did this.

  • You're not kidding. I've sung lots of baroque, and knowing how to sneak an extra breath in is essential, unless you've got phenomenal lungs. I wonder if there are any marathon runners around who can sing?

  • The best of the ABO videos is Quia respexit. he chorus is pretty solid throught. Great, fluid German Latin. Bach woul be proud.

  • You can't spell anything, O michaelmusicus!

  • Und mein Geist freut sich Gottes, meines Heilandes.

  • Really exultavit spiritus meus when I hear this wwonderful music.

  • And my spirit hath rejoiced in God my Savior. Luke 1:47

  • Et exsulvavit spiritus meus in Deo salutari meo

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