@nisanus: Die Aufnahme ist einfach nicht mehr auf der Höhe der Zeit. Richters viel zu vollgriffiger Cembalocontinuo passt da sehr gut zu. Alles ein Einheitsbrei, möglichst wenig Ausdruck vorallem im Choral am Ende. Furchtbar, dass man sowas hat früher ertragen müssen.
Personalmente, aprecio más las versiones históricas actuales... con instrumentos de época y respetando el rigor barroco. No obstante, gracias a grandes maestros como Richter, la música de Bach ha pasado a ser conocida y amada por el gran público. Se debe tener en cuenta que esta grabación tiene ya unos años, los intrumentos son sinfónicos y el clave, en realidad es un clavicémbalo moderno (nótese la enorme sonoridad).
La música suena muy fuera de estilo, al igual que el Bajo, que canta todo gritado y desfasado, con mucho vibrato, quedando totalmente atrás en las agilidades - y sin la más mínima intención de expresar algo de lo que el texto dice -.
Creo que es la peor versión que he escuchado de esta maravillosa obra.
Und der Bariton (der 1.) scheint Theo Adam, der Bayreuther Record-Wotan, zu sein. Alle drei, Adam, Richter und Schreier, waren ja unter Mauersberger beim Dresdner Kreuzchor. Bis dahin dachte man ja in München, dass Bach etwas mit Forellen zu tun habe..... Das Orchester, wie alle Münchner, ist nur gehobener Durchschnitt.
Isn't this a strange kind of conducting one can see after 6:17, especially at 6:28 ? He's beating 8th notes ??? I'm not sure I could have played after this...
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Karl Richter should have used historical instuments - sounds like bad film score, exspecially the violins! The only thing conveying comfort is Peter Schreier (excellent!). The choir is not bad, too.
Was there ever a more appropriate name for a tenor than Schreier?
Joking aside, this is a good performance, but it doesn't floor me the way that e.g. Suzuki and company do with theirs. More classical style than Baroque, too.
each to their own. I think there is something to be said for this kind of performance. It is gutsy, there is enough whining from the evangelist... lol joke! Really though, he does have a lot of courage to have those large pauses. Plus the tessitura of the song is such that if you used a lighter and higher bass, then it would not be heard so well over the orchestration. One has to wonder if this was the same vocalist bach used for the higher, earlier aria or the later higher aria?interesting
Una obra musical no puede ubicar a ningún músico como el más grande, sino el conjunto de su obra. Hablando del conjunto, ciertamente Bach es uno de los 2 o 3 más grandes. Yo creo que Mozart supera a Bach en calidad en el conjunto de su obra.
Efectivamente, una sola obra no podría hacer a un compositor el más grande. Pero si sumamos a las Pasiones, la Misa en si, las Cantatas, El clave bien temperado, Las Variaciones Goldberg, El Arte de la Fuga, La Ofrenda Musical, Los Conciertos de Brandemburgo, los conciertos para varios instrumentos, Los Motetes, las Suites para Cello, para Violín, los Trios, las Suites para Orquesta o para Solista... y que en cada una de las piezas marca un hito, podemos concluir que Bach es LO MÁS.
It's incredible how Karl Richter plays the harpsichord and how he's back conducting a second later! I like his interpretations very much... he was a genius
I dedicace this piece to Bernadette Sara Ottou. This piece is such idyllic, especially at the "In meines Herzens Grunde" at the end...I cry whenever I listen to this!!! Bach is one of those scarcely persons who can makes me cry!!!
First of all, you need to learn your plurals in English. Secondly, were you there when Bach himself premiered his works so that you can state what a historical rendering is? Third, the results Richter achieved were perfect. Fourth, all researchers of the singing voice agree that vibrato is vital if one wants to sing freely, and that the straight tone is never free. Finally, I think Bach would have loved to see his works performed by a 1000-voice choir.
This comment is totally crazy! If this is perfection...! My goodness! Vibrato doesn't mean that you can mess all notes up. I doubt Bach would have loved his works sung with women and with 1000 voices: this is not Mahler, you know that, don't you?
You don't have to have been there to know how things were done back then. We have historic sources. Things like books, treatises, letters, etc. There's also extrapolation from extant historic instruments and authographs. Further, we can know that certain things were not done during a certain period, when these same things were considered novel at later times (eg. vibrato).
So, yes, we do know quite a lot about the past. Some things remain unknown, but the basics are common knowledge today.
The huge choir I find over the top, but I could live with it. After all, the people attending church were supposed to sing along during the chorals, that's why Bach uses old, well-known melodies, instead of composing his own - so that the common people can sing, too. This is known as "turba," but they don't do that today any more.
Don't you think that this passion is played as for e.g. , I don.t know, lest say Mahler symphony? Maybe I am heretic but I claim that Richter should direct Wagner but not Bach . The Tenor made me ecstatic but vision of St. John Passion by Richter not. Strong, powerful, pathetic - too Deutsch
This mifght well be the most beautiful performance I've ever heard! Yes, yes, I know... it's probably not up to today's standards of "historicism" but who cares? I don't: I find it more musical than many and extremely moving. Isn't that what music is all about? I love Schreir's delivery of the text, Engen's large voice, and Richter's harpsichord. Thank you! I'd love to see it complete.
Das einzig tolle an der Interpretation ist Peter Schreier. Richter hätte seinen Interpretationsstil den Erkenntnissen der historischen Aufführungspraxis anpassen müssen und nicht einfach wie in den 50ern lassen dürfen.
Generell mag ich Bach-Interpretationen von Karl Richter sehr gerne, nur was ich bei Richter absolut schrecklich finde, ist seine häufig total übertriebene Continuo-Besetzung; so auch in diesem Rezitativ.
Meiner Meinung nach ist in allen GEISTLICHEN Stücken Bachs im Continuo ein Cembalo völlig fehl am Platz; hier muss grundsätzlich eine Orgel verwendet werden, die jedoch klanglich in den Hintergrund tritt und die auch nicht zu brausendem Orgelgetön ausarten und die anderen Stimmen übertönen darf.
I completely agree! I love the older Richter recordings of Bach's great sacred works from late 1950's and sixties, and there he always uses organ in continuo. DGG and Unitel have released the video recordings of Richter's b minor mass, St. Matthew passion and St. John passion, all from the seventies (this clip is from the latter). In both passions Richter conducts from the harpsichord. The instrument sounds horrible, and Richter seems to be showing off, making the result even worse.
I have to agree with musicalidea. The soloist's vibrato obscures the melismatic phrases. String players are always instructed to use less vibrato when playing Baroque music, and so should this guy have been. My college performed this last year, and the 4th year baritone gave a better performance.
Well actually listening again, I will tone it down to say that I don't favor the legato strings, large orchestra, or the operatic style of the bass. I feel that the melody is obscured by his vibrato, which is perhaps a result of the unnecessary volume he feels is necessary for any performance, regardless of the period. The voice should be far more agile, less sluggish and pure.
The baritone with the glasses singing the recit. is far closer to this ideal than the lethargic walrus before him.
The cast was not Richter's choice, the production of UNITEL took personality, which was absolute popular at this time and which stood under contract with "Deutsche Grammophon". It was the same problem like recording on LP, Richter was in contract with "Deutsche Grammophon". For live concerts, he could take any singer, making a new LP, he could take singers, the DG told him to take.
Far too Romantic a rendering...like some Wagnerian walrus slobbering through what was intended as a crisp, Divine invocation, a transcendetal suffering...this is just Crisco.
my dear, i'm quite clearly not despising the piece, but this improper and anachronistic interpretation thereof. How could you at all gather that I was berating the composition itself from what I said. Read more carefully.
maybe you are right and the interpretation doesnt follow very much the idea J.S.Bach had in mind. Anyway i think its a good one. By the way, do you know how to find here the great catholic mass in H-moll? Ive tried towithout success.
It is a shame that you show the pictures for such a long time instead of showing that great bass-bariton Siegmund Nimsgern a little longer, as you did with the tenor and the choir!
The whole production is ruined by those silly pictures. The bass is Kieth Engen. Even though we see only a very short glimpse of him, the voice is easy to recognise. Nimsgern sang the parts of Peter and Pilate, Engen the arias.
Even if Nimsgern sang the parts of Peter and Pilate, I am sorry to correct you: the short glimpse of the singer we see is Nimsgern, because I know him personally. According to the text, it is probably Pilate´s part what he´s singing.
Sorry, I expressed myself badly. The bass seen shortly in this clip singing the part of Pilate is (and should be, according to the credits) indeed Nimsgern. The bass singing the aria, but not seen because of the paintings, is Engen. I own the DVD and I remember beeing utterly frustrated by those same damned paintings scrolling from left to right, right to left, down to up and up to down over and over again, blocking the view to the performing artists.
Fabulous. I must save up! Have you any idea who the soloists are on the recently released Brahms Requiem DVD conducted by Richter? I can't find the answer on the internet and I thought you might know! Many thanks. Andy
yup, save up for it! on that Requiem (didn't know it was out!)--enlarging the pic of the DVD case they show on Amazon sez soloist are Evelyn Lear and Thomas Stewart.
GOSTO DE BACH EXPRESSIVO..........I like this expressive Bach!!!!
cold Bach is not the real Bach....
OrpheuCe 4 months ago
I am a jew and i especially enjoy it when the german dude sings "juden juden".
MrZaf12 6 months ago
wow.... bad.
doctorfate77 9 months ago
@nisanus: Die Aufnahme ist einfach nicht mehr auf der Höhe der Zeit. Richters viel zu vollgriffiger Cembalocontinuo passt da sehr gut zu. Alles ein Einheitsbrei, möglichst wenig Ausdruck vorallem im Choral am Ende. Furchtbar, dass man sowas hat früher ertragen müssen.
Wurzelausminus1 9 months ago
This has been flagged as spam show
i love you jesus
zafff13 10 months ago
Personalmente, aprecio más las versiones históricas actuales... con instrumentos de época y respetando el rigor barroco. No obstante, gracias a grandes maestros como Richter, la música de Bach ha pasado a ser conocida y amada por el gran público. Se debe tener en cuenta que esta grabación tiene ya unos años, los intrumentos son sinfónicos y el clave, en realidad es un clavicémbalo moderno (nótese la enorme sonoridad).
paripe 1 year ago
Se nota que es antiguo.
La música suena muy fuera de estilo, al igual que el Bajo, que canta todo gritado y desfasado, con mucho vibrato, quedando totalmente atrás en las agilidades - y sin la más mínima intención de expresar algo de lo que el texto dice -.
Creo que es la peor versión que he escuchado de esta maravillosa obra.
Una lástima!!!
musicotodopodero 1 year ago
the music is nice, but the singing is just awful, makes me wanna throw up
bluegene001 1 year ago
Und der Bariton (der 1.) scheint Theo Adam, der Bayreuther Record-Wotan, zu sein. Alle drei, Adam, Richter und Schreier, waren ja unter Mauersberger beim Dresdner Kreuzchor. Bis dahin dachte man ja in München, dass Bach etwas mit Forellen zu tun habe..... Das Orchester, wie alle Münchner, ist nur gehobener Durchschnitt.
nisanus 1 year ago
hmbin so einsam heute wäre echt klasse falls sich jemand finden würde der mit mir schreiben will
MeFreshcoBaker 1 year ago
Isn't this a strange kind of conducting one can see after 6:17, especially at 6:28 ? He's beating 8th notes ??? I'm not sure I could have played after this...
geigenmarie 1 year ago
This comment has received too many negative votes show
Karl Richter should have used historical instuments - sounds like bad film score, exspecially the violins! The only thing conveying comfort is Peter Schreier (excellent!). The choir is not bad, too.
LateinerRomulus 2 years ago
Karl Richter should have used historical instuments - sounds like bad film score, exspecially the violins!
LateinerRomulus 2 years ago
Was there ever a more appropriate name for a tenor than Schreier?
Joking aside, this is a good performance, but it doesn't floor me the way that e.g. Suzuki and company do with theirs. More classical style than Baroque, too.
dis0guise 2 years ago
@dis0guise : shout ; scream ; oder yell !
3NUNS 2 years ago
each to their own. I think there is something to be said for this kind of performance. It is gutsy, there is enough whining from the evangelist... lol joke! Really though, he does have a lot of courage to have those large pauses. Plus the tessitura of the song is such that if you used a lighter and higher bass, then it would not be heard so well over the orchestration. One has to wonder if this was the same vocalist bach used for the higher, earlier aria or the later higher aria?interesting
hyphboy 2 years ago
la pasión según San Mateo ubica, sin lugar a dudas, a J.S. Bach como el genio más grande que ha tenido la música....
tato4527 2 years ago
Una obra musical no puede ubicar a ningún músico como el más grande, sino el conjunto de su obra. Hablando del conjunto, ciertamente Bach es uno de los 2 o 3 más grandes. Yo creo que Mozart supera a Bach en calidad en el conjunto de su obra.
sosamuera 2 years ago
@sosamuera
Efectivamente, una sola obra no podría hacer a un compositor el más grande. Pero si sumamos a las Pasiones, la Misa en si, las Cantatas, El clave bien temperado, Las Variaciones Goldberg, El Arte de la Fuga, La Ofrenda Musical, Los Conciertos de Brandemburgo, los conciertos para varios instrumentos, Los Motetes, las Suites para Cello, para Violín, los Trios, las Suites para Orquesta o para Solista... y que en cada una de las piezas marca un hito, podemos concluir que Bach es LO MÁS.
paripe 1 year ago
diriger un truc pareil lol ...powerful !!
lemusiclover01 2 years ago
Bitch ripped off Jay-Z... lol, jk
IpodTouchAidTeam 2 years ago
I hate this kind of video. If I want to see paints I go to the museum. Here I want to see (not only hear) the performance.
cirocastro 2 years ago
@cirocastro yea, I agree with you.
angelchen1111 2 years ago
It's incredible how Karl Richter plays the harpsichord and how he's back conducting a second later! I like his interpretations very much... he was a genius
tommieboy1657 2 years ago 8
This comment has received too many negative votes show
great music .. if you could just remove that awful bass !
waeman 2 years ago
you are so right. The bass is awful. Far too much vibrato for Bach.
amoebe79 2 years ago
life, death, god, something...c'est de la folie !!!
lemusiclover01 2 years ago
Bach l'assoluto!!!
Grande...grandissimo Karl Richter.
I cantanti, coro e orchestra straordinari.
micangess 2 years ago 5
I dedicace this piece to Bernadette Sara Ottou. This piece is such idyllic, especially at the "In meines Herzens Grunde" at the end...I cry whenever I listen to this!!! Bach is one of those scarcely persons who can makes me cry!!!
Nganguen 1 year ago
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At the 5th minute,listen..."In meines Herzen Grunde"....Please God, forgive us our sins!!!!!!!!!
Nganguen 1 year ago
Great throat and super performance it shall be genius for Bach
whomakemefeel 3 years ago
i love ALL THE 10 WOMEN THE WE CAN SEE IN THE LAST SECOND.. I'D LIKE TO HAVE ALL THESE FEMME!
LELLOFFE 3 years ago
that's ghastly!
there's a reason if people try to play bach's music in a historical way: to avoid this results!
listen to the bass in the aria: you can hardly distinguish the notes becouse of the vibrato.
and that huge choir... AAARG!
the only one good (in my opinion) is schreier... as usual
doctorgino2 3 years ago
First of all, you need to learn your plurals in English. Secondly, were you there when Bach himself premiered his works so that you can state what a historical rendering is? Third, the results Richter achieved were perfect. Fourth, all researchers of the singing voice agree that vibrato is vital if one wants to sing freely, and that the straight tone is never free. Finally, I think Bach would have loved to see his works performed by a 1000-voice choir.
nilsuthor 3 years ago
1 I'm sorry for my English
2 the things I said about historical way of playing baroque music are made up by myself, but are widespread in the musical sphere
3 I don't really think so... being one of the firs doesn't mean being the best
4 I'm not speaking about common vibrato... I'm speaking about that terrible vibrato! how can you sing freely after having killed the notes?
5 I don't know if he would have loved a 1000-voice choir... What's sure is that he wrote for small choir and orchestra
doctorgino2 3 years ago 4
This comment is totally crazy! If this is perfection...! My goodness! Vibrato doesn't mean that you can mess all notes up. I doubt Bach would have loved his works sung with women and with 1000 voices: this is not Mahler, you know that, don't you?
TrebleLover 3 years ago 2
You don't have to have been there to know how things were done back then. We have historic sources. Things like books, treatises, letters, etc. There's also extrapolation from extant historic instruments and authographs. Further, we can know that certain things were not done during a certain period, when these same things were considered novel at later times (eg. vibrato).
So, yes, we do know quite a lot about the past. Some things remain unknown, but the basics are common knowledge today.
Timrath 2 years ago 4
I agree, the vibrato is terrible.
The "Nnnnnnnach Golgatha!" also made me cringe.
The huge choir I find over the top, but I could live with it. After all, the people attending church were supposed to sing along during the chorals, that's why Bach uses old, well-known melodies, instead of composing his own - so that the common people can sing, too. This is known as "turba," but they don't do that today any more.
Timrath 2 years ago
Don't you think that this passion is played as for e.g. , I don.t know, lest say Mahler symphony? Maybe I am heretic but I claim that Richter should direct Wagner but not Bach . The Tenor made me ecstatic but vision of St. John Passion by Richter not. Strong, powerful, pathetic - too Deutsch
Myszkin127 2 years ago
But the vibrato I cant say is good
FriendlyCroock 3 years ago
This mifght well be the most beautiful performance I've ever heard! Yes, yes, I know... it's probably not up to today's standards of "historicism" but who cares? I don't: I find it more musical than many and extremely moving. Isn't that what music is all about? I love Schreir's delivery of the text, Engen's large voice, and Richter's harpsichord. Thank you! I'd love to see it complete.
Hjadlowker 3 years ago
Comment removed
FriendlyCroock 3 years ago
Das einzig tolle an der Interpretation ist Peter Schreier. Richter hätte seinen Interpretationsstil den Erkenntnissen der historischen Aufführungspraxis anpassen müssen und nicht einfach wie in den 50ern lassen dürfen.
dulcissimusverus 3 years ago
Generell mag ich Bach-Interpretationen von Karl Richter sehr gerne, nur was ich bei Richter absolut schrecklich finde, ist seine häufig total übertriebene Continuo-Besetzung; so auch in diesem Rezitativ.
Meiner Meinung nach ist in allen GEISTLICHEN Stücken Bachs im Continuo ein Cembalo völlig fehl am Platz; hier muss grundsätzlich eine Orgel verwendet werden, die jedoch klanglich in den Hintergrund tritt und die auch nicht zu brausendem Orgelgetön ausarten und die anderen Stimmen übertönen darf.
BiancoSanGiovanni 3 years ago
I completely agree! I love the older Richter recordings of Bach's great sacred works from late 1950's and sixties, and there he always uses organ in continuo. DGG and Unitel have released the video recordings of Richter's b minor mass, St. Matthew passion and St. John passion, all from the seventies (this clip is from the latter). In both passions Richter conducts from the harpsichord. The instrument sounds horrible, and Richter seems to be showing off, making the result even worse.
Heikkiantila 3 years ago
this isnt pucini
ColexHamels 3 years ago
hahaha!! :P
fercha90s 3 years ago
You are stupid!
FriendlyCroock 3 years ago
the bass, in my opinion, is poor in the baroque setting
ColexHamels 3 years ago
I have to agree with musicalidea. The soloist's vibrato obscures the melismatic phrases. String players are always instructed to use less vibrato when playing Baroque music, and so should this guy have been. My college performed this last year, and the 4th year baritone gave a better performance.
zingzangspillip 3 years ago
Too slow for my liking...
tcmlegend 3 years ago
Well actually listening again, I will tone it down to say that I don't favor the legato strings, large orchestra, or the operatic style of the bass. I feel that the melody is obscured by his vibrato, which is perhaps a result of the unnecessary volume he feels is necessary for any performance, regardless of the period. The voice should be far more agile, less sluggish and pure.
The baritone with the glasses singing the recit. is far closer to this ideal than the lethargic walrus before him.
musicalidea 3 years ago
try another version.
jewish1972 3 years ago
The cast was not Richter's choice, the production of UNITEL took personality, which was absolute popular at this time and which stood under contract with "Deutsche Grammophon". It was the same problem like recording on LP, Richter was in contract with "Deutsche Grammophon". For live concerts, he could take any singer, making a new LP, he could take singers, the DG told him to take.
OKIN1981 3 years ago
the "bariton" with the glasses is the tenor peter schreier ;))
alecs1976 3 years ago
Fantastique! J'adore ca!
harvinsky 3 years ago
Far too Romantic a rendering...like some Wagnerian walrus slobbering through what was intended as a crisp, Divine invocation, a transcendetal suffering...this is just Crisco.
musicalidea 4 years ago
You understand zilch.
nilsuthor 3 years ago
though that is far more than your own understanding, apparently, since this is Crisco.
musicalidea 3 years ago
my dear, you are despising one of the very bess pieces of music in history. You should consider what you have said very carefully.
jewish1972 3 years ago
my dear, i'm quite clearly not despising the piece, but this improper and anachronistic interpretation thereof. How could you at all gather that I was berating the composition itself from what I said. Read more carefully.
musicalidea 3 years ago
maybe you are right and the interpretation doesnt follow very much the idea J.S.Bach had in mind. Anyway i think its a good one. By the way, do you know how to find here the great catholic mass in H-moll? Ive tried towithout success.
jewish1972 3 years ago
Fantastic! Please post more!!! No more early music bullshit.
00000ppp 4 years ago
can you tell us what and where is the fresco showed in the video??
mingweicello 4 years ago
This comment has received too many negative votes show
5:05 - is that Liberace?
waltts 4 years ago
It sounds so powerful, ive never heard St. Johns Passion by Richter. Really impressed...
Thexenion 4 years ago 4
It is a shame that you show the pictures for such a long time instead of showing that great bass-bariton Siegmund Nimsgern a little longer, as you did with the tenor and the choir!
icremerius1 4 years ago
The whole production is ruined by those silly pictures. The bass is Kieth Engen. Even though we see only a very short glimpse of him, the voice is easy to recognise. Nimsgern sang the parts of Peter and Pilate, Engen the arias.
Heikkiantila 3 years ago
Even if Nimsgern sang the parts of Peter and Pilate, I am sorry to correct you: the short glimpse of the singer we see is Nimsgern, because I know him personally. According to the text, it is probably Pilate´s part what he´s singing.
oldmutti 3 years ago
Sorry, I expressed myself badly. The bass seen shortly in this clip singing the part of Pilate is (and should be, according to the credits) indeed Nimsgern. The bass singing the aria, but not seen because of the paintings, is Engen. I own the DVD and I remember beeing utterly frustrated by those same damned paintings scrolling from left to right, right to left, down to up and up to down over and over again, blocking the view to the performing artists.
Heikkiantila 3 years ago
This is the original video is not his fault
FriendlyCroock 3 years ago
Thanks very much. I must get around to buying it.
greenegage 4 years ago
Fabulous. I must save up! Have you any idea who the soloists are on the recently released Brahms Requiem DVD conducted by Richter? I can't find the answer on the internet and I thought you might know! Many thanks. Andy
greenegage 4 years ago
yup, save up for it! on that Requiem (didn't know it was out!)--enlarging the pic of the DVD case they show on Amazon sez soloist are Evelyn Lear and Thomas Stewart.
TheGreatPerformers 4 years ago
WOW!!!!!!!!!!!!!
baldmetal 4 years ago
Great sound, thanks for posting
Aleksi6969 4 years ago