Johann Sebastian Bach Meine Seel erhebt den Herren Videos
Letzte Aktualisierung
2024-04-22
Aktualisieren
Johann Sebastian Bach Karl Richter Münchener Bach Chor 1976 1993
Provided to YouTube by Universal Music Group J.S. Bach: Meine Seel erhebt den Herren, Cantata BWV 10 - I. "Meine Seel erhebt den Herren" · Münchener Bach-Orchester · Karl Richter · Münchener Bach-Chor Bach, J.S.: Ascension Day; Whitsun; Trinity (Vol. 3) ℗ 1976 Deutsche Grammophon GmbH, Berlin Released on: 1993-01-01 Producer, Recording Producer: Dr. Gerd Ploebsch Studio Personnel, Balance Engineer: Hans-Peter Schweigmann Composer: Johann Sebastian Bach Author: Traditional Auto-generated by YouTube.
Johann Sebastian Bach Karl Münchinger Fouqué Stuttgarter Kammerorchester 1969 2011
Provided to YouTube by Universal Music Group J.S. Bach: Meine Seel erhebt den Herren Cantata, BWV 10 - Chorus: Meine Seel' erhebt den Herren · Wiener Akademie-Chor · Stuttgarter Kammerorchester · Karl Münchinger Bach, J.S.: Magnificat; Cantata No.10 ℗ 1969 Decca Music Group Limited Released on: 2011-01-01 Producer: John Mordler Studio Personnel, Engineer: Martin Fouqué Composer: Johann Sebastian Bach Author: Traditional Auto-generated by YouTube.
Johann Sebastian Bach Evangelista Anh Johann Rist Beethoven Chopin Tchaikovsky Vivaldi Brahms Haydn Liszt Schumann Strauss II 1725 1735
#bach #musicaclasica #cantata Lobet Gott in seinen Reichen, BWV 11 (Alabad a Dios en su reino), también conocido como Himmelfahrtsoratorium (Oratorio de la Ascensión), es un oratorio escrito por Johann Sebastian Bach, indicado por él mismo en la partitura como Oratorium In Festo Ascensionis (Oratorio para la fiesta de la Ascensión). La obra probablemente fue compuesta en 1735 para la festividad de la Ascensión y estrenada el 19 de mayo de 1735. El texto adicional al las fuentes bíblicas y corales se cree que fue escrito por Picander con el que había colaborado antes en el Oratorio de Navidad. En la Bach Gesellschaft Gesamtausgabe (BGA) la obra fue incluida dentro de las cantatas; de ahí su bajo número de BWV. No obstante, en el Bach Compendium aparece catalogada como «BC D 9» y se incluye junto al resto de oratorios. La obra está escrita para cuatro solistas vocales (soprano, alto, tenor y bajo) y un coro a cuatro voces; tres trompetas, timbales, dos flauti traversi, dos oboes, dos violines, viola y bajo continuo. Consta de once movimientos, organizados en dos partes destinadas a ser interpretadas antes y después del sermón: Parte 1 I. Coro: Lobet Gott in seinen Reichen 00:00 II. Evangelista (tenor): Der Herr Jesus hub seine Hände auf 04:40 III. Recitativo (bajo): Ach, Jesu, ist dein Abschied 05:11 IV. Aria (alto): Ach, bleibe doch, mein liebstes Leben 06:07 V. Evangelista: Und ward aufgehoben zusehends 13:55 VI. Coral: Nun lieget alles unter dir 14:30 Parte 2 VII. Evangelista (tenor & bajo): Und da sie ihm nachsahen 16:20 VIII. Recitativo (soprano): Ach ja! so komme bald zurück 17:13 IX. Evangelista: Sie aber beteten ihn an 17:44 X. Aria (soprano): Jesu, deine Gnadenblicke 18:35 XI. Coral: Wenn soll es doch geschehen 25:45 El festivo coro de apertura está basado en la cantata Froher Tag, verlangte Stunden, BWV Anh. Los recitativos para bajo y contralto van acompañados por las flautas en un recitativo accompagnato. Las arias para alto y soprano están basadas en la cantata de boda Auf, süß entzückende Gewalt, escrita en 1725 sobre la letra de Johann Christoph Gottsched. Bach utilizó para el aria de contralto el modelo empleado para el Agnus Dei de su Misa en si menor. El aria de soprano es una de las pocas piezas dentro de su producción musical sin bajo continuo, con las dos flautas en unísono, el oboe y las cuerdas tocando a modo de trío, hasta que se convierte en un cuarteto con el cantante. El texto original en la cantata de boda hacia referencia a la «Unschuld» (inocencia). El primer coral que cierra la primera parte, el cuarto verso de "Du Lebensfürst, Herr Jesu Christ" de Johann Rist, es un modesto arreglo a cuatro voces. Por su parte, el coral final, el séptimo verso de "Gott fähret auf gen Himmel" de Gottfried Wilhelm Sacer está integrado en un concierto instrumental. De manera similar al coro final "Nun seid ihr wohl gerochen" del Oratorio de Navidad, BWV 248, escrito medio año antes, la melodía del coral en una tonalidad menor aparece en el contexto triunfante de una tonalidad mayor diferente. Suscríbete a nuestro canal Mundo Sinfónico ➥ (http•••) También escucha♫➥"Meine Seel erhebt den Herren". Cantata (BWV 10): (http•••) También escucha♫➥"Weinen, Klagen, Sorgen, Zagen". Cantata (BWV 12): (http•••) ★ Más de Bach♫➥(http•••) ★ Escucha a Beethoven♫➥ (http•••) ★ Escucha a Mozart♫➥(http•••) ★ Escucha a Chopin♫➥(http•••) ★ Escucha a Tchaikovsky♫➥(http•••) ★ Escucha a Vivaldi♫➥(http•••) ★ Escucha a Brahms ♫➥(http•••) ★ Escucha a Wagner♫➥(http•••) ★ Escucha a Haydn♫➥(http•••) ★ Escucha a Liszt♫➥(http•••) ★ Escucha a Schumann♫➥ (http•••) ★ Escucha a Strauss II♫➥ (http•••) REDES SOCIALES Síguenos en Instagram: (http•••) Danos like en Facebook: (http•••) ☛ ¿Quieres escuchar más música como ésta. Lo podemos hacer! Apoya a nuestro Canal con una Donación Apóyanos con una Donación en Paypal (http•••)
Johann Sebastian Bach Koopman Deborah York Bogna Bartosz Jörg Dürmüller Mertens Stark Johann Kuhnau Georg Philipp Telemann Fesch Christoph Graupner Jakob Adlung Johann Adolph Scheibe Himmel Seele Bonis Amsterdam Baroque Orchestra Bachfest Leipzig 1701 1722 1723 1724 1733 1758 2003
Bachfest Leipzig 2003 / From the Church of St. Thomas, Leipzig Amsterdam Baroque Orchestra & Choir Deborah York, soprano Bogna Bartosz, contralto Jörg Dürmüller, tenor Klaus Mertens, bass Ton Koopman, conductor and organist 0:13 I. Meine Seel erhebt den Herren (Chorus) (3:44) 4:00 II. Herr, der du stark und mächtig bist (Soprano) (6:15) 10:12 III. Des Höchsten Güt und Treu (Tenor) (1:11) 11:22 IV. Gewaltige stößt Gott (Bass) (2:45) 14:08 V. Er denket der Barmherzigkeit (Contralto, Tenor) (2:04) 16:09 VI. Was Gott den Vätern (Tenor) (1:58) 18:11 VII. Lob und Preis sei Gott (Chorus) (2:17) +++ My soul magnifies the Lord Johann Sebastian Bach confessed once that he'd found it hard to become a cantor after being a kapellmeister. Although the position of cantor at St Thomas's church in Leipzig was one of the most highly regarded of its kind, and its occupant in effect the director of music to both the city and its university, it took Bach three months to make up his mind to move from the court of the prince of Anhalt-Köthen to the great commercial centre of Leipzig. He was far from the first choice for the appointment: on the death of Johann Kuhnau in June 1722, the city fathers had first approached Georg Philipp Telemann, Johann Friedrich Fesch and Christoph Graupner, and only when all three had declined did they turn to Bach. He and his family eventually moved into the official residence in the schoolhouse next to St Thomas's on 22 May 1723. The churchgoing burghers of Leipzig clearly did not fall over themselves to welcome the newcomer. His predecessor Kuhnau, Thomaskantor from 1701 to 1722, had the reputation of a "universal man", learned in the fields of "theology, the law, rhetoric, poetry, mathematics, foreign tongues and music" (Jakob Adlung, 1758), which Bach could not begin to rival. Kuhnau remained true to the traditions of the 17th century and firmly eschewed operatic elements in his vocal music, so that it was already old-fashioned in the eyes of younger contemporaries. But connoisseurs like the music critic Johann Adolph Scheibe found grounds to praise his late works: "He struve constantly to ensure that all his church pieces were melodic, easy-flowing and often very moving." Kuhnau's Magnificat demonstrates the versatility of this still underrated composer in its expressive and well-contrasted sections. Alternating between solos, some affectingly delicate and some virtuosic, and festive tuttis, Kuhnau vividly charts the emotional course of the Virgin Mary's song of praise - while keeping each section short because the Latin Magnificat was sung at Vespers in the Christmas season, and therefore could not be allowed to go on for too long. lt was traditional in Leipzig to interpolate German and Latin numbers appropriate to the Christmas story: here the annunciation to the shepherds ("Vom Himmel hoch", "Freut euch") is followed by the angels' hymn of praise ("Gloria") and the cradie song beside the manger ("Virga Jesse"). The Magnificat was sung at Vespere on Saturdays and Sundays in Leipzig in the German translation by Martin Luther ("Meine Seele erhebt den Herrn"), in simple fourpart settings of a melody that went back to a medieval plainchant. The same melody is prominent in Johann Sebastian Bach's cantata Meine Seel erhebt den Herrn BWV 10, heard in the soprano part in the choral first movement, as an instrumental descant in the duet "Er denket der Barmherzigkeit", and given to the sopranos again in the final chorale section. This cantata was composed for the feast of the Visitation (celebrating Mary's visit to her cousin Elizabeth: Luke 1,39-56) on 2 July 1724; the unknown librettist combined excerpts from Luther's German version of the Bible text with lines of his own. The first version of Bach's Latin Magnificat (in E fiat major, BWV 243a (was performed for the first time exactly one year earlier, on 2 July 1723. The work is usually heard nowadays in the later version (in D major, BWV 243), which probably dates from 1733. The later version differs from the first only in details, but the deeper sound of the E flat trumpets and the use of recorders to accompany the alto aria "Esurientes implevit bonis" give the earlier version a unique charm. For Bach, this Magnificat was his first chance to demonstrate the expressive power and modernity of his style to a Leipzig congregation in a substantial composition: it makes a fresher, more secular effect than the rest of his sacred music, and, like Kuhnau's Magnificat, it is performed here with the interpolations that Bach probably composed for its performance at Christmas 1723.
oder
- Die größten Werke für den Chor
- Indizes (in alphabetischer Reihenfolge): M...