Bach - Cantata BWV 202 "Wedding Cantata" (reference recording: Elly Ameling, Eugen Jochum)
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- čas přidán 16. 06. 2024
- Album available // Bach: Cantata BWV 202 "Wedding Cantata" by Elly Ameling & Eugen Jochum
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Johann Sebastian Bach (1685-1750) Cantata BWV 202 (Wedding Cantata). Weichet nur, betrübte Schatten
00:00 I. Aria, Adagio (soprano): "Weichet nur, betrübte Schatten"
07:23 II. Recitative (soprano): "Die Welt wird wieder neu"
07:51 III. Aria (soprano): "Phoebus eilt mit schnellen Pferden"
11:05 IV. Recitative (soprano): "Drum sucht auch Amor sein Vergnügen"
11:49 V. Aria (soprano): "Wenn die Frühlingslufte streichen"
14:39 VI. Recitative (soprano): "Und dieses ist das Glücke"
15:27 VII. Aria (soprano): "Sich üben im Lieben, in Scherzen sich herzen"
20:27 VIII. Recitative (soprano): "So sei das Band der keuschen Liebe"
20:54 IX. Aria und Gavotte (soprano): "Sehet in Zufriedenheit tausend helle Wohlfahrstage"
Soprano: Elly Ameling
Royal Concertgebow Orchestra
Conductor: Eugen Jochum
Live recording in 1973
New mastering in 2024 by AB for CMRR
🔊 Join us with your phone on our WhatsApp fanpage (our latest album preview): bit.ly/3Mraw1r
🔊 Download CMRR's recordings in High fidelity audio (QOBUZ): bit.ly/370zcMg
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Thank you very much :) / cmrr
The libretto of the cantata BWV 202 evokes the two deities, Flora and Love. In antiquity, Flora was the agricultural deity invoked to favor the harvest. She is the goddess of flowers and spring, of the renewal of nature and fertility. Similarly, Love is associated with youth and spring, with the ardor of nature and fecundity. Love and Flora are part of the allegory of spring, "La Primavera," in Botticelli's famous painting. Love flies above Venus, his mother, while Flora, on the right, wears a flowered dress and scatters flowers.
Through the voice of a soprano soloist, the librettist paints a bucolic springtime scene, depicting budding love that will blossom in marriage, just as nature renews and flowers. The sun is part of the scene, referred to as Phoebus. Once again, we see how cultivated people of that time were steeped in Latin literature, particularly the works of Virgil and Ovid. But while the images in the libretto may seem conventional, and the style somewhat convoluted, as was the taste of the period, the music, with its wonderful freshness, continuously springs forth in charming images.
With only one voice and an extremely reduced instrumental ensemble, the cantata is a succession of alternating arias and recitatives. The final piece is a gavotte, part instrumental and part vocal. From the support of the strings and continuo emerge the tender colors of two solo instruments: a violin, which traditionally accompanies weddings, and an oboe, the quintessential pastoral instrument, which in this secular context is no longer the instrument of shepherds heading to the nativity...
Album available // Bach: Cantatas BWV 170 & 169, Sacred Arias, Sacred Lieder Aafje Heynis
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Johann Sebastian Bach PLAYLIST (reference recordings): • Johann Sebastian Bach ... - Hudba
Album available // Bach: Cantata BWV 202 "Wedding Cantata" by Elly Ameling & Eugen Jochum
🎧 Qobuz (Hi-Res) bit.ly/3RW2zUX Tidal (Hi-Res) bit.ly/3RvKCey
🎧 Apple Music (Lossless) apple.co/3Rtvxu0 Deezer (Hi-Fi) bit.ly/3RycZJ7
🎧 Amazon Music (Hi-Res) amzn.to/3v5elDt Spotify (mp3) spoti.fi/48OArcf
🎧 CZcams Music bit.ly/3tzx3Tp
🔊❤ Discover our new website: www.classicalmusicreference.com/
Johann Sebastian Bach (1685-1750) Cantata BWV 202 (Wedding Cantata). Weichet nur, betrübte Schatten
00:00 I. Aria, Adagio (soprano): "Weichet nur, betrübte Schatten"
07:23 II. Recitative (soprano): "Die Welt wird wieder neu"
07:51 III. Aria (soprano): "Phoebus eilt mit schnellen Pferden"
11:05 IV. Recitative (soprano): "Drum sucht auch Amor sein Vergnügen"
11:49 V. Aria (soprano): "Wenn die Frühlingslufte streichen"
14:39 VI. Recitative (soprano): "Und dieses ist das Glücke"
15:27 VII. Aria (soprano): "Sich üben im Lieben, in Scherzen sich herzen"
20:27 VIII. Recitative (soprano): "So sei das Band der keuschen Liebe"
20:54 IX. Aria und Gavotte (soprano): "Sehet in Zufriedenheit tausend helle Wohlfahrstage"
Soprano: Elly Ameling
Royal Concertgebow Orchestra
Conductor: Eugen Jochum
Live recording in 1973
New mastering in 2024 by AB for CMRR
🔊 Join us with your phone on our WhatsApp fanpage (our latest album preview): bit.ly/3Mraw1r
🔊 Download CMRR's recordings in High fidelity audio (QOBUZ): bit.ly/370zcMg
🔊 Follow us on Spotify: spoti.fi/3016eVr
❤ If you enjoy CMRR content, you can join our Patreon page and support our investments in equipment and software for $3 per month.
Thank you very much :) www.patreon.com/cmrr
The libretto of the cantata BWV 202 evokes the two deities, Flora and Love. In antiquity, Flora was the agricultural deity invoked to favor the harvest. She is the goddess of flowers and spring, of the renewal of nature and fertility. Similarly, Love is associated with youth and spring, with the ardor of nature and fecundity. Love and Flora are part of the allegory of spring, "La Primavera," in Botticelli's famous painting. Love flies above Venus, his mother, while Flora, on the right, wears a flowered dress and scatters flowers.
Through the voice of a soprano soloist, the librettist paints a bucolic springtime scene, depicting budding love that will blossom in marriage, just as nature renews and flowers. The sun is part of the scene, referred to as Phoebus. Once again, we see how cultivated people of that time were steeped in Latin literature, particularly the works of Virgil and Ovid. But while the images in the libretto may seem conventional, and the style somewhat convoluted, as was the taste of the period, the music, with its wonderful freshness, continuously springs forth in charming images.
With only one voice and an extremely reduced instrumental ensemble, the cantata is a succession of alternating arias and recitatives. The final piece is a gavotte, part instrumental and part vocal. From the support of the strings and continuo emerge the tender colors of two solo instruments: a violin, which traditionally accompanies weddings, and an oboe, the quintessential pastoral instrument, which in this secular context is no longer the instrument of shepherds heading to the nativity...
Album available // Bach: Cantatas BWV 170 & 169, Sacred Arias, Sacred Lieder Aafje Heynis
🔊 Qobuz bit.ly/3o5KqnZ Tidal bit.ly/3z8RMgW
🔊 Deezer bit.ly/3aLZdkK Amazon Music amzn.to/3ckhNAW
🔊 CZcams Music bit.ly/3zbwkb9 Apple Music - Spotify -
Johann Sebastian Bach PLAYLIST (reference recordings): czcams.com/video/dyfFn-NLJlY/video.html
Wunderschöne live Aufführung dieser perfekt komponierten Kantate mit durchsichtiger doch herrlicher Stimme der genialen Sopranistin sowie gut vereinigten und perfekt entsprechenden Tönen aller Instrumente. Der intelligente und erfahrene Dirigent leitet das ausgezeichnete Orchester im gut analysierten Tempo und mit künstlerisch kontrollierter Dynamik. Einfach wunderbar!
An excellent performance of this very beautiful cantata. Thank you for Elly Ameling with Eugen Jochum !
Jochum! Non ho mai letto recensioni su questo direttore. Ma per le sue straordinarie capacità tante sue incisioni sono ritenute al top.
Conclusione: un direttore eccellente e superlativo. Anche non è citato tra i migliori. Traiamo le ovvie conclusioni.
I always felt the duet from BWV 213 would be perfect for a wedding:
"I am yours, you are mine. Kiss me,
I kiss you. As those betrothed are united, as the delight that they feel,
faithful and tender and enthusiastic,
so am I."
The libretto of the cantata BWV 202 evokes the two deities, Flora and Love. In antiquity, Flora was the agricultural deity invoked to favor the harvest. She is the goddess of flowers and spring, of the renewal of nature and fertility. Similarly, Love is associated with youth and spring, with the ardor of nature and fecundity. Love and Flora are part of the allegory of spring, "La Primavera," in Botticelli's famous painting. Love flies above Venus, his mother, while Flora, on the right, wears a flowered dress and scatters flowers.
Through the voice of a soprano soloist, the librettist paints a bucolic springtime scene, depicting budding love that will blossom in marriage, just as nature renews and flowers. The sun is part of the scene, referred to as Phoebus. Once again, we see how cultivated people of that time were steeped in Latin literature, particularly the works of Virgil and Ovid. But while the images in the libretto may seem conventional, and the style somewhat convoluted, as was the taste of the period, the music, with its wonderful freshness, continuously springs forth in charming images.
With only one voice and an extremely reduced instrumental ensemble, the cantata is a succession of alternating arias and recitatives. The final piece is a gavotte, part instrumental and part vocal. From the support of the strings and continuo emerge the tender colors of two solo instruments: a violin, which traditionally accompanies weddings, and an oboe, the quintessential pastoral instrument, which in this secular context is no longer the instrument of shepherds heading to the nativity...
Album available // Bach: Cantatas BWV 170 & 169, Sacred Arias, Sacred Lieder Aafje Heynis
🎧 Qobuz bit.ly/3o5KqnZ Tidal bit.ly/3z8RMgW
🎧 Deezer bit.ly/3aLZdkK Amazon Music amzn.to/3ckhNAW
🎧 CZcams Music bit.ly/3zbwkb9 Apple Music - Spotify -
quelle beauté ,merci de ce cadeau ;-)
Celestial 👏
Спасибо! Замечательно!
❤