Hin und weg! mit Hans-Christoph Rademann | Kantate BWV 117 »Sei Lob und Ehr dem höchsten Gut«
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- čas přidán 22. 08. 2024
- Einen fröhlicheren Choralchor hat Johann Sebastian Bach kaum je geschrieben als für den Beginn der Kantate »Sei Lob und Ehr dem höchsten Gut« BWV 117. Tänzerisch-beschwingt kommen ebenso sowohl die Choralstrophen als auch die Arien zum Lobe Gottes daher. Die aktuellen Modetänze der Zeit wie Passepied, Rigaudon, Giga und Polonaise hat Bach hierin verwendet und damit in der Kantate dem um 1730 aufkommenden »galanten Stil« Tribut gezollt. Im Format »Hin und weg!« werden wie gewohnt einzelne Passagen seziert, Klangbeispiele zerlegt und aus unterschiedlichen Perspektiven beleuchtet. Auch das Publikum ist dazu angehalten mitzusingen!
Abschließend erklingt die Kantate als ganzes Werk.
Johann Sebastian Bach hardly ever wrote a more joyful chorale than the one at the beginning of the Cantata "Sei Lob und Ehr dem höchsten Gut" BWV 117. Both the chorale verses and the arias in praise of God are dance-like and lively. Bach used different dance-formes of the time, such as Passepied, Rigaudon, Giga and Polonaise, in his cantata and thus paid tribute to the »galant style« that emerged around 1730. In the format "Hin und weg!", as usual, individual passages will be focused, sound samples dissected and explained from different perspectives. The audience is also encouraged to sing along!
The performace of the whole cantata forms the conclusion of the concert.
Das ausführliche Programm, Besetzungslisten & Biographien, Einführungstexte sowie die Übersetzung der Texte zum Mitlesen finden Sie in unserer Mediathek:
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00:01:03 Introduction of the Choral »Sei Lob und Ehr dem höchsten Gut«
00:02:02 Presentation of Bach's Cantata BWV 117 »Sei Lob und Ehr dem höchsten Gut«. A journey through the musical score with live sound samples aswell as singing together with the audience.
00:35:19 Johann Sebastian Bach: Cantata BWV 177 »Sei Lob und Ehr dem höchsten Gut«
Alex Potter | Countertenor
Benedikt Kristjánsson | Tenor
Tobias Berndt | Bass
Gaechinger Cantorey
Hans-Christoph Rademann | Dirigent
Produktion: BildManufaktur GmbH
Ton: Tritonus Musikproduktion GmbH
© Internationale Bachakademie Stuttgart
Maravilhosa aula do maestro Rademann sobre esta linda cantata do mestre Bach! ❤💕💖 🎵🎶🎵🎵🎶 Muito bom se constatar que Rademann vem mantendo a excelência do trabalho iniciado pelo grande Helmuth Rilling, respeitando uma tradição e dando-nos também sua visão interpretativa sobre a divinal música bachiana. Bravos para todos!!! 👏🏻👏🏻👏🏻👏🏻👏🏻
Obrigado por compartilharem conosco estes momentos de enorme arte. 🙏
Rademann's analysis is as surprising as it is enriching. Not only does Rademann explain Bach's multiple composition techniques in a very accessible way, he also reveals Bach's personal motives and thus he exposes the very soul of Bach. For me Rademann is the first director who makes the connection between Bach's early loss of both his parents, at the age of 10, and how Bach's grief over that loss works through in all his composing, even at the age of 45. The explanation of Verse 5: "Mit Mutterhänden leitet er..", reminds me of one of Rembrandt's greatest works: 'The prodigal son'. In that picture Rembrandt turns God's right hand into a woman's hand.. I can't wait till Rademann takes us through cantata BWV 129: "Mein Vater, der mich schützt von Mutterleibe an". Please give us more of these explanations! They make Bach accessible for a wide audience and enrich life with more understanding and the experience of one's personal emotions.
Wunderbar. Danke Schön.
bravo
Tenor Benedikt, is perfect for these subtle nuances in the arias.
Absolutely wonderful. It reminded me of what Leonard Bernstein used to do with his audiences.
ooh yes,so true, hey, the tenor here is remarkable, would love to hear him in the tragic aria bwv 41.
Just looked at your website and will play your repertoire.
I wish that the Catholics in the US had this level of singing knowledge. Even some RC choirs have a way to go.
9:43😍
One hardly dares to contradict such a master of music. But! In this case it is not correct to speak of any “basic trust”. At least it must be said that the great Bach drew his basic trust solely from Jesus Christ
Grossartig wie immer. Wann beginnt die Bach Cantatas Gesamteinspielung Maestro Rademann ? Wird sicher ein Ereignis erster Güte
Am 19. März beginnen wir mit den beiden Bewerbungskantaten BWV 22 & 23 und am 14. Mai startet das Projekt zu Bachs erstem Leipziger Kantatenjahrgang.
@@bachakademie Top. Freue much drauf ...