BACH BWV 82 ICH HABE GENUG MERTENS PONSEELE KUIJKEN

[@ALBICOMUS1954]

Himmlischer Oboenklang von Marcel Ponseele und wunderschöne Stimme von Klaus Mertens - herausragend gespielt und gesungen! Danke für diesen Hörgenuss! Heavenly oboe sound by Marcel Ponseele and beautiful voice by Klaus Mertens - outstandingly played and sung! Thank you for this listening pleasure!

[@superbetty9031]

I listened to SO MANY recordings of this just now looking for this specific sound. The oboe and solo voice are perfection in *this* recording. Love.

[@kedemberger8773]

I think so too. Marcel Ponseele the oboist is amazing.

[@blipblip88]

Maybe one of Bach's most heart-wrenching and sublimely beautiful pieces. It only brings joy, tears and chills..Ahhh. Smile!

[@pacogarcia6519]

Sublime Bach en manos de Kuijken

[@TheAG59]

One of the best performances of this cantate BWV 82 so far, with top musicians Klaus Mertens, Marcel Ponseele, Sigiswald Kuijken & La Petite Bande.

[@poopsytwinkleshit3465]

C.A. Barstow My favorite is Max von Egmond singing baritone with Franz Bruggen conducting the Baroque Orchestra fur the Ich Have Genug & Kreuzstab Cantatas. But this baritone, tho he's not as nimble as von Egmond is pretty close in sound. What's this gentleman's name? Is he German?

[@tobiasstudtheol]

@@poopsytwinkleshit3465 , yes he is, his name is Klaus Mertens. Though you like the Bruggen, I will tell you that, regardless of his honours to music, his style of interpreting Bach isn't up to date anymore. This version is pretty new (2013?). So it is obviuosly closer to our way we perform Bach today. I am not really found of him eitherr but that has nothing to do with the recording. I always think that his timbre isn't fitting. I heard some really great singers perform it during the last years and now I realize that it is due to his close connection to Ton Koopman. Sigiswald Kuijken and Marcus Ponseele are masters of their subject and so the "rescue" this recording.

[@jsbrules]

@@tobiasstudtheol it’s pretty funny (absurd) to read somebody say that somebody’s style isn’t “up to date any more”. what an absurdity, which glorifies the present transient moment - which is always becoming the past. and is no longer “up to date” either. Bach isn’t up to date. And paradoxically, whenever he copied out an old work he would change it in many small ways at least, improving it or changing it. That is life! it doesn’t mean the old version should be discarded however. “up to date” is a meaningless yardstick. Kuijken and Bruggen remain marvelous musicians (despite the passage of a few years and fads), and Mertens and von Egmond as well. I wholeheartedly approve of the idea of trying to recapture the sound world and concepts of Bach’s time, but that doesn’t mean that performances are actually getting any better. Marian Anderson and Kathleen Ferrier sang Erbarme Dich beautifuly 80 years ago - accompanied by a piano. Or a dripping romantic orchestra. if we really think up to date performances are much better, we are deluding ourselves.

[@joseignaciorengifo6441]

Nothing better than Mertens and Poseele giving this version of the 82 cantata. They are the best in their particular barroque´s fields.

[@franciscoespinozagamboa6490]

Ponseele.¡Grandioso oboista!

[@anettesobottka9270]

Wunderschöne, eine auf den letzten Weg hin vorbereitende und begleitende Kantate. 💙

[@Bacholoji]

00:00 Aria: Ich habe genug 07:43 Recitative: ich habe genug 08:58 Aria: Schlummert ein, ihr matten augen 18:33 Recitative: Mein gott! wenn kömmt das schöne: nun! 19:26 Aria: Ich freue mich auf meinen tod

[@alainrobynsds5735]

ce hautbois vaut et dépasse la voix humaine,admiration

[@aucuneideejsp8891]

My feeling too. On dit ainsi que c'est bien le seul instrument qui s'approche de la voix humaine

[@calou505]

Si magnifique, merci!!

[@ireniovaragayo3020]

Nada mejor que un despertar con Bach

[@dmitrifreund]

this is by far one of my favorite cantata's of Bach. It's also one if the recordings.

[@postabraham]

one of the best performances of BWV 82 cantata base aria!

[@okimideiko6415]

Wonderful！

[@selenium91]

Con esta gran obra de Bach me siento como si estuviera en mi lecho de muerte.

[@GiuseppeRusso58]

Ah Ponseele: divine!

[@conceicaovasconcelos2758]

BELISSIMO👏👏👏👏

[@NatiDeNut]

מזכיר לי יצירה לסופרן כמעט אחד לאחד.

[@kedemberger8773]

זה קיים גם בגרסה לסופרן.

[@dimitriskitsos4767]

Heaven..

[@claudenewbury1347]

Superb but accompaniment especially seems too loud and intrusive, this is not noticed in the same aria sung superbly by Dietrich Fischer Dieskau and Thomas Quasthoff

OK pour F Diskau qui reste légendaire, sans déprécier K Mertens, mais ce type d'orchestration sonne très étrangement pour des oreilles habituées aux instruments anciens ; le vibrato des cordes, surtout. Et puis Marcel Ponseele, quoi ! Il a quelque chose en plus, sans doute parce qu'il fabrique lui-même ses instruments.

[@herwigcoryn6197]

Dag Marcel, ge zijt onovertroffen. Ik weet wat het is om te realiseren dat wat jij kan. Grtjs

[@jsbrules]

That is not “accompaniment”; it is the other musicians - playing music Bach wrote to be heard.

[@steveneardley7541]

The orchestra is wonderful, especially the oboe, but the mixing of the recording is a bit unbalanced, as you say.

[@kedemberger8773]

Accompaniment in Bach is never an 'accompaniment'.

[@okhanyegen8622]

geil

[@samleverton4273]

geil is a rude word.

[@tobiasstudtheol]

@@samleverton4273 , it can mean horny as well but mostly it is used as cool, awesome or something like that. So it can be rude but it depends on the context, here I would definitely say that the person is not horny but rather really enjoys the music.

[@endhai]

@@tobiasstudtheol I hope, you are right ;-)

[@tobiasstudtheol]

@@endhai, well it became an idiomatic expression some 20 years back. Some youths even don't know about the original meaning anymore.

[@steveneardley7541]

Not horny, here, but "luxuriant."

[@wrtölp3578]

Das Orchester ist immer viel zu stark, wenn es mit dem Sänger zusammen spielt. Die Stimme muss immer deutlich hörbar sein, vor allem die Violinen decken die Stimme zu, wenn Piano steht, muss man pianissimo spielen, Forte gibt es mit Sängern zusammen kaum. Die Aufnahme hier zeigt gut diesen notwendigen Ausgleich, weil sie eher den raumklang wiedergibt.

[@qzrnuiqntp]

Not bad but too gay.

[@MrMusicker]

Wtf?