Bach: Meine Seel erhebt den Herren, BWV 10 (Ton Koopman, Amsterdam Baroque Orchestra & Choir)

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)
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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.

[@andrewbrumana3226]

When I was in college, I sang in the chorus for a lecture concert conducted by Helmuth Rilling. We performed both this and its counterpart, Magnificat (BWV 243). Rilling had us sing the chorale version of the main tune, as it was sung in churches at his time (Meine seel erhebt den Herrn). Then he had us sing it in context with the opening of BWV 10. THEN, he had the soloists & orchestra perform the beginning of Suscepit Israel, from Magnificat. Knowing that melody well by then, it takes your breath away when you hear the oboe come in as the voices intertwine.

[@jensnitsche4994]

Ich finde es interessant zu beobachten, wie sich die Tempi der Kompositionen von Bach eigentlich aus der Geschwindigkeit der gesprochenen alltäglichen Sprache generieren. Je nach Gefühlslage mal freudig erregt oder schleppend langsam. Es gab damals keine Tempovorgaben, aber es ergibt sich von selbst aus dem alltäglichen sprechen...

[@giovannicalorini7729]

Sublime🧡

[@P1B1U1H1]

As always, an amazing performance by Ton Koopman. Quite literally. Watch him carefully. When he enjoys a particular note, he will let you know by his head's emphasis. You will almost invariably discover a new pleasure in that note. The other reason I like him so much. He is the only conductor to make me think "he has the greatest job on earth. At his slightest direction, the most fabulous melody pours forth. He has the best seat in the house also. I want that job."

[@rainadkins4827]

I love it when people catch stuff like that head thing.

[@OdinComposer]

I’ve never seen him before, but I instantly thought the same thing!

[@albertvinyes4951]

Such a masterful rendition, so musical a phrasing, it is a complete joy. Thank you!!

[@RebeccateVelde]

It is such a gift to have these stellar and moving performances available to us! I am so grateful.

[@edthoreum7625]

free! how lucky! best use of tech! viel danke to all!

[@RalphLooij]

I agree, it's a privilege!

[@aluisfp]

Realmente, maravillosa Cantata. Genial interpretación.

[@geoffreyharrington8798]

This is the most amazing vocal performance, Deborah York is in complete command of her solo. Her love of the music is so impressive and the feeling, and control she brings is stunning. I saw this earlier today on EWTN. The other soloists are quite amazing as well and Koopman is so much fun to watch.

[@eric_just_that]

No has escuchado la version de Lisa Larson bajo la batuta de Gardiner entonces

[@JPGroen]

@@eric_just_that Waarom is het nodig nog weer een andere uitvoering te noemen? Waarom vergelijken? Is deze, met inderdaad een schitterende Deborah York, niet mooi genoeg van zichzelf?

[@RalphLooij]

@@JPGroen eens, we kunnen 100en uitvoeringen noemen, deze is uniek. Zeker dankzij een ijzersterke York!

[@johnburke7383]

Perhaps Bach's greatest opening chorus of his cantatas.

[@habakkuk76]

Ein feste Burg No.80 is its equal for an opening movement of ultimate contrapuntal complexity, and of course there are others, eg Nun ist das Heil No. 50 for 8-pt chorus which is only the first and last movt.

[@fernandobarco413]

Listen to opening chorus of 79, 76, 31 y 62. Terrific chorus!!!

[@cantab345]

Quite.

[@MrUseur]

agreed

[@JMVD48]

Wat een prachtige uitvoering onder leiding van dirigent en muzikant Ton Koopman met zijn dynamische uitstraling, kippenvel...

[@rafikbaladi6555]

Gripping as always, Ton Koopman a passionate and articulate use of his soloists and orchestra to deliver Bach. Never a surprising or unpredicatable Ton Koopman and his soloists and orchestra are glorious

[@jeansauter5222]

Ich bleibe mich wiederholen, das ganze Konzert auch mit den zwei Magnificat's Kuhnau und JS Bach muß ein großes Erlebniss gewesen sein in der Thomaskirche. - Ik val in herhalingen, het volledige concert ook met de twee Magnificat's Kuhnau en JS Bach moet een groot belevenis zijn gewest in de Thomaskerk. Heb hun in 2000 in de Nikolaikerk mogen mee maken. - Gewoon heerlijk.

[@naess004]

I was there, it was bloody hot.

[@noemiserra3366]

Pell de gallina ❤

[@MrUseur]

Der Eingangssatz......Geht es denn bitte schön irgendwo noch typischer für JS Bach zu als in diesem Paradebeispiel? Polyphone Musik in ihrer schönsten, ich sage atemberaubendsten Form. Danke lieber Gott dass du uns Menschen den Johann Sebastian Bach geschenkt hast. Und so tolle Musiker wie in dieser Aufführung.

[@akrishnaa]

Heavenly!

[@andersrhedin1877]

Wonderful performance of all musicians!And the long natural horn -I’ve never seen such a thing!Thanks a lot?🙏🏻🙌

[@viviannemassoud1991]

Magnifique

[@johnkusske7535]

Such a wonderful performance. Everyone involved is a master! So good.

[@miguelenriquedominguezpala6830]

[@Angelicadaya]

Magnífico! Coisa mais linda do mundo!!!

[@alishalileh]

Incredible

[@heinretter3608]

ein außerordentliches Hörerlebnis!

[@shin-i-chikozima]

This invigorates the human soul , is beyond description

[@RalphLooij]

Beautiful!

[@kimbatteau1]

So joyful, so animated, so lovely in all ways! Praise the Lord!

[@alexreik424]

BACH: der du stark und mächtig bist

[@alexreik424]

TON also stark und mächtig bist

[@patricedelville1489]

magnifique ! mon ame exalte le seigneur

[@bruno.g6372]

Carrément ?et pourquoi pas....

[@edthoreum7625]

viel Danke! Mozart's requium in D brought me here.

[@luigilieto3917]

❤Bravi❤Tutti❤Musicisti❤❤❤❤❤❤una cornice di❤❤❤❤❤

[@ednormessias5903]

Eleva este instante em compasso para casa.

[@jsb7975]

Perfectie maar met een menselijke touch ! En goddelijk muziekaal.....

[@jeansauter5222]

ABO - wat moet je daar nog zeggen??? Wel gelukkig in de de kerk van de grote Bach!!!! deze uitvoering-Bedankt !

[@ralfschaedlich1970]

Ein einziges Gehetze. Weiß schon, warum ich kein Koopmann-Freund bin. Da ziehe ich mir die Aufnahme von Hans-Joachim Rotzsch und dem Thomanerchor aber zehnmal vor!

[@elisaumagdalena3170]

High Quality iconic Engeine God touch to human being creator

[@jsb7975]

Ton Koopman did not recieve any Dutch gouvernement subsidy because the Amsterdam barock choir and Orchestra wasn't 'diverse' enough. You might assume what kind of p.c. motivated board made that decision. (Maybe I'm not even allowed to mention this)

[@MrUseur]

Each government nowadays consists of idiots and criminals, sometimes more criminals than morons, somtimes the other way around.

[@EmFdtr]

I cannot believe what I'm reading! The only consolation is in knowing the criminal members of the dutch government will BURN IN HELL for insulting Tonus Fantasticus the way they have. Who are those bastards and what have they done for the world (and for the Netherlands) in comparison to Ton Koopman? Whose name shall be praised for centuries to come! These are dark ages for the enlightened ones.

[@papagenoharto]

i´ll never nderstand a negative comment in something composed by J. S Bach I think they´re absolutely insensitive people

[@flemmingranch8777]

Rigtig smukt stykke musik fyldt af følelser.

[@millertj27]

Koopman is spelled with one "m".

[@Euroarts]

Thank you for your comment, we have already corrected the error :)

[@jackkenefick2696]

My seal ate the herrin... sorry

[@ab-il1gk]

too quick

[@Timrath]

I see you know nothing of baroque music. Go read some 18th century treatises, then come back and try again.

[@TrinkBruder]

Whadaya no, not diverse to understand the text well enough like Nicki Minaj. Claiming to be a queen, wearing a tiara in public, I am embarrassed for Tricky Nicki. The Theotokos knew her miserable state before she received any views on Utube