BCA130 BWV78 Cantata for 14th Sunday after Trinity Richter 1961

[@pilizorrilla13]

BELLISIMO, GRACIAS INFINITAS.

[@kniazigor2276]

une des plus belles cantates de Bach magnifiquement dirigée par Richter

[@Ruffiello]

Bass Keith Engen is terrific on this recording!

[@shaughnfourie304]

THANK YOU FROM MY HEART

[@volkerf.sesselmann6783]

Schöne Grüße aus Lauscha von ihrem größten Fan, unerreicht die Ursel

[@TheGreensticker]

20:40

[@richardsteinberg3495]

Strides in musical scholarship and understanding of Bach-era performance practices have rendered this recording difficult to listen to. Many years ago, I used to regard Richter's recordings of Bach cantatas as representing the epitome of Bach's style. I now know how wrong I was. But thanks for uploading this anyway, as it serves as an instructive comparison to the extraordinary recordings of, say, the Netherlands Bach Society, among others. Time marches on.

[@jeremyberman7808]

You weren't "wrong." There's more than one way to play a piece. There's should still be room for performances like this. Scholarship and what is "the right way" to play pieces by particular composers is always changing, and probably always will. Who knows what the listener of Bach in 2083 will think of performances by performers of today. My point is, there should still be a place for a performance by Richter and others. Every performance offers different things and has their own strengths and weaknesses. Which isn't to say that technically lacking performances shouldn't be called out as such. But I don't think a performance like this should be dismissed as irrelevant, as some would, under the heading of "Not Historically Informed."

[@davidm8930]

I don't find it at all difficult to listen to this. I listen to it frequently. It's beautiful. If the 'scholars' think otherwise then it's their loss!

[@annamcancarini6953]

Wrong. Historically informed praxis is a 'scam and a fraud', a commercial opportunity. After Richter 'everything is regressive' and his recordings are everlasting, with the best singers and the best instruments. Bach doesn't need style experts, but musicians who go and explore deeply his scores, which Richter did like nobody: his Cantatas are memorable. Rushed tempi and overexcited articulation are catastrophic for Bach and any piece of music.

[@afritimm]

Time hasnt marched on at all. There is no proof of a "correct" tempo or "correct" dynamics in Bach's music because he didnt state it. And even if there were, we have no idea whether he would have preferred later interpretations. In his Art of Fugue he didnt even state what instrument(s) should play it! That's why you can now hear it on organ, piano, harpsichord, and chamber orchestra. Likewise, the overwhelming majority of music aficionados now prefer Bach clavier works on the piano to the harpsichord, much less the clavichord. Bach himself was already trying out the new pianofortes in his last years. He also bitterly complained to the Leipzig authorities that he had insufficient choral forces. Also I note that the new purist groups almost always use women not boys, so that isnt very "historical'! The less extreme versions of "historical" performances can be lovely, but most of them are bouncy-bouncy dance rhythms with threadbare forces. Not my taste.

[@xepmallol3432]

L'autèntica llàstima és que Richter no gravés tot el cicle complet de cantates

[@russedav5]

Google: The real shame is that Richter did not record the entire complete cycle of cantatas True. Also, if only someone would record Bach's cantatas with boy trebles; adult trebles don't do the parts justice, yet it seems(?) most boys are incapable of performing them. Perhaps Thomanerchor or Tölzer.

[@russedav5]

The duet is far too slow and pokey for the meaning of the text: Wir eilen mit schwachen, doch emsigen Schritten=We hurry with weak, yet diligent Steps, sadly too often the case for dear Richter. See a better tempo at kzbin.info/www/bejne/q5uvfGVug9Ggp5Y

[@annettebertora4434]

I agree . But slow or fast, Karl Richter is still the best of the best !!!!!!!!