BWV 54 - Widerstehe doch der Sünde (Scrolling)

Performer & Album Info - 13:01
1. Aria (Alto): Widerstehe doch der Sünde - 00:26
2. Recitative (Alto): Die Art verruchter Sünden - 8:42
3. Aria (Alto): Wer Sünde tut, der ist vom Teufel - 9:57

[@arsantiqua8741]

The fact that Bach used a very unorthodox chord to start the cantata strikes me every time.

[@jonahansen]

That he knew to do it and how is what makes him so great...

[@RustySimRacing]

Striking indeed. You could say the "very opening chord is one of the most striking in all of Bach's harmonic arsenal." -Gould '62

[@Composer_]

​@@RustySimRacingIts just a dominant 7 chord. Im not sure how that makes sense.

[@okb0ss336]

@@Composer_its a dominant 7th on a tonic pedal, the fourth and the major sevent create, for the time of bachs music, a strikingly dissonant sonority. And indeed opening a work with such a chord is unheard of in the baroque

[@izanagi21ify]

It's weird that every time I hear this cantata, Glenn Gould always comes to my mind. Thank you again for this, gerubach!

[@joshscores3360]

I always think of Smalin and his robot voice

[@Iceologer]

@@joshscores3360 smalin doesnt use computer generated recordings

[@joshscores3360]

@@Iceologer …the video in question being one of his oldest uploads, dating from 2005: kzbin.info/www/bejne/baucfGmelt2ghsk

[@Iceologer]

@@joshscores3360 ah, i thought you meant about this particular video

[@jonahansen]

No one surpasses Bach in musical intuition and mastery of music.

[@ankavoskuilen1725]

The viola I in 1:11 is so intense! So extremely beautiful!

[@yaboibobby7776]

Hmm... This sounds like one of Bach's unique pieces. Thanks for uploading, it is something new to look at!

[@floriandevuyst]

Glenn Gould gave a comment about this incredible harmonic used for Cantate 54, at Bach's time.

[@codonauta]

For me it seems the mysterious chord in the beggining is just a tonic pedal in bass while the harmony goes forward in the superior voices.

[@ras662]

Widerstehe doch der Sünde - 0:25 Die Art verruchter Sünden - 8:40 Wer Sünde tut, der ist vom Teufel - 10:00 Performer & Album Info - 13:00

[@tomhamilton5707]

The first movement is gorgeous and the counterpoint in the final movement is absolutely stunning.

[@Geopholus]

Thank You GeruBach for Your excellent work, and gift, to aspiring musicians and composers!

[@IrizarryBrandon]

That chord on the "ist" in the second repetition of "der tödlich ist".... Forget fugues, that's how you really know it's Bach :)

[@jeanpierrecarabas5508]

F-g-h-d => G7 // is a simple 2-accord

[@ryanlock2u]

@@jeanpierrecarabas5508 in context it is a very provocative frustration of the cadence, especially with the 7th in the bass; although in my opinion, the first “der tödlich ist” has an even more harrowing deceptive cadence.

[@ryanfontenot1025]

Ryan Fontenot 0 seconds ago Compare 4:13 & 4:43

[@IrizarryBrandon]

@@ryanlock2u That's an interesting opinion. Listening to the first movement from the beginning, the first one leads with a seamless dramatic flair into what follows, setting the tone perfectly for sure. The second one to me sounds "darker", as if to tell the listener, "you're really going to die, start worrying!" (Sorry just saw this comment for the first time!)

[@ljdobles8104]

Excelente. Gracias por compartir.

[@floriandevuyst]

I've just found a B.A.C.H signature hidden in BWV 54 !

[@delavegadiego8632]

Interesting voice that sounds like a mix of contralto and contertenor, with the benefits of both

[@TheJohnPersson]

@ 11:52 the third "davon" seems to return up to the C instead of going down to the A? Hehe anyways, thanks for the upload! GREAT as always!

[@leonhardeuler6811]

I always chuckle when the music is so beautiful and the words are so depressing

[@conforzo]

From the latest Rick Beato video?

[@tartinitrumpet]

why is the sound quality so bad? Maybe use a different recording? Sounds like you converted it to different formats too many times or the bitrate is way too low...

[@elortza1980]

Constructive critics are allways wellcome, but it sounds more more like a comment showing your dislike. On the other hand you don't apport nothing. If only you had congratulated gerubach for his great work !!

[@tartinitrumpet]

you must be deaf

[@tartinitrumpet]

he's messed with the pitch and speed of the recording. it sounds terrible.

[@elortza1980]

It would be great if you did a better work in order to critisize the efforts of other people!

[@jahloverockers]

As I highly apreciate the work of gerubach, I have to admid that the recordings he uses are a little bit outdated. When someone heard a version with better sound, it's always a little pain to hear a inferior version. This refers to the sound quality of the recording. About the performance: I also think it's a little stiff and formalistic but this is a question of taste. As I know that it's always very dificult to find something useable because of copy rights and so on, I'll have to cope with it. My comment only refers to the uploaded cantatas. Other presented works in this channel are suberb.

[@ryanfontenot1025]

Compare 4:13 & 4:43

[@benv8371]

Dommage que vous n'ayez pas choisi une version avec alto. La voix masculine ne convient pas à cette musique exceptionnelle. Merci pour votre travail !

[@dzc46278]

This sounds sped up. I don't mean that the tempo is fast, but rather that the audio literally sound sped up. The vibrato on both voice and instruments seems like it is going at an oddly quick speed. Am I correct, Gerubach?

[@IrizarryBrandon]

I enjoy listening to the beginning chords at 75% original speed...

[@molealto]

Paul Esswood, if I'm not mistaken.

[@PointyTailofSatan]

Whoa. Whats with the pitch?

[@davidecymba]

it's 440

[@sarribel]

Ze bertsio ederra. Eskerrak. Bilbao. Euskal Herria/Basque Country

[@Musicrafter12]

Refreshingly unique! Most of Bach's music sounds quite similar. Not this one...

[@Oceananswer]

The last aria sounds like a fugue

[@ollebor09]

I think it's canonic, but I didn't look too closely. I could be mistaken but he seems to have composed material that works in canon at several different time intervals

[@Oceananswer]

Well fugues in general are kind of canonic. But you know Bach and his counterpoint. He always tried to throw in a bit of a fugal melody if he could get away with it, haha.

[@jamesrockybullin5250]

You're right, it does sound like a fugue because it's full of imitative counterpoint, like most of Bach's music.

[@steadyeddie3251]

It’s fugish as I like to call it

[@barney6888]

i dont like the 1st violin leaving out the ties to the first beat of the next bar and robbing the suspension. what's the point in playing the piece? why can't people feel the gentleness in this music? it has drama later, but the opening is sublime, not tom cats on a hot tin roof.

[@Timrath]

I was thinking exactly the same. I believe that the violinist did play the notes for the correct duration, but added a diminuendo on each one, causing ther amplitude to fall beneath the recording threshold, so the recording didn't pick up those ties.

[@russedav5]

Adult trebles of either sex are so inferior in sound quality to boy trebles. If only Bach's music weren't such a challenge that so many of them are unable to sing the parts.

[@ankavoskuilen1725]

But I am a woman alto. We can do this too! Why always the counter tenors?

[@russedav5]

@@ankavoskuilen1725 The problem with adult trebles of either sex and even young girls is the excess harmonic development that harms the tone quality, versus the purer harmonics of boy trebles without it, though alas most boys today in our "culture" of ignoramuses are quite incapable of performing Bach's great works, even among many "boys choirs" where too often the alto is therefore sadly sung by countertenors despite that it wouldn't have happened in Bach's churches. This error in historic performance practice is that in Bach's Lutheran churches, only males were allowed to sing, but only boy trebles, excluding countertenors despite their wretched popularity today. It's ironic how those supposedly big on "historically informed" performance practices conveniently hypocritically ignore these aspects. So much for being "informed" when it's contrary to your agenda. As a lover of the old (vs the modern) Lutheran worship style, I always love seeing music takes a humble place of service in the back, not seen, only Word and Sacrament (Baptism & the Eucharist) deservedly in the front. I have a wonderful Harnoncourt video of the BWV 248 Weihnachtsoratorium (Christmas Oratorio) with boy trebles that highlights the beauty of what I mention versus the sad travesty of the contrary so popular today with so many horridly theatrical performances often so bad I can't stand them, as they show they have no idea of what they're singing or why, and Bach most certainly wouldn't have stood for it as the text was paramount. It was for some time popular among arrogant ignoramuses ("scholars" ironically being some of the worst, proving the old "argumentum ad baculum" logical fallacy) to dismiss Bach as a truly devout Lutheran, only "doing his job" and not serious about his Christian faith, until providentially his Calov Bible (bought by Bach ~1733) (facsimiles.com/contact/bachs-calov-bible core.ac.uk/download/pdf/303920607.pdf godtube.com/watch/?v=DKY6WNNX ) was discovered in 1971 in Nebraska of all places (due to various estate sales, etc., as has happened with others of his works, e.g. his Neumeister chorale preludes, BWV 1090-1120), then donated to the St. Louis Concordia seminary, with his notes in the margins, blowing up the godless arrogance. If I had the thousand of dollars it takes to buy it, I would as it's not just a Bible but a 3 vol. commentary on Luther's wonderful translation which translation I myself have and value (German being my 2nd language, Koine my 3rd, Latin my 4th.

[@TheJakeman789]

Whoa. Way to slow