BWV 61: Nun komm, der Heiden Heiland (Scrolling)

Performer & Album Info - 15:12
1. Coro: Nun komm, der Heiden Heiland - 0:25
2. Recit (Tenore): Der Heiland ist gekommen - 4:10
3. Aria (Tenore): Komm, Jesu, komm zu deiner Kirche - 5:44
4. Recit (Basso): Siehe, ich stehe vor der Tür - 9:42
5. Aria (Soprano): Öffne dich, mein ganzes Herze - 10:48
6. Chorale: Amen, komm du schöne Freudenkrone - 14:10

[@profMaximvs]

It's IMPOSSIBLE to do not like Bach! The complexity, the beauty, the richness.

[@carlosmendez6729]

It's amazing how Bach managed to get a French Overture in the beginning, its the first time I see something like that.

+C.J. Moran look up: BWV 20, BWV 97, BWV 110, BWV 194, BWV 552, BWV 820, BWV 828, BWV 831, BWV 1011 for some other examples of Bach's pieces that start with a French ouverture. Also Var 16 in BWV 988 is a French ouverture. I'm sure there are many other examples, I just can't think of them of the top of my mind.

[@carlosmendez6729]

Will do. Thanks!

[@PM_ME_MESSIAEN_PICS]

@ BWV 552 is a French overture?!

@@PM_ME_MESSIAEN_PICS Yes, it is. :D

[@PM_ME_MESSIAEN_PICS]

@ But is there really a fast section with the fugue?

[@ghrpayne4396]

i live in a little fishingvillage in France. At midnight I was hoping to hear the churchbells ringing .The church missed an opportunity here to call people to reflect on the meaning of the beginning of a new year. We only bombarded with fire works going up into the sky .What a waste of money!

[@justpassingthruuu]

Ja komm zu Deiner Kirche❤

[@francobonanni3499]

In whatever style no one writes like Bach, he has his own style that is deep profound. If you listen to other 10 composers from his period you will see his capacity and creativity is far ahead of anyone. His counterpoint flows from his hands like water flows in a r ok er

[@Nooticus]

^ this

[@yaboibobby7776]

I like this piece! Thanks for uploading.

[@pianeto]

No words. Very nice job for all you!!!

[@virginiahesse3075]

This is so helpful! Thank you for posting!

[@saula.fantauzzi]

WOW Bach using Pizzicato. Amazing

[@doyoulikeveggies]

Strange how they forgo all the trills, but this is still a good recording, and a fantastic scrolling score accompanying it!

[@georgeparkins777]

The soprano doesn't forgo *every* trill...

[@richarddykiel8141]

Congrats great job. Can you do BVW 62 in the same way? This is my favorite :-)

[@talastra]

+Gerubach Thank you for this; it's nice to see the music, but I was specifically trying to find (without an accurate memory) this Paul Esswood "Oeffne dich" ... [Actually, I don't remember if the soprano is Paul Eswood or if that's just the name of the more famous soprano during this recording period] It's funny or dispiriting to see people hating on him. He wasn't the strongest boy soprano when these recordings were being made, but he got picked for this one anyway, and I think he's absolutely perfect and often extremely enchanting. There's something very affecting about a boy (rather than an adult woman) singing these words. Something innocent and earnest you don't get from other performers. And I'd particularly direct the haters to pay attention to how he articulates the fourth (last, like at 13:53) "kommt und ziehet ein" (so you know he's doing it on purpose and deliberately); there's a very fetching determination in the way he sings it. The fact that he may be a bit out of his depth adds rather than detracts from the pathos, in the same way that Peter Gabriel being right at the edge of what he can do puts a thousand-fold more soulfulness into his singing compared to similar efforts by the singer who replaced him in Genesis.

[@AML2000]

The boy soprano in this one was Sepp Kronawitter. He did make a career out of music, and the last I heard was the director of the Bad Toelz city band. He had the bad luck of competing with Peter Jelosits, arguably the boy soprano with the most beautiful voice in the series. Paul Esswood is the counter tenor that sang most of the alto arias. I have to admit that it took me about 40 years after first hearing Sepp to finally come to grips with his singing! However, this is his best performance in my opinion, and, contrary to the Vienna Choir Boy soloists, he sings the trills.

[@RockStarOscarStern634]

BWV 62 should be next because one of the Arias has the Strings playing in unison w/ the Continuo

[@GabrielSilva-wf1xx]

A obra de Bach é de difícil comparação com as coisas que existem na terra ... É celestial, fora do cumum

[@sophie-grace9143]

Nice on the whole. But the soprano is hopelessly reedy. And is it just me, or do all the singers sing kömm/ kömmt/ kömme? Where did that umlaut come from?

[@sophie-grace9143]

All right, the chorus are singing "komm". But the soloists--sounds a lot like "kömm" to me. Are they anglophones perhaps, mixing up "komm" and "come"?

[@Thingolfin]

Dear Sophie, you are right. The soloist sings "kömmt". This archaic "variant" using the umlaut is used up to the early 1800s mostly in an aristrocratic or solemn context. the english equivalent would be "he cometh" instead of he comes. Hope that helps . Bach used the "kömmt" variant in his cantatas but modern editions turn it into the common "kommt" since nowadays listeners find the usage of "kömmt" rather odd and old fashioned. I think Händel also uses cometh which has been changed into comes by editors.

[@sophie-grace9143]

Ah, I see! Thanks for the explanation.

[@talastra]

+Sophie-Grace Since this is the Harnoncourt, here's what Harnoncourt has to say about boy sopranos, and thus his "reedy" soprano: INTERVIEWER: "Coming back to Bach, may I ask you whether, in building up the complex of the whole performance, going from single brick to whole work, and including old instruments- whether there is anything you regret the loss of? I'm thinking, for example, of the sort of musical penetration and understanding that, in performances of the cantatas, a really superb, mature woman singer, with years and years of music, can bring to the solo parts that the very best boy soloist perhaps cannot, though obviously in the context of the original instrumental sound boys' voices blend very much better." Harnoncourt: "No, I would not agree about that. I would say that the very best boy is musically at least as good as the very best woman. Reflect that Menuhin, when he was twelve, did his best performance of Beethoven's violin concerto, and Furtwängler said that he could not imagine a better performance of the work. He was twelve years old. He was exceptional. But all the really good violinists of our day who are now sixty or seventy years old were already at their summit at ten, twelve, thirteen. I don't believe music is an art where the performer's understanding (not the composer's) can only come when he is too old to perform." INTERVIEWER: "Provided there is a conductor who has the knowledge?" Harnoncourt: "Who explains. But I am speaking of the natural musical feeling of a very gifted boy- I stress "very gifted"- when his vocal technique is as good as the vocal technique of the best female soprano. I must say that there are not many sopranos with a really very good technique- there are not hundreds of sopranos who can sing difficult Mozart really well, and I have never heard the Cantata BWV 51 of Bach sung well by a female or boy soprano. I know of some boys of thirteen years- few, but some- who are as musical as the best sopranos. They really have musical insight- it is not just that they imitate something, but they understand, and they understand directly, much more directly than an adult. You can communicate about music with such a boy. He understands the solution, and the importance of tension and relaxation in harmony, much faster than any adult. My experience is that there is no problem beyond the lack of quantity of such musicians. But you must remember that, in Bach's time, boys sang until they were eighteen years old, so there were many more boy singers. Every second boy learned singing, so they had a reservoir of thousands of boys."

[@hans-ottogade832]

YES Thingolfin: YOU ARE RIGHT!!

[@rum2su]

10:48

[@wllm4785]

Could only make it for one minute and forty five seconds. The intonation is putrid. The violins alone...

[@claudewiwiamjertes2122]

no, childrens no, please...

[@raypalltv9450]

crazy? or stupid?

[@Eliza-yd7fi]

@@raypalltv9450 why

[@joseleonido3479]

fugue

[@timothyserignese8586]

Just a terrible recording.

[@chroboe]

+timothy serignese seriously, this is just awful. were they trying to play it as boring as possible? they don't even follow articulation markings or trills and the tempo for the Bass recit was a snail's pace. No wonder people think they hate classical music.

[@classicalmusicanalysis]

+chroboe Geez, you're really snob.

[@sophie-grace9143]

It's certainly not one I would buy. The soprano soloist irritated me on first listen, never mind on 59th.

[@sophie-grace9143]

as did the kömm nonsense.

[@mikekeyes6102]

I suspect the soprano may well have been a boy.

[@RockStarOscarStern634]

BWV 62 should be next because one of the Arias has the Strings playing in unison w/ the Continuo