J.S. Bach - Cantata BWV 146 "Wir müssen durch viel Trübsal" (J.S. Bach Foundation)

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Choir and Orchestra of the J. S. Bach Foundation
Rudolf Lutz - Conductor
Soloists:
Ulrike Hofbauer - Soprano
Markus Forster - Alto
Hans Jörg Mammel - Tenor
Wolf Matthias Friedrich - Bass
Johann Sebastian Bach - Cantata BWV 146 "Wir müssen durch viel Trübsal" (We have to go through a lot of tribulation)
0:00 Cantata BWV 146, Concert from 27.04.2012
00:57 Sinfonia
08:10 Choir - »Wir müssen durch viel Trübsal in das Reich Gottes eingehen.«
13:40 Aria (alto) - Ich will nach dem Himmel zu
21:50 Recitative (soprano) - Ach! wer doch schon im Himmel wär
23:45 Aria (soprano) - Ich säe meine Zähren
30:19 Recitative (tenor) - Ich bin bereit
31:32 Aria (tenor, bass) - Wie will ich mich freuen, wie will ich mich laben
37:20 Chorale - Freu dich sehr, o meine Seele
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For further information on the Bach Foundation, go to: www.bachipedia.org
The complete cantata, introductory workshop and reflection lecture (in German) are available at: www.bachipedia.org/werke/bwv-...

[@markusschuler665]

Dieser unfassbare Schmerz! Aber es ist auch Licht und Gnade! Was frag ich nach der Welt! SDG

[@sashadelmar7531]

What beautiful and brilliant playing by the organist Norbert Zeilberger (1969-2012) - and what a tragedy that he had such a stupid and unnecessary fatal accident (trying to open a hotel window, of all ridiculous situations). How desperately sad. Read all about him in the comments beneath BWV 35. He has left us a wonderful legacy of his artistry.

[@Nooticus]

I echo this sentiment

[@kooistradurk]

Indeed! It's sad the mix was a bit disappointing - this Synfonia is about the organ (or violin) and should have more room in the mix, regardless of how many registers are open

[@franciscoespinozagamboa6490]

que gran pérdida, la muerte trágica de este eximio intérprete

[@banzobeans]

😮😢

[@ifyouloveChristyouwillobeyhim]

This is really sad and shows how a little carelessness can have an incalculable cost.

[@harryjoseph1802]

What an opening! Replete with all that Bach can pull out of his bag. Pedal notes, suspensions, arpeggios, cataract of notes, motifs tossed about from one group to another in minor/ major keys... The pace Herr Lutz sets makes one sit up in rapt attention. This is one ensemble that delivers Bach in such a wholesome package. You made my day!

[@Twentythousandlps]

The opening movement is familiar to many music lovers, but the concerto version does not have the oboe parts Bach wrote for this version, and of course he changed the second movement of the concerto as well by making the chorus the central element.

[@JamesPollMaine59]

My God, this is one of the most magnificent recordings of a Bach cantata I’ve ever heard. The artistry is beyond compare. ❤️❤️❤️

[@IvanGreindl]

You have to listen to their performance of *BWV 66* too!!!!!!! ☺

[@rocketsroar1]

Bach hits the ground running at full speed and never slackens.

[@crediama]

Fantastico

[@gopher7691]

What else can I say but thank you for this beautiful performance

[@gilles987654321]

Just finished listening to the recitative and the aria for soprano. What masterful equilibrium of instruments and voice, attention to the words, long phrases splendidly rendered. Ulrike has a magnificient voice. Truly a gem - lifts indeed to the paradise...

[@IvanGreindl]

Indeed... I also would prefer a tempo slightly less in hurry. 😉

[@dlbbhsaa]

Absolutely agree. The NBS version of this cantata has now also been given wider release on KZbin, with Maria Keohane doing an incredible job on the soprano recitative and aria. Indeed both performances of this amazing cantata do it full justice.

[@frankjohannson6484]

wonderful organ!

[@IvanGreindl]

L'aria pour ténor et basse est une vraie merveille, qui met les larmes aux yeux !...👏 Bravo aux artistes.

[@gilles987654321]

I almost stepped when I heard the fast pace set for the Sinfonia. But the masterful and attentive interpretration of the orchestra (light yet precise and felt) cast a spell that forced a re-reading of the score. That's what I like in interpretations. Congrats to M. Lutz and the organist (good choice of organ stops too). Will now go listen to the rest...

[@ifyouloveChristyouwillobeyhim]

This would not have been considered "fast" by the standards of Bach's day.

[@IvanGreindl]

Mais quels talents !!! Chaque artiste est tellement investi que c'en est... émouvant. *Vielen Dank für das Teilen Maestro Lutz!*

[@MrFgjklo]

Perfekte Aufnahme, sehr schön auch die Orgel, toll gespielt und im angenehmen Lautstärkeverhältnis. 👍

[@harryjoseph1802]

The recording is excellent. Even on my android with headphones the balance is topnotch.. such clarity, nothing overbearing. Can imagine what it sounds like in that wonderful setting!

[@michaelpinker7618]

Wonderful duett by the tenor and bass, both of which singers possess ideal vocal qualities for Bach's demanding music!

[@juliencaron3264]

Monsieur Lutz nous a habitués à des interprétations parfaites du grand Bach. Dans cette oeuvre, il se montre une fois encore un serviteur zélé et sans faille du Kantor. Merci.

[@billblair3941]

Another superb performance. Lutz is very animated in conducting. I understand Bach was very strict and simply waived his hand to keep time.

[@karstensturm4198]

And what a dedication in the voices of the singers. Beautiful!

[@andersrhedin1877]

Fantastiskt spel av violinisten i altarian!🎉🎉

[@andersrhedin1877]

Vackert spel av traversflöjtist och oboisterna!🎉

[@christianbrodiez5287]

C ette cantate est une pure splendeur !

[@hugoboer]

Wunderbar!

[@Bachstiftung]

Vielen Dank 😀

[@luciasona2231]

Bellissima cantata e splendida esecuzione! Grazie!

[@simonthelen5910]

Norbert Zeilberger at the organ is playing superbly, especially during the Sinfonia. It's a shame he isn't credited anywhere in the video or the description.

[@MrYvonreperant]

Entièrement d'accord avec vous : c'est une honte absolue de ne pas mentionner son nom !!!!!

[@crisduchatelle]

Love this so much ...a clasical and so known piece💙🙏

[@organvault1113]

How could you give this organist absolutely no credit for his amazing soloist work in the opening sinfonia?

[@edelahaye]

Norbert Zeilberger (1969-2012) en.wikipedia.org/wiki/Norbert_Zeilberger

[@andersrhedin1877]

Spänstigt spel av organist 🎉

[@AndrewRudin]

An elegant performance.

[@christiaandhooghe]

Such a beautiful work. Wonderful altus also.

[@lordchameleon2650]

I want to learn Mr. Lutz's skin care routine. Years pass by but he looks he didn't age a bit..

[@bencosmo1979]

I thought the same, then saw that this was filmed 10 years ago

[@rickythe2nd63]

@@bencosmo1979 😄😄

[@konrad.bach4ever]

My recipe: play Bach. It keeps you young, at least mentally. Physically maybe too, if you play the organ…😅

[@lordchameleon2650]

@@konrad.bach4ever hahahha thank you very much for the tip. I am trying to learn more Bach everyday. Even though I am an engineering student, in my free time my days are full of Bach's music. I recognized you from the videos of this channel.

[@konrad.bach4ever]

Indeed our monthly cantata concerts in Trogen are also kind of mental training. It is breathtaking to discover more and more secrets and jewels of Bach’s art of composing.

[@heidegger1777]

tragic. the deepest pain and hope....

[@edgeplay4205]

1st movement is written to swing. (Swinging Bach records outsell Bach records 100 to 1.) It swung after the organ cadenza and faded in the closing bars. To get it right start with too much swing and pull it back to the point where it is natural.

[@patriciarodriguezmartinez3233]

❤️

[@davideviterbo]

lo spirito raggiunge e sorpassa i limiti dell'anima

[@doctorfoster1968]

Seems a shame not to use the big organ :( The little one gets lost.

[@weekapaugg3]

it's great people clapped, but do you need to add 10 minutes of it in the recording?

[@mmccafferty5920]

Yes! The church needs to resound with the appreciation of the listeners as it just was filled with the magnificent sounds of the ensemble. Music cannot exist in a vacuum. It is a collaboration between performers and listeners. I am always touched by Herr Lutz's graciousness in acknowledging the members of his group.

[@banzobeans]

@@mmccafferty5920I wish those running this channel would do a better job crediting the performers here in youtube!

[@Karlinberlin1]

The Sinfonia material is used somewhere else, no? One of the harpsichord concertos? final movement of a Brandenburg? It sounds very familiar - the rest of the cantata is new to me.

[@remomazzetti8757]

The Sinfonia was used as the first movement of the d minor Harpsichord Concerto.

[@AndrewRudin]

@@remomazzetti8757 The change of timbre from harpsichord to organ now so superbly fits the "trubsal" of the title.

[@JeanDetheux]

kzbin.info/www/bejne/jpTWl3eupM-XjJo

[@herrickinman9303]

Both the sinfonia in BWV 146 and the harpsichord concerto BWV 1052 are now believed to derive from an organ concerto, not a violin concerto as was believed in the 20th century.

[@jdmitchell6559]

I've always known the sinfonia from the harpsichord concerto, but now having heard it on organ it's obvious that's what JSB meant. It's even better on a big instrument - the keyboard entry becomes spectacular rather than a bit of an anticlimax as tends to happen with harpsichord.

[@MrYvonreperant]

Serait-il possible de donner le nom de l'organiste soliste , car , en plus , sa partie , dans cette cantate , est particulièrement difficile ???? Merci d'avance !

[@Bachstiftung]

Marc Hantaï

[@MrYvonreperant]

@@Bachstiftung Non , absolument pas !!!! C'est en fait Norbert Zeilberger qui est décédé en 2012 8 ( je l'ai appris par un ami !!! ) .

[@kingsalomon3979]

Schneller, weiter, höher… - Beste obere Zwischenzeit!

[@ulisescervantes]

What came first, the cantata or the keyboard concerto?

[@mikegiacaman6755]

The keyboard concerto. Itself likely an adaptation an earlier violin concerto which is thought to be by Bach, but not with complete certainty.

[@herrickinman9303]

The cantata came first. The 1st and 2nd movements of cantata BWV 146 (first performed in 1726 or 1728) AND the harpsichord concerto BWV 1052 (composed in 1738) derive from an organ concerto.

[@herrickinman9303]

@@mikegiacaman6755 No. The cantata came first. This cantata was first perfomed in 1726 or 1728. The harpsichord concerto BWV 1052 was composed much later, in 1738. Based on modern scholarship, the harpsichord concerto and the 1st and 2nd movements of the cantata all derive from an organ concerto (by Bach, who else?), not a violin concerto!

[@mikegiacaman6755]

@@herrickinman9303 You're right about the two cantata adaptations (BWV 146 and 188) having been written before this particular keyboard version. I meant to emphasize that "a" concerto version pre-dated the cantatas, but I stand corrected. According to a Wikipedia article two modern musicologists seem to think it may have been an organ concerto, however, most interpreters or musicologists presume that the original was a violin concerto. One example is this: kzbin.info/www/bejne/mIupgJuhfKylbqM Several others make the same comment. The basis of the assumption are the "bariolage" types of passage works which are typical for violin writing. There is a modern recording for organ, but the liner notes indicate is a reconstruction of the concerto, which they also state is probably based on a lost violin concerto: kzbin.info/www/bejne/iGS4fn2VqMSAla8 Doubts have even been raised about authorship of the original violin concerto on stylistic grounds, but most agree that it was Bach, because, as you say, "who else" could have written it?

[@herrickinman9303]

@@mikegiacaman6755 However much you might enjoy Sato's virtuoso fiddling in his reconstruction of the supposed violin concerto original, it does NOT prove BWV 1052 derived from a violin concerto. Sato believes BWV 1052 derives from a violin concerto simply because of the violinistic figuration in the harpsichord part. However, Bach scholar Christoph Wolff has explained why the violinistic figuration in the harpsichord part DOES NOT demonstrate that it is a transcription from a previous violin part; for one thing, the "extended and extreme passagework" in the solo part "cannot be found in any of Bach's violin concertos"; for another, he points to other relevant Bach keyboard works that "display direct translations of characteristic violin figuration into idiomatic passagework for the keyboard." In the 21st century, Bach scholarship has moved away from ANY consensus regarding a violin original. In 2016, for example, two leading Bach scholars, Christoph Wolff and Gregory Butler, published INDEPENDENTLY CONDUCTED RESEARCH that led EACH to conclude that the original form of BWV 1052 was an ORGAN CONCERTO COMPOSED WITHIN THE FIRST FEW YEARS OF BACH'S TENURE IN LEIPZIG. (Previous scholarship often held that Bach composed the original in Weimar or Cöthen.) Both scholars relate the work to performances by Bach of concerted movements for organ and orchestra in Dresden and Leipzig. Peter Wollny, a Bach scholar who served as director of the Bach Achive since 2014 and contributed to the _Neue Bach-Ausgabe, _ also disagrees with the hypothesis that the works might have originally been a violin concerto.