J.S. Bach - Cantata BWV 88 "Siehe, ich will viel Fischer aussenden" (J.S. Bach Foundation)

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From the protestant church Trogen in Switzerland
Choir and Orchestra of the J. S. Bach Foundation
Rudolf Lutz - Conductor
Soloists:
Soprano: Miriam Feuersinger
Alto: Ruth Sandhoff
Tenor: Andreas Weller
Bass: Markus Volpert
Johann Sebastian Bach - Cantata BWV 88 "Siehe, ich will viel Fischer aussenden" (See now, I will send out many fishers)
00:00 Bach - BWV 88, Concert on 20.06.2008
00:43 Aria (Bass): Siehe, ich will viel Fischer aussenden, spricht der Herr.
06:35 Recitative (Tenor): Wie leichtlich könnte doch der Höchste uns entbehren
07:26 Aria (Tenor): Nein, nein!
11:16 Recitative (Tenor, Bass): Jesus sprach zu Simon:
13:30 Aria (duet Soprano, Alt): Beruft Gott selbst, so muß der Segen
17:11 Recitative (Soprano): Was kann dich denn in deinem Wandel schrecken,
18:48 Chorale: Sing, bet und geh auf Gottes Wegen,
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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/en/works/b...

[@leopoldomarianobuderackygr9803]

Thank you very much for getting me pray with this beautiful and blessed cantata.

[@Bachstiftung]

you are welcome.

[@valtergilenardi2639]

Alcune volte quando ascolto le Cantate Sacre di Bach piango di 😹 Gioia. Che Meravigliosa Terapia dell'anima ( altro che tranquillanti maledetti ) questa è una Potenza Divina. Dio Benedica Bach e i suoi Fans .Saluti da Lecce South Italy 🤗🌌🙏❤

[@jreinhuber]

Absolutely stunning. And boy, did Bach have a wonderful sense of humor. Those fish are swimming....

[@MichaelCWBell]

Lovely voice here at the start. My friend rang last night raving about 88. I love that Bach produced so much, there is something for everyone to call a favourite.

[@edwardswilliamsj]

When I sing or follow the recordings of choral music I remember that Herr Bach forgot that we are human beings, most of the arias or almost all of them have "melismas" too long and demanding, And many times I can't reach, and I run out of air,,, I am very fascinated by his compositions, I love when I can't breathe,... 😅.... In the first aria for bass I have never been able to sing without running out of air, I lack it, it is fascinating... I sing them all, my pronunciation is terrible, and my intonation is a disaster but it is so beautiful to sing and recite such beautiful, beautiful and reflective lyrics of each cantata and motets, I hope one day to be in a choir or orchestra, a dream... It's fascinating 😊

[@Bachstiftung]

Thank you very much for this comment! We wish you many more wonderful moments with J. S. Bach.

[@gustavomalvezzi8159]

Amo particolarmente questa Cantata, in particolare l'aria iniziale. Esecuzione eccellente!

[@mikelonneke1844]

This recording allows the soloist to be clearly heard, rather than to be merely detectable amongst the instruments. Since this recording was made, the excellent performances have been subjected to a diminution of singer presence. Please listen to the Allegro part of the first aria and marvel at the recordists art: preeminence for the soloist and clarity for the horns and other instruments. Congratulations to Ruedi, et al. High marks for the Recordist!! Mike Lonneke Round Hill, Virginia USA

[@gervaisfrykman266]

A new cantata for me. Flawlessly performed. Thank you.

[@eduardoperetdias6257]

Wunderbar

[@enriqueianez1996]

Once of my favouite cantatas. Excellent performance

[@johngreenhalgh8092]

unfailingly fabulous. Meticulously prepared and flawlessly executed...

[@francoishuglo]

Avec "Christ unser Herr zum Jordan kam", cette cantate est l'une de celles qui, dès le début, donne le mieux la sensation du cours de l'eau, et le chant est pris dans ce cours porté par l'orchestre . Le patronyme de Bach le disposait à devenir torrent, ruisseau, ou fleuve !

[@nawfalsalman3074]

Wonderful

[@migueldelafuente4607]

5:12, Brandenburg 2nd concert trumpet progression of fifths making the piece taking off into the stratosphere

[@davidleroy7036]

Yes, you are absolutely right. And from 5:02 to 5:11 it is like a « prelude » to what’s coming. But the base sections to that « prelude » starts at 5:01, « in advance ». J. S. Bach is in his own category. 5:01 to 5:23 is pure genius…

[@florafurioso9197]

Fabulous.

[@carolynclark1724]

Beautiful performance! I have not heard this cantata before and enjoyed it.

[@jsbpsm]

è splendida

[@leonpiorek3211]

Thanks for the Video, God bless you guys so much. He is going to give a sign from heaven tomorrow

[@bobh5087]

Aside from the rather too frantic tempo of the opening Bass aria, a lovely performance. It is always such a pleasure to hear soprano Feuersinger. Her voice is perfect for Bach - light and precise, like a boy treble. Thanks to everyone.

[@herrickinman9303]

FYI, the 2-part bass aria you think is performed at a "rather too frantic tempo" (it isn't) is marked "vivace" in the 1st part and "allegro e presto" in the 2nd part

[@bobh5087]

@@herrickinman9303 It was *still too fast.* The singer actually had to drop notes in the first-section melisma and was continually gasping for breaths and struggling to get the words out. Your tempo quotations (which I'm fully aware of) are COMPLETELY RELATIVE THINGS, and, therefore, COMPLETELY MEANINGLESS in any pragmatic sense. Only the MUSIC matters, not the generic tempo indications. And this tempo was too fast.

[@herrickinman9303]

@@bobh5087 You originally characterized the tempo as "rather too frantic." Now you just say it's "too fast." According to the NBA edition of BWV 88, the tempo markings for this aria are "Vivace" for the 6/8 section and "Allegro e presto" for the cut time section. Bach rarely specifies "vivace" or "presto," but you would have us believe that even though he specified "vivace" and "presto" in this rare instance, he actually meant "not too fast." FYI, the tempos actually taken in this performance of the aria were much slower than vivace or presto. The melisma that has your panties atwist consists of seven 6/8 measures of 16th notes; that's eighty-four 16th notes with no place to breathe. The singer wasn't "gasping for breaths." He was simply doing what is necessary to sing eighty-four 16th notes with no place to breathe: he was breathing. Nor was he "struggling to get the words out." There are no words in the melisma! There is only the syllable "sen"! There are many passages in Bach's vocal music where one is forced to find a place to breathe in the midst a long, unbroken sequence of fast notes. Try singing this 84-note melisma on "sen" at the slower tempo you advocate. The slower the tempo, the longer you have to hold your breath or the more breaths you have to take. No matter what tempo you choose, it's impossible to sing this melisma without taking multiple breaths. The singer of this aria actually performs the 84-note melisma on "sen" very smoothly.

[@Me-uv6kc]

NERD FIGHT

[@melcadman]

@@herrickinman9303

[@edelahaye]

The horn players are fantastic.

[@albertofassone4240]

Einfach großartig! Vielen Dank fürs HochlasDen dieses Meisterwerks. Schade nur um die vielen lästigen Unterbrechungen durch die Werbeblöcke...

[@edelahaye]

Miriaaaam ! ❤❤❤

[@alanbash2921]

Magic .

[@josephclarkclassicalandfaith]

What is popular is not always right what is right is not always popular. Me and Einstien. This applys to bach.

[@johnsilverton639]

Text for Cantata 88 Siehe, ich will viel Fischer aussenden Original German Text English Translation Erster Teil Part I 1. ARIA (Baß) Siehe, ich will viel Fischer aussenden, spricht der Herr, die sollen sie fischen. Und darnach will ich viel Jäger aussenden, die sollen sie fahen auf allen Bergen und allen Hügeln und in allen Steinritzen. Behold, I will send out many fishermen declares the Lord, they shall fish for them. And following that I will send out many hunters, they shall hunt them down upon every mountain and every hill and in every stone crevasse. 2. REZITATIV (Tenor) Wie leichtlich könnte doch der Höchste uns entbehren und seine Gnade von uns kehren, wenn der verkehrte Sinn sich böslich von ihm trennt und mit verstocktem Mut in sein Verderben rennt. Was aber tut sein vatertreu Gemüte? Tritt er mit seiner Güte von uns, gleich so wie wir von ihm, zurück, und überläßt er uns der Feinde List und Tück? How easily the Most High could simply dispense with us and turn his mercy away from us, when the consorted mind wickedly deserts him and with obstinate boldness dashes to its demise. Yet what does his fatherly-devoted mind do? Does he withdraw from us with his goodness, just as we have from him, and abandon us to the foes’ guile and treachery? 3. ARIA (Tenor) Nein, Gott ist allezeit geflissen, uns auf gutem Weg zu wissen unter seiner Gnade Schein. Ja, wenn wir verirret sein und die rechte Bahn verlassen, will er uns gar suchen lassen. No, God is forever diligent in pointing us upon the good path under the semblance of his grace. Yes, when we do stray and leave the proper course he will even search for us. Zweiter Teil Part II 4. REZITATIV (Tenor); ARIA (Baß) EVANGELIST Jesus sprach zu Simon: JESUS Fürchte dich nicht; denn von nun an wirst du Menschen fahen. EVANGELIST Jesus spoke to Simon: JESUS Be not afraid; for henceforth you will be fishing for people. 5. ARIA (Sopran, Tenor) Beruft Gott selbst, so muß der Segen auf allem unsern Tun im Übermaße ruhn, stünd uns gleich Furcht und Sorg entgegen. Das Pfund, so er uns ausgetan, will er mit Wucher wiederhaben; wenn wir es nur nicht selbst vergraben, so hilft er gern, damit es fruchten kann. If God himself calls then the blessing surely has to rest in abundance over all of our deeds, countering at once our fears and worries. The investment he makes in us he wants back with interest; if we simply do not tuck it away then he will gladly aid that it bears fruit. 6. REZITATIV (Sopran) Was kann dich denn in deinem Wandel schrecken, wenn dir, mein Herz, Gott selbst die Hände reicht? Vor dessen bloßem Wink schon alles Unglück weicht, und der dich mächtiglich kann schützen und bedecken. Kommt Mühe, Überlast, Neid, Plag und Falschheit her und trachtet, was du tust, zu stören und zu hindern, laß kurzes Ungemach den Vorsatz nicht vermindern; das Werk, so er bestimmt, wird keinem je zu schwer. Geh allzeit freudig fort, du wirst am Ende sehen, daß, was dich eh gequält, dir sei zu Nutz geschehen! What can frighten you in your transition when, my heart, God himself reaches his hand to you? By his simple gesture all misfortune already yields, and he can mightily protect and blanket you. If toil, drudgery, envy, plight or falsehood ensue and strive to disrupt and hinder what you do let brief hardship not curtail your resolve; the task which he assigns will be too difficult for no one. Go forth ever joyful, in the end you will see that that which earlier tormented you occurred for your benefit! 7. CHORAL Sing, bet und geh auf Gottes Wegen, verricht das Deine nur getreu und trau des Himmels reichem Segen, so wird er bei dir werden neu; denn welcher seine Zuversicht auf Gott setzt, den verläßt er nicht. Sing, pray and walk upon God’s path, just carry out your tasks faithfully and trust in heaven’s rich blessing, then he will be beside you anew; for whoever places his confidence in God, he will not abandon. COMPOSED: July 21, 1726 (Leipzig) for the 5th Sunday after Trinity LIBRETTIST: unknown, perhaps Christiane Mariane von Ziegler or Christoph Helm; Mvt. 1. Jeremiah 16:16; Mvt. 4. Luke 5:10; Mvt. 7. Georg Neumark, stanza 7 of Wer nur den lieben Gott läßt walten (1657) TRANSLATION: 2017 © Tobin Schmuck, NYC Print by permission only, please. Click here.

[@kalurimpoche57]

Die austimmung auf passen

[@kalurimpoche57]

@Barbara Jost die sitmmen ist slecht

[@alanbash2921]

Much too Fast....how can one absorb Bach’s Complex Genius at such a speed.......I will go back to Kurt Thomas to get goosebumps....

[@pedrolopez-torrestubbs7569]

All is good (almost perfect I would say) but the clapping at the beginning of each video is SO ANNOYING!!!!!!!!

[@konrad.bach4ever]

Understandably. But these are recordings of live concerts. To be authentical, the applause is inevitable. Bachstiftung wants to be clear about the fact that these are no studio recordings.

[@pedrolopez-torrestubbs7569]

@@konrad.bach4ever I shouldn't complain...this is wonderful material for free! Thank you for the thoughful reply :)

[@AlexandrosV]

Fails badly in comparison with John Eliot Gardiner and Peter Harvey

[@konrad.bach4ever]

Why?

[@MrFpam]

Very fine and probably more authentic performance from the Bach Foundation.

[@garydebacher9870]

@@MrFpam 😁

[@garydebacher9870]

Gardener can’t even match Hogwood on the Messiah…

[@konrad.bach4ever]

@@garydebacher9870 Personally I think the notion of "better" or "worse" does not make sense with music on this quality level.We rather should be grateful that there is such a diversity of really great performances.