J.S. Bach Cantata Jauchzet Gott in allen Landen, BWV 51

[@ctiborlacina5488]

Božský hlas , božská hudba nádhera povznášející ducha- duši 🙏 srdce 🙏🙏👍👍❤❤❤❤❤❤❤❤

[@jancedricmicheler6122]

Maria Stader Was a splendid Sopran i am love her voicetimbre and her tecnical was fantastic.

[@franzbuchel7295]

Incredibly beautiful, elegant and pure. What a joy!

[@StuffMadeOnDreams]

Crystal clear voice and diction.

[@claudiolehmann775]

Exceptional soprano singing in this beautiful Cantata by JS Bach.

[@Agamemnon834]

Une des plus belles cantates de Bach magnifiquement chantée.

[@anavivancosvazquez8267]

Fantástica interpretación con armonía orquestal

[@TheCraigMann]

Maria Stader (Soprano) Born: November 5, 1911 - Budapest, Hungary Died: April 27, 1999 - Zürich, Switzerland The class of concert sopranos of the highest rank, long to be considered a vanished race, has found a worthy representative in the Hungarian-born Swiss soprano, Maria Stader, a favourite soloist of many of the world’s greatest conductors. This is not to say that the world of opera was outside the range of her art. Recordings preserve a long series of her beautiful interpretations of J.S. Bach and W.A. Mozart to Gluck and Puccini. These recordings, numbering over sixty works, have made her well-known to even the most remote areas of the world, illuminating most clearly all the virtues of her uniquely pure and flexible voice, with its bright radiance, beauty and warmth which make it ideal for oratorios and Lieder recitals, commanding the lyrical sphere as surely as that of a coloratura. During the 1960’s she also built up a splendid reputation as a Lieder singer. Maria Stader studied voice with Keller in Karlsruhe, Durigo in Zürich, Lombardi in Milan, and T. Schnabel in New York. She came to the notice of the public by winning first Prize as ‘I. Concourse international d’execution musicale the Genève’ in 1939. After a brief career as an opera singer, Maria Stader devoted herself to a distinguished concert career after World War II. She appeared in practically every major musical festival throughout the world. She first came to the attention of the American music public when she was invited by Pablo Casals to appear at the Prades Festivals. In the USA she appeared repeatedly with all the major orchestras as well as on television. Her appearances included the Philadelphia Orchestra in Philadelphia and New York, the Chicago Symphony, as well as Master Classes and recitals at the Aspen Music Festival. Maria Stader also completed very successful tours through South America and the Far East. This impeccably stylistic interpreter of W.A. Mozart, in both operatic and concert settings, was awarded the Lilly Lehmann Medal, the Silver Mozart Medal from the city of Salzburg, the Austrian Order of Merit for Arts and Sciences as well as the Hans Georg Neagell Gold Medal from the city of Zürich. Maria Stader published her autobiography Nehmt meinen Dank (Take my thanks) in 1979 and gave her final concert in 1969 at Zürich, at which one of her accompanists was the famous Hungarian pianist Geza Anda. Stader also taught voice in Zürich and published a text book on J.S. Bach arias that was translated into English in 1968.

[@kcchan8884]

J S Bach_BWV 51 - Maria Stader, Bach-Orchester, Karl Richter (DG 453-094-2)

[@vha111]

Just the right tempo! Why does more recently recorded classical music always seem to be in such a rush?

[@tanyadixon8708]

A truly beautiful performance...no strain or screech.

[@johnsonharold3463]

This Bach cantata Jauchzet Gott in allen Landen is very difficult to interpret, with many vocal challenges, range, breath control and I think most of all, velocity. I think JS Bach wrote it exactly for sopranos who could manage all of the difficulties without trouble. Maria Stader is the best example of an accomplished singer, exact in all aspects of vocal production and interpretation. She feels this work rendering it at a slower pace than most sopranos who need, or want to show vocal proficiency at "break neck speed". I prefer to hear this cantata sung with total control of breath, enunciation of text and phrasing. Maria Stader is at the top of my list for the recording of this cantata.

[@bluegrassa8721]

Man, You nailed it!

[@etiennecoffinier2515]

This version is taking the time to be extremely elegant: all starts in a very assertive way, and then turns to emotional.

[@mariejeanmougin3243]

C'est beau ...

[@f.zijlstra9195]

It's a relief to listen to this performance, no hectic running through the notes as performers in our twenty first century so often do.

[@alger3041]

@F. Zijlstra Totally agree, 1,000 %. The hectic and frenetic tempos of today are a most unfortunate trend, as in such cases one loses hearing salient features along the way. Moreover, Bach, as is well known, uses his voices as instruments and a good singer must be prepared to compete with instruments on equal ground, especially in this work. Moreover, in many spots, the lines are not as clear cut as one would expect, but actually run from one part to another, and a conductor must balance the whole so that this feature comes our properly.

[@EduardoPerez53]

Ella canta como un Ángel la sublime música de Bach

[@annamcancarini6953]

Che voce!! Grazie.

[@stephanmaierberlin]

Ich finde diese Intepretation sehr schön und stimmig! Herzlichen Dank für die Möglichkeit daran teilzuhaben . Mit besten Grüßen aus Berlin

Unforgettable!!! Mille grazie!!!

[@volkerbaumbach5938]

Sehr gutes Tempo, so dass der Text ausdrucksstark ausgesungen werden kann.

[@andalexba]

Göttlich!

[@paulphillips82]

My first violin teacher told me that modern performances tend to be played faster because of the need to fit the piece onto one side of a 33-rpm recording. Hardly a valid reason to speed it up now. The speed of this recording sounds about right to me.

[@presbyterosBassI]

Not likely. Now, to fit on one side of a 78? Much shorter playing time, and I believe it has been documented.

[@mariliamar]

great version, I had the opportunity to watch it live from a member of the Bach Society of Houston!

[@greeneyesmexico]

Perfection.

[@HarpsichordA6]

Sorry, lady Maria Stader was 48 years old when recorded this cantata. In video is writen (0:12) recorded in 1959 in Herkulessaal. Maria Stader (5. November 1911 in Budapest, Österreich-Ungarn; † 27. April 1999 in Zürich) writen in Wikipedia.

[@francoispallud1215]

superbe Maria

[@rafaelparedesspillari2511]

Está grabado en mi mente siempre, cada nota, cadatiempo

[@maxbuskirk5302]

Not listed on Bach Cantatas website! Took me a while to find out that this existed. Much better than the later Richter version.

[@ruthannchadwick7871]

She sings with such abandon yet instrumental precision. The slower tempo in the first and last movements show off her precision perfectly. I dislike versions that are meant to impress with their overly fast tempo.

[@alger3041]

I absolutely and totally agree with that comment.

[@greeneyesmexico]

Agree completely!

[@AndrewRudin]

I so agree. I think these tempi are perfect.

[@wolfgangrohts369]

I agree. By the way : Maria Stader was the best Bach-soprano of all times.

[@absoluteRa07]

Wünderschön!

[@melipona2012]

Musical vitamins for the Spirit. Wondering about Karl Richter,( beautiful man), learned a bit more about him. And doing so, I was enriched. Maria Stader, lovely. Thanks so much. Look forward to enjoy all your videos.

[@michaelattwell7502]

Tricky cantata, this one. The tempi and the demands on the voice seem to produce crazy results! Overall for me, this version, though not perfect, comes out best. The measured tempi feel absolutely right and Stader generally sounds comfortable with the complex ranging. Like many others, I find the manically fast versions - especially of the first aria - ridiculous. The Schwarzkopf version is insane. How did so great a singer allow herself to agree to such a breakneck pace?! And in so many other versions, the voice sounds constantly strained and fails to master the vocal demands. A pity - this is such a glorious cantata.

[@HarpsichordA6]

You are welcome !

[@alger3041]

Looking at the program of the work, I feel constrained to point out that musically this work consists of four movements, not five; the last one being a composite of two parts. This is ideally demonstrated in this presentation where this is done seamlessly, exactly as it should be. Composers, even the greatest, with all due respect to them, often misconstrue movements in multi-movemented works, separating them where in truth they are not separate. I could name other works where this situation exists. I repeat: the two parts of the last movement still add up to one movement. This cannot be construed musically in any other way, regardless of textual considerations.

[@chickrah]

Good, energetic performance, none of the "wa-wa" Baroque bow playing that makes some early music performances so difficult to listen to....

[@adalgisoserra]

Essa é a versão que eu mais gosto1

[@operapiccina]

♥️♥️♥️

[@rafaelparedesspillari2511]

Eso disparó mi amor para el universo

[@eniotnayssaneb3442]

she has something very different in her voice, although the accuracy isn't always perfect

[@alger3041]

When you consider the extreme demands this puts on the voice, very much rivaling Beethoven's use of the voice as an instrument, I think that it's remarkable she gets through it successfully, so to complain about any inaccuracies strikes me as being somewhat curmudgeonly.

[@annettebertora4434]

This is heven.

[@alger3041]

The name of the orchestra and conductor are not mentioned. Would it be Karl Richter who is conducting this group?

[@messrtwinky]

Yes, the conductor is Karl Richter. He is conducting the Munichener Bach-Orchestra. If you start at the very beginning, the album cover is shown. (I may have misspelled the name.)

[@marcocampus7943]

Yes. Conductor at the harpsichord

[@sheldonbazinga3985]

Il aurait fallu aux petits chanteurs de Leipzig une cage thoracique de gorille pour ne pas s'époumoner lors d'une aria d'introduction aussi virtuose, aigüe et sportive...Mais qui pouvait chanter cela sans s'évanouir? (de bonheur, et par manque d'air).

[@az-nf4mr]

Maria Stader is one of the best sopranos of the "old school" era, but I prefer the second 1972 recording of this cantata Karl Richter made with soprano Edith Mathis.

[@abhirambvs8818]

7:06

[@BlackbirdRising]

Singer?

[@enzocypriani5055]

Olivia Coker-Decker maria stader

[@gringoloco9001]

Wer ist der Trompeter?

[@messrtwinky]

Willi Bauer