J.S. Bach / Christ lag in Todesbanden, BWV 4 (Parrott)

Johann Sebastian Bach (1685-1750)
Cantata BWV 4: Christ lag in Todesbanden (1707-1708)
1. Sinfonia
2. Christ lag in Todesbanden (Chorus) 01:22
3. Den Tod niemand zwingen kunnt (Duet: S, A) 05:34
4. Jesus Christus, Gottes Sohn (Aria: T) 08:51
5. Es war ein wunderlicher Krieg (Chorus) 10:49
6. Hier ist das rechte Osterlamm (Aria: B) 13:18
7. So feiern wir das hohe Fest (Duet: S, T) 15:53
8. Wir essen und leben wohl (Chorus) 17:34
Soloists:
Soprano: Emily Van Evera
Alto: Caroline Trevor
Tenor: Charles Daniels
Bass: David Thomas
Performed by Andrew Parrott and the Taverner Consort & Players.
"Christ lag in Todesbanden (Christ lay in the bonds of death) (BWV 4) is one of the earliest Bach cantatas known to us. It will have been written around 1707/1708, certainly before 1714. Although a chorale cantata--being based on Luther's hymn of 1524 with unaltered text--it nevertheless does not belong to the type characteristic of the later Bach (with inner movements in recitative and aria form), but to the archaic form of the chorale variation 'per omnes versus', i.e. the chorale melody is retained in all seven verses, sometimes unaltered, sometimes modified. No themes foreign to the chorale appear, only accompanying instrumental figures of motif character. A brief Sinfonia, in which the beginning of the hymn is heard, is followed by the individual verses of the chorale in the following arrangements:
1. Chorale chorus, melody in soprano, lower parts in imitation, violins in figurative accompaniment. Last line, "Hallelujah", expanded into motetic writing in quickened tempo.
2. Chorale concerto in a small number of parts (soprano, alto, continuo).
3. Trio movement for violins, tenor and continuo, chorale melody (in tenor, final line freely treated) figuratively accompanied.
4. Motetic chorus, chorale melody (Dorian B minor with an E minor movement) in the alto.
5. String writing with bass and continuo. Each line of the hymn first in the bass, then in the strings (1st violin), final line again freely treated.
6. Chorale concerto in a small number of parts (soprano, tenor, continuo).
7. Plain four-part chorale setting, doubled by instruments.
Unfortunately we only know the work from the parts of the repeat performances of 1724 (without cornett and trombones) and 1725; yet the composition does not seem to have undergone any very substantial change compared with the original version. Striking features are the work's clear symmetry (central axis: verse 4) and the strong connection between text and form, which also lets certain words stand out pictorially in the musical setting." - Alfred Dürr
Painting: Interior with Figure, Adriano Cecioni

[@discotanzo]

leur interprétation du christ lag est vraiment la meilleure que j'ai entendue jusqu'à maintenant! l'orchestration est les voix sont parfaitement équilibrées, et quelles voix!! le tempo est optimal la fin me met les larmes aux yeux...

[@judithvandijkhuizen8331]

I have listened to many versions and like this one the best. Gorgeous voices too, especially the top line -- pure and not dominating.

[@marsing69]

one of my favorite cantatas from bach!

[@O-sa-car]

strong solo voices that exhibit high levels of control

[@veolinus]

One of the best performances i.ve heard

[@Musicienne-DAB1995]

My favourite performance of this great piece.

[@justinrubin2533]

The chorale duet is absolutely amazing --- the slow settling and rising of the Halleluias at the conclusion coming together to E is extraordinarily powerful.

[@nonconfundar]

Outstanding performance! So much feeling in this short sinfonia,.Great orchestra , great choir :) Thanks for uploading

[@olivierricard972]

9 ans après je suis toujours émerveillé par cette interprétation et par les voies des solistes, leu clarté. Cela reste et de très loin la meilleure interprétation à ce jour! Merci Andrew Parrott, merci à vos solistes et à votre orchestre pour tant de justesse, d'intensité, de respect du tempo et de la force « Surnaturelle « du texte.

[@jamey909]

Wonderful performance. All singers are terrific. The alto, Caroline Trevor, is especially compelling, I feel.

[@otayasuo19]

How nice of you to have uploaded to this to KZbin!

[@xiaominote11pro7]

Toujours la plus belle interpretation, sans une ride !

[@MrCiroelgnomo]

Fantástico encontrar, por fin, esta maravillosa cantata de mi juventud.

[@normantrombon]

Perfect tempos! Nice vocal stylings! What a swingfest!

[@witles1000]

Bravo Maestro Parrott ! :) :)

[@OUTBOUND184]

STUNNING. Excellent visual accompaniment too, well done!

[@olivierricard972]

La version vidéo n’apparait Malheureusement plus sur KZbin, car elle permettait de se rendre compte de l'étonnant Enchaînement des solistes et des cordes mais heureusement l’interprétation sonore reste !

[@henripierrehenripierre9161]

Oui, c'est vraiment une des meilleures interprétations. Depuis longtemps, Andrew Parrott nous étonne avec ses versions pour petit ensemble et solistes là où d'autres nous ont fatigués avec leur chœur et orchestre imposants.

[@olivierricard972]

Cette cantate n’est faite que pour des voix de soliste et des petites formations instrumentales mettant les contrevoix individualisée des violons, et violoncelles parfaitement en relief .

[@felipecordeiro4459]

BRAVO MUY BIEN

[@belkismartin7019]

Espléndida Obra!!!!🌿

[@_PROCLUS]

Andrew Parrott b. 1947 studied at the University of Oxford, where he pursued research into the performing practices of 16th and 17th century music Andrew Parrott is best known as music director and conductor of the Taverner Choir, Consort and Players, a group of singers and instrumentalists he formed in 1973, specialising in the music of the Renaissance and Baroque eras Andrew Parrott also maintains an international conducting schedule, he has performed in Spain, Sweden, Switzerland, the Czech Republic and the USA. He has taken up two appointments, as Musical Director and Principal Conductor of the London Mozart Players and Music Director of the period-instrument New York Collegium. Andrew Parrott is a well-known musicologist who combines scholarship and performance as much as possible. A specialist in the performance practice of early music, he has also published articles on Monteverdi, Purcell and J.S. Bach ...

[@babayaga66]

Who is that the strikingly moving painting by?

[@nidhisharma3465]

The painter is Adriano Cecioni.

[@kikoolesnamis]

I Love

[@YodoJakamodo]

4:06 - swinging Bach!

[@armandogonella2770]

I M M E N S O B A C H

[@TheGloryofMusic]

And he came over to my house and took my remote control.

[@AndrewRudin]

Lovely performance. But what's with that picture?

[@scrymgeour34]

Andrew Rudin "The first day of the week cometh Mary Magdalene early, when it was yet dark, unto the sepulchre..."

[@normantrombon]

scrymgeour34 ...The painting upsets me.

[@raulpardomorales7994]

Los niños soprano son una maravilla! 10/10