Johann Sebastian Bach Ach wie flüchtig, ach wie nichtig Video
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2024-03-24
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Paradies Fried Rosemarie Lang Johann Sebastian Bach Gewandhausorchester Leipzig Thomanerchor Leipzig 1978
Provided to YouTube by Kontor New Media GmbH Gottes Zeit ist die allerbeste Zeit, BWV 106 "Trauerkantate": No. 7, "Heute wirst du mit mir im Paradies sein - Mit Fried und Freud ich fahr dahin" · Gewandhausorchester Leipzig · Thomanerchor Leipzig · Rosemarie Lang · Hermann Christian Polster · Hans-Joachim Rotzsch Bach: "Gottes Zeit ist die allerbeste Zeit", BWV 106 - "Ach wie flüchtig, ach wie nichtig", BWV 26 ℗ Eterna/Edel Germany GmbH Released on: 1978-01-01 Orchestra: Gewandhausorchester Leipzig Choir: Thomanerchor Leipzig Soloist: Rosemarie Lang Soloist: Hermann Christian Polster Conductor: Hans-Joachim Rotzsch Alto: Rosemarie Lang Bass: Hermann Christian Polster Composer: Johann Sebastian Bach Lyricist: Anonymous Music Publisher: Copyright Control Auto-generated by YouTube.
Johann Sebastian Bach Chapman Georg Böhm Böhm William Byrd Georg Philipp Telemann Orchestra Age Enlightenment
Bach, the Universe & Everything - Can you hear the shape of a drum? In Bach the Universe & Everything, mathematics and music share the stage. A partnership between Orchestra of the Age of Enlightenment and Oxford Mathematics, these secular services aim to reflect the community atmosphere of the Enlightenment in the 18th Century via the science and musicians of our own. In this first service of the season, Oxford Mathematician Jon Chapman asks if you can hear the shape of a drum while J.S. Bach and friends keep perfect time. Running Order: Prelude: Georg Böhm - Ach wie flüchtig, ach wie nichtig Polyphony: William Byrd - Haec Dies Reading: Walt Whitman - Beat! Beat! Drums! Cantata: Johann Sebastian Bach - Ach wie flüchtig, ach wie nichtig BWV 26 (Chorales and Aria) Talk: Jon Chapman - Can you hear the shape of a drum? Postlude: Georg Philipp Telemann - Darmstadt Ouverture TWV 55:g4 'Gasconnade'
Bach Bas Ramselaar Pieter Jan Leusink Schick Hirte Schall Friede Andreas Scheibner Günther Leib Kreuz Liszt Netherlands Bach Collegium Gewandhausorchester Leipzig
Online purchase or streaming (Spotify, iTunes, Amazon Music, Deezer): Coming soon! Our music is available for sync licensing in videos, films, tv-shows, games, advertising and more. For more information and to request a license go to: (http•••) Composer: J.S. Bach Tracklist: Artists: Bas Ramselaar, Holland Boys Choir, Netherlands Bach Collegium & Pieter Jan Leusink 00:00:00 Ich habe genug, BWV 82: III. Aria. Schlummert Ein, ihr Matten Augen (Basso) 00:09:24 Liebster Gott, wenn werd ich sterben?, BWV 8: IV. Arioso. Doch weichet, ihr tollen (Basso) 00:14:50 Meine Seufzer, meine Tränen, BWV 13: V. Aria. Ächzen und erbärmlich Weinen (Basso) 00:24:27 Ach wie Flüchtig, ach wie Nichtig, BWV 26: IV. Arioso. An irdische Schätze (Basso) (Bas Ramselaar, Holland Boys Choir, Netherlands Bach Collegium & Pieter Jan Leusink) 00:28:45 Wer Weiß, wie nahe mir mein Ende?, BWV 27: V. Aria. Gute Nacht, du Weltgetümmel! (Basso) (Bas Ramselaar, Holland Boys Choir, Netherlands Bach Collegium & Pieter Jan Leusink) 00:32:12 Dazu ist erschienen der Sohn Gottes, BWV 40: IV. Aria. Höllische Schlange (Basso) (Netherlands Bach Collegium, Pieter Jan Leusink & Bas Ramselaar) 00:34:15 Ich will den Kreuzstab gerne tragen, BWV 56: III. Aria. Endlich, endlich wird mein Joch (Luthers Bach Ensemble & David Greco) Artists: Bas Ramselaar, Holland Boys Choir, Netherlands Bach Collegium & Pieter Jan Leusink 00:40:43 Erfreut euch, ihr Herzen, BWV 66: III. Aria. Lasset dem Höchsten ein Danklied (Basso) 00:47:32 Wachet! Betet! Betet! Wachet!, BWV 70, Seconda Parte: X. Aria. Seligste Erquickungstag (Basso) 00:50:32 Herr, wie du willt, so schick's mit mir, BWV 73: IV. Aria. Herr, so du willt (Basso) 00:54:11 Jesus schläft, was soll ich hoffen, BWV 81: V. Aria. Schweig, Aufgetürmtes Meer! (Basso) 01:00:05 Du Hirte Israel, höre, BWV 104: V. Aria. Beglückte Herde, Jesu schafe (Basso) 01:07:01 Auf Christi Himmelfahrt allein, BWV 128: III. Aria. Auf, auf, mit hellem Schall (Basso) 01:10:32 Ich lebe, mein Herze, zu deinem Ergötzen, BWV 145: III. Aria. Merke, mein Herze (Basso) 01:14:04 Der Friede sei mit dir, BWV 158: II. Aria con Choral. Welt, ade, ich bin dein müde (Luthers Bach Ensemble & David Greco) 01:20:15 Johannes Passion, BWV 245, Pt. 1: Chorale. "Wer hat dich so geschlagen" (Virtuosi Saxoniae & Andreas Scheibner) Artists: Hallenser Madrigalisten, Virtuosi Saxoniae & Andreas Scheibner 01:22:18 Johannes Passion, BWV 245, Pt. 2: Aria. "Eilt, ihr angefochtnen Seelen" 01:26:15 Johannes Passion, BWV 245, Pt. 2: Aria. "Mein teurer Heiland" Artists: Günther Leib, Gewandhausorchester Leipzig, Rudolf Mauersberger & Erhard Mauersberger 01:31:36 Matthäus-Passion, BWV 244, Pt. 2: No. 57, Aria. "Komm, süßes Kreuz" (Bass) 01:37:40 Matthäus-Passion, BWV 244, Pt. 2: No. 65, Aria. "Mache dich, mein Herze, rein" (Bass) Social media links: Instagram: (http•••) Facebook: (http•••) TikTok: (http•••) Spotify Playlists: Brilliant Classics Spotify: (http•••) New Classical Releases: (http•••) The Best of Liszt: (http•••) The Best of Bach: (http•••) Most Popular Piano Music: (http•••) Beautiful Classical Music: (http•••) Classical Music For Dinnertime: (http•••) Thank you for watching this video by Brilliant Classics, we hope you enjoyed it! Don’t forget to share it and subscribe to our YouTube channel. And visit our channel for other pieces of some of the greatest composers. We upload daily with complete albums and compilations with the best classical music. (http•••) #Bach #Arias #Bass #BrilliantClassics #Music #Classical #Classic
Bach Helmuth Rilling Robertson 1685 1750
Many of Bachs chorale cantatas had their opening fantasias set on the organ preludes that he had previously composed. This one is derived from the same prelude in the Orgelbüchlein - BWV 644. Indeed, Helmuth Rilling [M-1] recorded the organ chorale and the chorale from the cantata back to back early in his long career, during the first half of the 1960s. Albert Schweizer pointed out how, by especially evocative scales, Bach has depicted in the organ chorale the text of the hymn, comparing the futility of things on earth with clouds which we see appear and disappear. Just as in the short chorale for organ, thus also in the cantata, the moving clouds are represented by a succession of parallel and opposed scales. This becomes especially remarkable in the rapid flashes of the orchestral accompaniment to the opening chorus during which the theme of the hymn is sung by the sopranos and the horn in unison. The two arias of this cantata for tenor and for bass - are also splendid. Chorus Corno col Soprano, Flauto traverso, Oboe I/II, Violino I/II, Viola, Continuo Ach wie flüchtig, ach wie nichtig (Ah how fleeting, ah how insubstantial) Robertson: The Gospel account of the raising of the rulers daughter perhaps leads to this discourse on the mortality of man. Bach, with his partiality for tonal symbolism, paints a picture in the orchestral and vocal parts (except for the sopranos who have the melody), who have clouds-wreaths forming and quickly dissolving in the brief life of man. As the voices cease the orchestra recapitulates the opening ritornello. Young: Bachs fantasia paints a symbolic picture of mists drifting and dissolving like clouds in a valley, representing the brief life-span of man. A similar image of clouds, sailing across the sky more majestically, is conjured up by the opening movement of his Fourth Orchestral Suite (BWV 1069), which Bach will again use for the chorale fantasia which begins Cantata BWV 110. Both of these cantata movements are marvellous examples of Bachs ability to create tone-poems.
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