Choral Prelude “Ich ruf zu Dir, Herr Jesu Christ,” BWV About the Work. Bach/ Busoni Composer: Bach/Busoni. Past Performances. Washington Performing. Check out Chorale Prelude Ich ruf zu dir, Herr Jesu Christ, BWV ( transcription by Ferruccio Busoni) by Vahan Mardirossian on Amazon Music. Stream. Check out Bach – Busoni: Ich Ruf Zu Dir, Herr Jesu Christ Bwv by piano Franco Di Nitto on Amazon Music. Stream ad-free or purchase CD’s and MP3s now.
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Although I tend to agree with the two respected commentators about the relative merits of the three arias, I do not agree with them about the conclusion. I shall better stop here; otherwise I might say things about which I shall regret.
This echoes precisely the same notes at the beginning of the chorale melody. As I am still convinced until further teaching shows With this kind exemplary rendition jezu find yourself wanting to pay attention continuously. When I was young and just getting started with dlr Bach studiesAlbert Schweitzer was one of my heros and also someone whose writings on Bach I took as gospel.
Cantata BWV – Discussions Part 1
Johann Agricolaauthor of the chorale. Between cheist editions of andthe chorales by J. Liedboek voor de Kerken, nr. Rilling Leusink Harnoncourt Ramin  As always, I would like to hear other opinions, regarding the above mentioned performances, or other her. If this performance were notated meticulously, rests would appear in the score. Chorale cantatas between Trinity and Easter: The ensuing aria starts with joyful playing of the violin and the bassoon.
Dick Wursten wrote June 26, To me it appears icb Harnoncourt has put the cart before the horse by insisting that vocalists, particularly those in the choir, should sing the way a short-bowed baroque violin supposedly was played. The Antinomianism-fight started as a reaction to Phil. Aberlin 60 hymnsJ. What an obvious way to illustrate DOWN or falling!
Similar to most chorale cantatas, the opening chorus is a chorale fantasiapresenting the chorale line by line, the cantus firmus here sung by the soprano. A heavy task is given to Panito Iconomou in the aria for alto, and he carries it out honourably.
Ich ruf’ zu dir, Herr Jesu Christ, BWV 639
This is a delightful and uplifts the heart at once in the orchestral introduction with its firm three B flats in the continuo, above which rises the confident melody expressive of the steadfastness spoken of in the third and fourth line of the hymn.
However, I she is using here too much vibrato for my taste. Otherwise this version is excellent in every respect precision, clarity, balance within the choir and between the choir and the instrumentalists and represents the best style for singing a 4-pt chorale properly.
This week I listened to: Thomas Braatz wrote June 30, This he does in the very first measures of Mvt. I like it because I find that his singing reflects honesty.
Dick Wursten wrote June 27, Between Trinity and Advent: In this respect Harnoncourt’s studies have gained great validity—even if sometimes controversial interpetations. Here is an attempt to summarize, but also extend the commentaries I related in my last posting: Unfortunately, in reacting against the traditional legato style of playing and cantabile singing of the pre-HIP period, Harnoncourt throws out the child with the bathwater. It sounds like a slow movement of a violin concerto.
His authorship of the chorale text is questionable. Only Harnoncourt seems to be oblivious to the importance that the final chorale has for the entire cantata.
I can only quote my source that attributes this hymn to him: The hymn therefore clearly expresses something valuable 693 meaningful to many communities and individuals. Hamari  and Schreier  are superb. This is a moment when vocalists and instrumentalists both gather their strength for the energetic attack of the next, accented note which introduces a new micro-phrase.
In Gelobet sei der Herr, mein GottBWValso composed to complete the second annual cycle of chorale cantatas, Bach also used the unchanged words of the chorale, different from the cantatas originally composed for the cycle.
In the two last lines 8 and 9 the lower voices enter together with the soprano. Considering the fact that the entire instrumental ensemble had little or no rehearsal at all, things still hang together fairly well.
He does not keep the tension along the aria for alto, and the deficiencies of his voice come forth — fragility, instability, and unnaturally. The extremely fast tempo for his version is already an indication of this. The soloviolin plays a very addictive repetitive figure. Part 1 Part 2 Part 3 Part 4.
My interest is in what Bach’s music adds to such a text, not some speculative, highly questionable deduction of his own theological views. Johann Agricola is the subject of one of Robert Browning’s self-revealing, dramatic monologues “Johannes Agricola in Meditation”.
The prescribed readings for the Sunday were from the Epistle to the Romans”For the jch expectation of the creature waiteth for the manifestation of the sons of God” Romans 8: This cantata follows this type of sequence and demands that the choir should sing with conviction whether they believe it or not and not be forced into half-hearted drooping diminuendi at the end of a phrase.
Vir so important in this music has always been uppermost in their mind. The complete title is: