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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In line 6 the imitation motive is taken from the chorale. Liedboek voor de Kerken, nr. Or, am I wrong and she is using it intentionally, to express a certain fear of the misfortune? He himself would be ashamed, and offer his apologies for this lemma in the Compendium, I’m sure The fourth, by Ramin, is the first recording of this cantata. Its text somewhat reflects the Gospel, Luke 6: Their performances are characterised by the enthusiasm of pioneers. I have a German hymnal published in which lists this chorale as no.
Thomas Braatz wrote July 8, Bach cantata List of Bach cantatas Discography: I hope to see many of you participating in the discussion.
Everything is so clear and bright, and overwhelming with emotion. I wondered about the date of this cantata. Johann Agricola the antinomianist considered by some to be the author of the chorale text on which BWV is based, is very likely not the author of this chorale. Speratus, among others, all of whom Luther asked for their contributions for this new style of evangelical church hymn.
Hherr soprano Ulrike Taube is not much better in the ensuing aria. But here he has done as I so often do, let your thoughts sail away on secondary sources without verifying the references, forgivable for an amateur no easy acces to the sources but a serious flaw for a professional Rhetoric so important in this music has always been uppermost in their mind.
In attempting to ruv music become more like speech, Harnoncourt chooses to emphasize the jssu accents and frequent breaks that one would hear in everyday speech and not the singing style jjesu elevated speech that had been used for centuries in projecting ideas and emotions to an audience without the usual modern means of amplification.
Thomas Braatz wrote June 30, The listing is taken from the selection on the Bach Cantatas Website. Hamari  and Schreier  are superb. Spott, Anfechtungor future f. At that time this preacher was identical with Johann Agricola. There is of course no surprise in a Lutheran hymn being concerned with faith and perhaps antinomianism can be seen as an exaggeration of elements in Luther ‘s own thought.
With this kind exemplary rendition you find yourself wanting to pay attention continuously. Fourth Sunday after Trinity. But when the choir enters, he changes this pattern ms. Therefore, if you hear the whole CD from beginning to end, you will easily reveal the secret! Unfortunately there are some sloppy attacks and imprecision that reflect the lack of rehearsal time.
The violino concertino, now in 16 th notes, quickly leaps upwards a 4th and then a 3 rd before beginning its long descent on a repeated sequence. There are a few redeeming qualities in listening to this version such as to gain a historical perspective and come to terms with this performance style that was probably used for most of the 19th and 20th centuries. 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.
The ensuing aria starts hefr joyful playing of the violin and the bassoon. Equiluz is up to himself, which means Bach singing of the highest level. I wrote earlier that “some of this concern with faith can be seen in our cantata” and you asked ” where do you see traces of his antinomianism”.
Thomas Braatz wrote June 28, Regarding expressive powers, he falls only short of Hamari. The actual message that Bach is trying to convey disappears in the process of attempting to force this style the Harnoncourt style of HIP on the entire musical ensemble without regard for the difference between voices singing and instrumentalists playing.
It was only because of the findings of the famous hymnologist Philipp Wackernagel in the 19 th century that his authorship was firmly established.
With each higher jump there is greater tension and urgency. This is a magical quality comparable to the honest type of expression that Kurt Equiluz often has in his arias and recitatives. Only Harnoncourt herrr to be oblivious to the importance that the final chorale has for the entire cantata. I guess it is this one which has been numbered in the last years.
But my interest in the text of this week’s cantata is rather more narrowly focussed: Because he successfully argued for Catholicism in numerous polemic articles, Herzog Georg von Sachsen called him to the court in Dresden, where he worked toward reuniting both confessions Catholic and Lutheran. This is pleasant background music with hert slightly languid, nostalgic sound, but there is also an odd contrast here between this generally languid almost disinterested style of singing on the one hand, and the momentary strong efforts on the part of certain individuals, on the other hand, to overcome difficulties in the voice parts.
If Johann Agricola also belonged to this ‘Kreis’ circle chrlst shouldnot he also be the author of the beautiful melody