MISSA IN SI MINOR by JOHANN SEBASTIAN BACH.wmv
La misa en si menor de Johann Sebastian Bach, BWV 232, interpretada magistralmente por el Monteverdi Choir y los English Baroque Soloist bajo la dirección de John Eliot Gardiner.
PS: Las pinturas que aparecen en el video son óleos de Albert Bierstadt, paisajista germano-estadounidense del s. XIX.
Este homem de poucas palavras, disse praticamente nada sobre si mesmo ou seus sentimentos. No entanto, sua música diz tudo, pois embora às vezes ouvimos nela tristeza, ouvimos com mais freqüência grande alegria, humor e entusiasmo pela vida. Nós também ouvir os batimentos cardíacos de um possuidor de profunda reverência e devoção - nenhum lugar isso é mais evidente do que a reverência em sua Missa em B menor.
A primeira visão que o mundo veria desta Missa foi em 1733, quando Bach dedicou a sua Kyrie e Crucifixus de Friedrich August II, Eleitor da Saxônia, um homem que havia se convertido à fé romana (abandonando sua esposa que não iria converter) para que ele pode se tornar elegível para assumir o trono da Polônia. Para os próximos 15 anos Bach expandiu esta Missa Brevis, tomando emprestado pesadamente de seu cantatas alemão e adaptá-los para o latim, para produzir uma definição completa do comum Mass. Bach fez isso sabendo que o trabalho nunca iria ver o desempenho durante sua vida. Assim, em termos de sua origem, a Missa em Si Menor B é um enigma - um trabalho Latina por um protestante que é inviável, tanto na liturgia romana e luterana.
Preview: Bach Missa em menor b / Riccardo Muti e da Chicago Symphony Orchestra e Cororio
bach_mass_1_m
"Esta peça é muito próximo ao meu coração", diz Riccardo Muti, tocando seu peito duas vezes. "É o cenário mais grandiosa de todas as massas, uma peça que eu fiz várias vezes. Você sabe, Beethoven queria uma cópia do [Mass em b menor] antes eu comecei a escrever suas "Missa Solemnis".
"Por incrível que pareça, Bach escreveu a primeira parte da peça para conseguir um emprego melhor . E isso nunca foi realizado. Incrível como Tal circunstância pode produzir tão magnífica obra-prima. No entanto, não há dúvida de que eu queria que este fosse um católico, e não uma massa Luterana, porque ele inclui ["católica e apostólica"] no 'Credo'. "
Muti não é fã do movimento da música antiga, o que chama de "a abordagem filológica" a música barroca. "É tudo tão bobo", eu disse. "Quem pode saber o que Bach queria essa música a soar como há 300 anos atrás? Especialmente uma peça que nunca foi realizado em sua vida! E se você quer ser fiel à música barroca, eles não têm contratenores, eles experimentaram castrati. E também seria preciso incluir o resto da liturgia Entre cada movimento e um longo sermão. "
MutiPopeNonetheless, Muti contrário infame realizar todas as duas horas de missa em b menor, sem um intervalo, como eu fiz quando eu executei a peça quando era diretor musical da Orquestra de Filadélfia, haverá uma ruptura entre o "Gloria" e "Credo ".
Você pode esperar grandes forças assumidamente Além disso, pelo menos por padrões de instrumentos de época, trata incluindo um grande coro e, claro, os instrumentos modernos. "Esses grupos fazem isso de música pela fórmula. Você sabe da medida de abertura como ele vai soar no final, onde cada trinado será e é muito sem vida. Música barroca precisa ter uma qualidade de cantar para ele, ele precisa respirar.
"Eu cresci com Bach antes de me tornar a propriedade de especialistas, e gostava de escrever contraponto na escola, e era bom nisso. Eu ainda tenho uma pilha dele. Eu adorava brincar Bach no piano que é mais expressivo do que o cravo. "Ainda assim, para estes desempenhos, Muti está usando o cravo como parte do continuum, juntamente com órgão e cello.
O aspecto religioso da obra também é importante para Muti, um católico romano que sempre tem a semana da Páscoa fora, como eu fiz no mês passado, gastá-lo com a família "nas montanhas." Antes disso, a realização de Muti foi em Roma, no Opera di Roma Quando o novo papa foi escolhido, "cujos pais são italianos", ele é rápido em notar. Papa Emeritus Bento, a quem Muti descrevem como "musicalmente astuto", pediu Muti conduzir no Vaticano no ano passado e para surpresa de Muti, oferecido espontaneamente ", observa programa orais para uma platéia de 7.000 pessoas, sem uma única nota na frente dele que era melhor do que qualquer crítico poderia dar. Fiquei muito comovido com a coragem de sua renúncia como eu disse, 'Eu não sou só fisicamente exausto, mas espiritualmente. "(Dennis Polkow)
Preview: Bach Mass in b minor/Riccardo Muti & the Chicago Symphony Orchestra and Chorus
Classical, Orchestral, Vocal Music Add comments
RECOMMENDED“This piece is very near to my heart,” says Riccardo Muti, touching his breast twice. “It is the grandest setting of all of the masses, a piece that I have done several times. You know, Beethoven wanted a copy of the [Mass in b minor] before he began writing his ‘Missa solemnis.’
“Incredibly, Bach wrote the first part of the piece to get a better job that he never got. And it was never performed. Amazing how such a circumstance can produce such a magnificent masterpiece. Yet there is no doubt that he wanted this to be a Catholic, not a Lutheran mass, because he includes [“catholic and apostolic”] in the ‘Credo.’ ”
Muti is no fan of the early music movement, what he calls “the philological approach” to Baroque music. “It is all so silly,” he says. “Who can know what Bach wanted this music to sound like 300 years ago? Especially a piece that never was performed in his lifetime! And if you want to be true to Baroque music, they did not have countertenors, they had castrati. And we would also need to include the rest of the liturgy between each movement and a long sermon.”
Nonetheless,
unlike Muti infamously performing all two hours of the Mass in b minor
without an intermission as he did when he performed the piece when he
was music director of the Philadelphia Orchestra, there will be a break
between the “Gloria” and the “Credo.”You can also unapologetically expect large forces, at least by period instrument standards, including a large chorus and of course, modern instruments. “These groups do this music by formula. You know from the opening measure how it will sound at the end, where every trill will be and it is very lifeless. Baroque music needs to have a singing quality to it, it needs to breathe.
“I grew up with Bach before he became the property of specialists, and loved to write counterpoint in school, and was good at it. I still have a pile of it. I loved playing Bach on the piano which is more expressive than the harpsichord.” Still, for these performances, Muti is using harpsichord as part of the continuo, along with organ and cello.
The religious aspect of the piece is also important to Muti, a Roman Catholic who always takes Easter week off, as he did late last month, spending it with family “in the mountains.” Prior to that, Muti was in Rome conducting at the Opera di Roma when the new pope was chosen—“whose parents are Italian,” he is quick to note. Pope Emeritus Benedict, whom Muti describes as “musically astute,” had asked Muti to conduct at the Vatican last year and much to Muti’s surprise, spontaneously offered “oral program notes to an audience of 7,000 people without a single note in front of him that was better than any critic could give. I was very moved by the courage of his resigning as he said, ‘I am not only exhausted physically, but spiritually.’ ” (Dennis Polkow)
Bach’s Mass in b minor will be performed at 8pm April 11, 12 and 13 and at 7:30pm April 16 at Symphony Center’s Orchestra Hall, 220 South Michigan, (312)294-3000.
Preview: Bach Mass in b minor/Riccardo Muti & the Chicago Symphony Orchestra and Chorus
Classical, Orchestral, Vocal Music Add commentsRECOMMENDED“This piece is very near to my heart,” says Riccardo Muti, touching his breast twice. “It is the grandest setting of all of the masses, a piece that I have done several times. You know, Beethoven wanted a copy of the [Mass in b minor] before he began writing his ‘Missa solemnis.’
“Incredibly, Bach wrote the first part of the piece to get a better job that he never got. And it was never performed. Amazing how such a circumstance can produce such a magnificent masterpiece. Yet there is no doubt that he wanted this to be a Catholic, not a Lutheran mass, because he includes [“catholic and apostolic”] in the ‘Credo.’ ”
Muti is no fan of the early music movement, what he calls “the philological approach” to Baroque music. “It is all so silly,” he says. “Who can know what Bach wanted this music to sound like 300 years ago? Especially a piece that never was performed in his lifetime! And if you want to be true to Baroque music, they did not have countertenors, they had castrati. And we would also need to include the rest of the liturgy between each movement and a long sermon.”
Nonetheless,
unlike Muti infamously performing all two hours of the Mass in b minor
without an intermission as he did when he performed the piece when he
was music director of the Philadelphia Orchestra, there will be a break
between the “Gloria” and the “Credo.”You can also unapologetically expect large forces, at least by period instrument standards, including a large chorus and of course, modern instruments. “These groups do this music by formula. You know from the opening measure how it will sound at the end, where every trill will be and it is very lifeless. Baroque music needs to have a singing quality to it, it needs to breathe.
“I grew up with Bach before he became the property of specialists, and loved to write counterpoint in school, and was good at it. I still have a pile of it. I loved playing Bach on the piano which is more expressive than the harpsichord.” Still, for these performances, Muti is using harpsichord as part of the continuo, along with organ and cello.
The religious aspect of the piece is also important to Muti, a Roman Catholic who always takes Easter week off, as he did late last month, spending it with family “in the mountains.” Prior to that, Muti was in Rome conducting at the Opera di Roma when the new pope was chosen—“whose parents are Italian,” he is quick to note. Pope Emeritus Benedict, whom Muti describes as “musically astute,” had asked Muti to conduct at the Vatican last year and much to Muti’s surprise, spontaneously offered “oral program notes to an audience of 7,000 people without a single note in front of him that was better than any critic could give. I was very moved by the courage of his resigning as he said, ‘I am not only exhausted physically, but spiritually.’ ” (Dennis Polkow)
Bach’s Mass in b minor will be performed at 8pm April 11, 12 and 13 and at 7:30pm April 16 at Symphony Center’s Orchestra Hall, 220 South Michigan, (312)294-3000.
Preview: Bach Mass in b minor/Riccardo Muti & the Chicago Symphony Orchestra and Chorus
Classical, Orchestral, Vocal Music Add commentsRECOMMENDED“This piece is very near to my heart,” says Riccardo Muti, touching his breast twice. “It is the grandest setting of all of the masses, a piece that I have done several times. You know, Beethoven wanted a copy of the [Mass in b minor] before he began writing his ‘Missa solemnis.’
“Incredibly, Bach wrote the first part of the piece to get a better job that he never got. And it was never performed. Amazing how such a circumstance can produce such a magnificent masterpiece. Yet there is no doubt that he wanted this to be a Catholic, not a Lutheran mass, because he includes [“catholic and apostolic”] in the ‘Credo.’ ”
Muti is no fan of the early music movement, what he calls “the philological approach” to Baroque music. “It is all so silly,” he says. “Who can know what Bach wanted this music to sound like 300 years ago? Especially a piece that never was performed in his lifetime! And if you want to be true to Baroque music, they did not have countertenors, they had castrati. And we would also need to include the rest of the liturgy between each movement and a long sermon.”
Nonetheless,
unlike Muti infamously performing all two hours of the Mass in b minor
without an intermission as he did when he performed the piece when he
was music director of the Philadelphia Orchestra, there will be a break
between the “Gloria” and the “Credo.”You can also unapologetically expect large forces, at least by period instrument standards, including a large chorus and of course, modern instruments. “These groups do this music by formula. You know from the opening measure how it will sound at the end, where every trill will be and it is very lifeless. Baroque music needs to have a singing quality to it, it needs to breathe.
“I grew up with Bach before he became the property of specialists, and loved to write counterpoint in school, and was good at it. I still have a pile of it. I loved playing Bach on the piano which is more expressive than the harpsichord.” Still, for these performances, Muti is using harpsichord as part of the continuo, along with organ and cello.
The religious aspect of the piece is also important to Muti, a Roman Catholic who always takes Easter week off, as he did late last month, spending it with family “in the mountains.” Prior to that, Muti was in Rome conducting at the Opera di Roma when the new pope was chosen—“whose parents are Italian,” he is quick to note. Pope Emeritus Benedict, whom Muti describes as “musically astute,” had asked Muti to conduct at the Vatican last year and much to Muti’s surprise, spontaneously offered “oral program notes to an audience of 7,000 people without a single note in front of him that was better than any critic could give. I was very moved by the courage of his resigning as he said, ‘I am not only exhausted physically, but spiritually.’ ” (Dennis Polkow)
Bach’s Mass in b minor will be performed at 8pm April 11, 12 and 13 and at 7:30pm April 16 at Symphony Center’s Orchestra Hall, 220 South Michigan, (312)294-3000.
Fontes:
Enviado em 30/11/2011- Licença padrão do YouTube
http://music.newcity.com/2013/04/09/preview-bach-mass-in-b-minorriccardo-muti-the-chicago-symphony-orchestra-and-chorus/
http://music.newcity.com/2013/04/09/preview-bach-mass-in-b-minorriccardo-muti-the-chicago-symphony-orchestra-and-chorus/
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