| Bach - Magnificat - 6 - Et misericordia
TamsintheAlmighty (December 31, 1969 at 6:59 pm)
I sang this with a male friendHowever, having a low voice myself, we swopped parts so the range was more comfortable for Matej (the tenor part went quite high for him)We had such fun performing it, especially since the last note (E below middle C) is my lowest and I was vibrating like a washing machine spin cycle XD
magdluke (December 31, 1969 at 6:59 pm)
Sadly, Harnoncourt (& Koopman even more so) claims to be authentic all the time. & there's ample evidence (see below) to suggest that he's wrong. He needs to reconsider the purposes of his performances. If he said "this is my creative interpretation, & nothing more," I'd find it much easier to accept.& to answer your question: why yes, I just got off the telephone with J. S. Bach. He said that he's never heard of you ;-) !
magdluke (December 31, 1969 at 6:59 pm)
In principle, you're right. My real problem with people like Harnoncourt is that they go against period guidelines while simultaneously laying claim to authenticity. If Harnoncourt wanted to re-arrange this for saxophone & bagpipe ensemble in the name of creative interpretation, then that would be just fine, *if* he was agreed to lay down his claim to authenticity. I love Karajan's "St Matthew," but he (rightly) never once said "this is Bach's way of doing it." Cont'd:
connellje (December 31, 1969 at 6:59 pm)
I agree that adhering to period guidelines as well as guidelines set forth by the composer is important. With that said, I also believe that this music should also be listened to as an expression of all performers involved. We can't be creative in our own interpretations if we are so adament about following the composer's vision (have you spoken to Bach bout it?). Let's be progressive and open-minded.
didoipod (December 31, 1969 at 6:59 pm)
Well it's just that this arrangement it's already done, and this concert was played, I mean, we can not change anything discussing this in youtube, but I agree with you, it's like a fault of respect.
magdluke (December 31, 1969 at 6:59 pm)
Accept it? Surely the composer's wishes ought to be respected above & beyond any ideas that the performer brews up?
didoipod (December 31, 1969 at 6:59 pm)
I think that the director of the orchestra can change a little the performance, or in this case a big change, but we have to accept it, it's the hear of the director that who made the decission.
magdluke (December 31, 1969 at 6:59 pm)
*slip of the tongue/fingers: Harnoncourt.
magdluke (December 31, 1969 at 6:59 pm)
Thirdly, Koopman's tempo is lugubrious, the dynamics are unsubtle, & the phrasing is overtly weighty. Just open your ears & listen to the ridiculous ritardando beginning at 3:00 (and carrying on until 3:19!!). It sounds as if Koopman thinks it's a tragic love duet written by Brahms. I recommend Paul McCreesh's recording, which is far more in keeping with what we know about Bach's performance practices & subsequently a far more rewarding listen. Are those details specific enough for you??
magdluke (December 31, 1969 at 6:59 pm)
Guess again my friend. Firstly, the alto part is being sung by a contralto - not an issue of gender; rather, one of instrumentation. This was written for two male voices (there's no way female voices would have been used in c.17 Leipzig). Exactly the same reason that I wouldn't have a man singing Strauss' "Vier Letzte," for example. Secondly, the orchestral ensemble is oversized - as is the choral ensemble (admittedly not an issue in this movement, but it does affect the piece overall). Cont'd: |