Ergiesse dich reichlich, du g?ttliche Quelle, Aria, No. 3 from Cantata No. 5: Wo soll ich fliehen hi

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In , he began taking private voice lessons with Polster, while working as a member of the Leipzig Radio Chorus.

Cantata BWV 5 - Discussions Part 1

In , he entered the Dresden Musikhochschule, where his teacher was Winkler. Schreier studied both singing and conducting. He also studied at the Dresden State Opera's training school. In , he appeared in the opera studio's production of Il matrimonio segreto as Paolino. He graduated from the Musikhochschule in , passing the State Exam, and joined the Dresden State Opera's company as a lyric tenor. His first professional appearance was there in the small role of the First Prisoner in Beethoven's Fidelio.

During those years he made an intriguing concert tour to India and the African nation of Mali.

About Peter Schreier

He sang a guest appearance at the Berlin State Opera and in gained a contract with that company as its leading lyric tenor. He quickly won acclaim in particular for his portrayals of Mozart's main tenor roles and as a recitalist. He regularly sang in Bach's passions, cantatas, and other choral works, and became a treasured lieder singer. His Schubert was especially regarded for its highly expressive projection and shaping of the words. He sang primarily on East German recordings, many of which are re-released on CD on the Berlin Classics label, and for the Philips label.

The bc is uncharacteristically weak less volume which is surprising given the gravity of the text. Was Richter trying to express the timorous aspect of fear? This is a very vigorous, energetic performance with a driving force that will knock you off your feet. Due to the clarity and balance between the parts, as well as the precision with which the choir sings, many of the musical pictures appear more distinct and understandable than in the other recordings.

My only criticism is that the sopranos should sing the cantus firmus with straight tones and not wobbly ones that are caused by too many differing vibratos trying to sing unison, a unison, that lacks solidity because it is shaky. Was it actually playing along in this mvt?

Hyperion Records

I checked to see what the balance problem was here: Koopman has only 4 basses, 4 altos, 5 sopranos and 6 tenors. This performance is quite different compared to the others as it has excellent qualities that make this a very moving performance.

The general treatment is more legato in style than any of the other performances. The choir also sings the 16 th note flourishes smoothly even the " Alle Welt " responses that are almost "coughed" out by the other choirs. All this means that this is a very subdued, understated performance. As a HIP performance this recording excels in many ways: The string sound is well-controlled with no sudden strident sounds emerging from the ensemble. What we have here is a merging of some of the techniques normally associated with a romantic style of playing as evident in the 1 st half of the 20 th century with the HIP style that evolved with period instrument performances: Many crescendi and diminuendi instead of tiered dynamics as marked by Bach, a preference for legato wherever possible instead of the dissection of musical lines into extremely short phrases, a less strong emphasis of the leaning note in an appoggiatura, etc.

Yes, it appears that Koopman, along with Herreweghe and Suzuki have abandoned some of the worst unmusical aspects of the Harnoncourt Doctrine in favor of a more musically satisfying solution. Frequently Koopman and Suzuki will still choose extremely fast tempi that automatically lead to a 'lite' treatment that no longer relates to the gravity of the text that is being presented in the cantata.

But here, in this mvt. But compare this moment of 'musical sanity' with the craziness in Koopman's choice of tempo in the next cantata on the same CD BWV Here Koopman suddenly loses all sense of musical balance and common sense. The tempo Koopman chooses for the tenor aria 3 rd Mvt. The instrumentalists sounded muted no trumpet in any form is audible as Leusink pushes the tempo. It sounds rushed at times as he tries to pick up the tempo. The choir is performing at its own usual level with isolated instances of strident voices quickly appearing and disappearing.

There are individual voices that stand out too much. The alto yodelers also make an appearance to round off this non-distinctive recording. Harnoncourt [1] , Richter [3] very different renditions in performance styles with some rather obvious flaws in both. Leusink [7] Listenable without any special features to make this performance noteworthy. BWV 5 - viola or violoncello piccolo?

Nagamiya Tutomu wrote November 7, In the track list of Koopman's BWV 5 [6] , there is written "violins, violas, cellos, violincello piccolo" etc. It means "violoncello piccolo" is used as a solo instrument.

But I can't find the movement where the violoncello piccolo is used; as far as I can hear, the solo viola is used in the third movement tenor aria. In Wolf's note is written too "the solo viola in the third movement aria".

Is it a mere mistake in the track list? Or is there any reason why they wrote "violoncello piccolo" in the track list? Any help will be appreciated. Neil Halliday wrote November 7, Bach' seems unaware of this doubt as to instrument, and states: Thomas Braatz wrote November 7, It means "violoncello piccolo" is used as a solo instrument VI to the NBA printed score states: In the original set of parts , the part is included in the violin I part, also in the alto clef.

Indications by Bach personally in this part make it clear that he instructed the copyist to do this in this manner.

Although this part is very much in the low range of the violin, nowhere does it go below the low G. It is possible that Bach intended this part to be played by a violoncelpiccolo, since the cantata for the very next Sunday following this cantata specifically called for such an instrument.

Until April , Bach had his 1 st violinist play this part on a violoncello piccolo. There are a number of points that support this hypothesis, but one major objection stems from the fact that the range better yet, the tessitura is generally much higher than that of the other parts that Bach wrote for the violoncello piccolo specifically.

Also, it is remarkable that, having both the autograph score and the original set of parts for this cantata, no mention is made of this instrument at all.

For the cantatas calling for the violoncello piccolo, those which were composed for the Sundays following BWV 5, unfortunately there are no original sets of parts and the reference to the violoncello piccolo could be determined only by circumstantial evidence non-autograph copies of the score which included the designation for violoncello piccolo. Aria T, Va Vl? So I'd like to listen to this obbligato played by violoncello piccolo; but Koopman's performance [6] seems to use viola obbligato in spite of track list indication. Or is there any "violoncello piccolo" sounding like the viola?

We know the chorale of BWV which accompanies viola obbligato. My question is "which instrument is actually used? To hear the CD, obviously it sounds like the viola. But if Koopman used "violoncello piccolo" which looks like the viola? I have Rilling's version [4] ; I like the sound of the obligato viola, but I would have guessed it was a v'piccolo, if the booklet had not said otherwise! Regarding Robertson's remark, it seems he forgot about that soprano Chorale in BWV , because he does list the viola as an obligato there. All the other cantatas listed above were recorded from to Gilles Cantagrel writes in the accompanying booklet: To harmonize with the solo voice in a cantata or a passion, Bach always made his choice with great discernment, readily calling upon the resources of the viola da gamba or the violoncello piccolo, the cello then participating in the execution of the basso continuo Whatever the case may be, Bach expressly mentions the use of the violoncello piccolo in nine of the extant cantatas, in which the instrument provides a timbre that is both warm and delicate, and appropriate for the expression of indulgence or trusting tenderness Bradley Lehman wrote November 7, And, of course, Brandenburg 6!

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