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My 2009 iMac came with a tiny remote which I never used until I found it as I was discarding the box, a couple of years ago. Its battery was still good. It will pause streaming content, and raise or lower the volume---nothing else---on my current Mac mini.
https://www.theverge.com/2020/6/11/2128 ... period-url
These people really get into their Bach. Herr Lutz's tempi and timing are spot on, aren't they ? In this work (or this performance, anyway) the instrumental music is perhaps the more rewarding part of the experience---although the alto-tenor duet is a unique tour-de-force !
It appears that the added-dot ploy described just above may not be fool-proof: I ran the previous video this morning and an ad interrupted the performance after the opening chorus.
And, that brings me to remind listeners that, with Bach cantatas, the initial movement---almost always a choral piece employing the full ensemble and very often written around a hymn from the Lutheran liturgy---could stand alone as a performance worthy of one's attention. For those who haven't, at any particular moment, the time or attention to absorb the entire cantata, these opening movements are often the best part of the work and are highly recommended on their own.
In that vein, here is a collection of those initial cantata movements: https://www.youtube.com./watch?v=Duhx8XI8Ldg
Ironically, the cantata presented here is not one such, as its several parts are of equal importance and want to be heard in their entirety. Despite its advanced BWV number, this (relatively brief) work was composed by Bach when in his early twenties.
Finally, in the final moments of the subject video (Cantata 131) one can see, in the overhead shot, twin tracks on the floor on either side of the musicians used by the camera crew to capture the performance. A minor miracle common to all of these videos is the complete absence of visible photographers, while at the same time a great variety of shots is presented to the viewer.
I have always maintained that, if I can hear the music, via whatever medium is available, that is enough: I began my listening career after all in the mono era, and had a very lowly portable phonograph as my first piece of audio equipment. My dad, an amateur audiophile who assembled his own playback device, thought of stereo as a superfluous sales gimmick when it came along in the late 'fifties . . .
Bach's cantatas could be divided into two groups---somewhat arbitrarily: those with trumpets and tympani, and those without. One thinks of Wright: there's cypress, "the wood eternal," and swamp cypress: "more eternal !"
( https://www.academia.edu/5210832/18th_C ... emperament )
These readings are alive. They are note-perfect but so much more than that; played with what sounds like abandon but which is well-considered at every moment, fully ornamented but never to excess---the antithesis of mechanical playing. This guy gets everything there is to be had in the music, to my ear and heart. And the harpsichord sounds wonderful.
The only thing that spoils the listening are ads inserted (usually but not always !) in the breaks between movements; they eventually disappear. Keep you mouse or whatever close at hand. This music is worth dealing with that unforgivable intrusion.
Book Two of the Well-Tempered Clavier by the same performer is readily available on the same YouTube page. Start wherever you like---and while the concerts are quite long, there is nothing preventing the listener taking them in pieces rather than all at once. I love listening to it while making art . . .
And if this doesn't give you enough great keyboard music, Bach's Art of Fugue, which was almost complete when the composer died, is available on that page, in a performance by Robert Hill (another name new to me) equal in quality to the above-linked Well-Tempered Clavier recordings. The artist seems to have been influenced by the iconic recordings of this music by a twentieth-century Bach master, Gustav Leonhardt, whose students are in turn teaching today's crop of harpsichordists.
The director has wrestled an all-male chorus into submission, and gotten some truly fine singing from them. Not all of the soloists---man and boy alike---are first-rate, but the perfection of the instrumental component more than makes up for that---and the quality of the recording and engineering brings us more range and detail than is usual: we hear the bassoon and bass viol as is rarely the case, for instance.
This is a long work, with much gabbing between the biblical figures, in a language most of us don't speak. Taking in just the opening chorus and the one that concludes the first half of the Passion would reward the casual listener and the connoisseur alike. Here's where the latter starts: 59:25 I have never heard these movements at quite this level, I think; the tempi are refreshingly brisk without being rushed. A couple of hearings will break all but the hardest heart . . .!