Cantata No. 147, 'Herz und Mund und Tat und Leben' BWV147: Choral: Jesu bleibe meine Freude (Jesu, joy of man's desiring)
Maurizio Pollini (born January 5, 1942) is an Italian classical pianist. Read Full Bio ↴Maurizio Pollini (born January 5, 1942) is an Italian classical pianist.
He was born in Milan, the son of the Italian rationalist architect Gino Pollini. Maurizio studied piano first with Carlo Lonati, until the age of 13, then with Carlo Vidusso, until he was 18. He received a diploma from the Milan Conservatory and won the International Frederick Chopin Piano Competition in Warsaw in 1960, after which he studied under Arturo Benedetti Michelangeli.
Since the mid-1960s, he has given recitals and appeared with major orchestras in Europe, the United States, and the Far East. He made his American debut in 1968 and his first tour of Japan in 1974.
Regarded as one of the greatest pianists of our age, he is especially noted for his performances of Beethoven, Schubert, Chopin, Schumann, Brahms, Schoenberg, Webern and for championing modern composers such as Pierre Boulez, Luigi Nono and Karlheinz Stockhausen. Important modern works were composed for Pollini, notably Nono’s …sofferte onde serene…, Giacomo Manzoni’s Masse: omaggio a Edgard Varèse and Salvatore Sciarrino's fifth sonata. He displays an absolute technical sovereignty over the piano, but is sometimes criticized for his emotional conservatism. He has conducted both opera and orchestral music, sometimes leading the orchestra from the keyboard in concertos. His first recordings for Deutsche Grammophon in 1971 included Stravinsky’s Three Movements from “Petrushka” and Prokofiev’s Seventh Sonata and is still considered a landmark of twentieth century piano discography. Since then he has been one of Deutsche Grammophon's leading pianists. In 1985, on occasion of Bach's tricentennial, he performed the complete first book of The Well-Tempered Clavier. In 1987 he played the complete Beethoven Piano Concertos in New York with the Vienna Philharmonic under Claudio Abbado and received on this occasion the orchestra’s Honorary Ring. In 1993/1994 he played his first complete Beethoven Piano Sonata cycles in Berlin and Munich and later also in New York, Milan, Paris, London and Vienna. At the Salzburg Festival in 1995 he inaugurated the “Progetto Pollini”, a series of concerts in which old and new works are juxtaposed. An analogous experience will be done at Carnegie Hall in 2000/2001 with “Perspectives: Maurizio Pollini”. In 1996 he received the prestigious Ernst von Siemens Music Prize. In 2001 his recording of Beethoven’s Diabelli Variations won the Diapason d’or. In 2002 Deutsche Grammophon released a 13 CD commemorative edition to celebrate the pianist's 60th birthday.
In 2007, Pollini received the Grammy Award for Best Instrumental Soloist Performance (without orchestra) for his Deutsche Grammophon recording of Chopin nocturnes.
He was born in Milan, the son of the Italian rationalist architect Gino Pollini. Maurizio studied piano first with Carlo Lonati, until the age of 13, then with Carlo Vidusso, until he was 18. He received a diploma from the Milan Conservatory and won the International Frederick Chopin Piano Competition in Warsaw in 1960, after which he studied under Arturo Benedetti Michelangeli.
Since the mid-1960s, he has given recitals and appeared with major orchestras in Europe, the United States, and the Far East. He made his American debut in 1968 and his first tour of Japan in 1974.
Regarded as one of the greatest pianists of our age, he is especially noted for his performances of Beethoven, Schubert, Chopin, Schumann, Brahms, Schoenberg, Webern and for championing modern composers such as Pierre Boulez, Luigi Nono and Karlheinz Stockhausen. Important modern works were composed for Pollini, notably Nono’s …sofferte onde serene…, Giacomo Manzoni’s Masse: omaggio a Edgard Varèse and Salvatore Sciarrino's fifth sonata. He displays an absolute technical sovereignty over the piano, but is sometimes criticized for his emotional conservatism. He has conducted both opera and orchestral music, sometimes leading the orchestra from the keyboard in concertos. His first recordings for Deutsche Grammophon in 1971 included Stravinsky’s Three Movements from “Petrushka” and Prokofiev’s Seventh Sonata and is still considered a landmark of twentieth century piano discography. Since then he has been one of Deutsche Grammophon's leading pianists. In 1985, on occasion of Bach's tricentennial, he performed the complete first book of The Well-Tempered Clavier. In 1987 he played the complete Beethoven Piano Concertos in New York with the Vienna Philharmonic under Claudio Abbado and received on this occasion the orchestra’s Honorary Ring. In 1993/1994 he played his first complete Beethoven Piano Sonata cycles in Berlin and Munich and later also in New York, Milan, Paris, London and Vienna. At the Salzburg Festival in 1995 he inaugurated the “Progetto Pollini”, a series of concerts in which old and new works are juxtaposed. An analogous experience will be done at Carnegie Hall in 2000/2001 with “Perspectives: Maurizio Pollini”. In 1996 he received the prestigious Ernst von Siemens Music Prize. In 2001 his recording of Beethoven’s Diabelli Variations won the Diapason d’or. In 2002 Deutsche Grammophon released a 13 CD commemorative edition to celebrate the pianist's 60th birthday.
In 2007, Pollini received the Grammy Award for Best Instrumental Soloist Performance (without orchestra) for his Deutsche Grammophon recording of Chopin nocturnes.
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Cantata No. 147 'Herz und Mund und Tat und Leben' BWV147: Choral: Jesu bleibe meine Freude
Maurizio Pollini Lyrics
No lyrics text found for this track.
The lyrics are frequently found in the comments by searching or by filtering for lyric videos
The lyrics are frequently found in the comments by searching or by filtering for lyric videos
@bach
0:08 Herz und Mund und Tat und Leben (Chor)
4:16 Gebenedeiter Mund! (Rezitativ)
6:12 Schäme dich, o Seele, nicht (Arie)
9:54 Verstockung kann Gewaltige verblenden (Rezitativ)
11:31 Bereite dir, Jesu (Arie)
16:09 Wohl mir, daß ich Jesum habe (Choral)
18:51 Hilf, Jesu, hilf (Arie)
22:10 Der höchsten Allmacht Wunderhand (Rezitativ)
24:17 Ich will von Jesu Wundern singen (Arie)
27:13 Jesus bleibet meine Freude (Choral)
@carlogiovanardi475
e’ commovente vedere come decine di donne ed uomini si raccolgano attorno ad un organo
per testimoniare la loro dedizione ad un’Arte suprema
fonte di gioia per loro stessi
e per l’umanità tutta....
ad essi va tutta la nostra riconoscenza in questi tempi oscurantisti....
Viva la Musica e le Arti tutte
AD MAIORA
carlo giovanardi
avvcarlogiovanardi@gmail.com
Bologna ITALY
@bach
0:08 Herz und Mund und Tat und Leben (Chor)
4:16 Gebenedeiter Mund! (Rezitativ)
6:12 Schäme dich, o Seele, nicht (Arie)
9:54 Verstockung kann Gewaltige verblenden (Rezitativ)
11:31 Bereite dir, Jesu (Arie)
16:09 Wohl mir, daß ich Jesum habe (Choral)
18:51 Hilf, Jesu, hilf (Arie)
22:10 Der höchsten Allmacht Wunderhand (Rezitativ)
24:17 Ich will von Jesu Wundern singen (Arie)
27:13 Jesus bleibet meine Freude (Choral)
@HarpsichordVinylGallery
If you put the time table with labels (titles) in the description (not in de comment section) and start with 00:00 instead of 0:08 all the pieces will appear in the progressing red bar.
The least you can do if you do not understand this is to pin this comment so it will appear as the first comment.
You're welcome.
@caputogiulio
Please create sections directly on the video, not in the comments! This would help so much in choosing the tempo or the section of the composition. Thank you!🙏🏻
@displaychicken
Can you pin this comment?
@egosumnavaridas5550
Desde Madrid, muchas gracias por esta gran labor divulgativa. Buen trabajo y enhorabuena.
@robinkindersley6497
Hi Ms Mac N
@rosmarinaus
my 8 year old daughter wanted me to comment that she thinks this is beautiful music. I agree.
@chad9015
You're raising her right, good job haha
@RodrigoFernandez-td9uk
My 8 year old daughter thinks classical music is boring. And for her, "classical music" includes The Rolling Stones.
@massimocampostrini8718
The best way for a child to appreciate classical music is to play or sing it.