The mental comfort of Bach‘s music is irreplaceable , and incomparable
@amichiganblackman3200
Жыл бұрын
This is probably my favorite fugue from Bach. Amazing performance.
@codonauta
Жыл бұрын
The fugue is one of my favourite pieces of all composers. And the prelude is remarkable too.
@hiera1917
2 жыл бұрын
I really appreciate the prelude… it’s Bach using the fewest tools in his arsenal in terms of voice leading. He has a rather elaborate, but regular melodic line, but the bass by comparison is much more barren. Even so, it fulfils its function just fine; modestly, I would say. In this sense this piece is very much like its creator: sophisticated, but humble
@royemiliani-musicandart1042
2 жыл бұрын
Amazing such simplicity and complexity at the same time in the prelude
@rainernoll5296
2 жыл бұрын
Hier erliegt einer nicht einem virtuosen Rausch, vergewaltigt die Musik nicht zum Ruhme seiner selbst, sondern lässt sie aus sich heraus sprechen und ihre Geschichte erzählen: musikalische Rhetorik at it's best! Großartig, danke!
@carstenkling2566
2 жыл бұрын
Das ist wunderschön ausgedrückt und spricht mir aus der Seele!
@jayakumarkaarikuzhy4713
2 жыл бұрын
Not Louis Armstrong alone but even I can sing :"What a wonderful world"! Wonderful because of the wonderful music of J.S.Bach, my favourite composer.Bach amazes me all the time - through his charming music! Thanks.
@r0mmm
2 жыл бұрын
Is there anything better than sitting on a bright sunday on the balcony and listening to the new video of Bartje?? Rhetorical question. No.
@elmiramuradova561
2 жыл бұрын
Yes!
@Ascalafo
2 жыл бұрын
doing it while on vacations.
@CarapuceShiney
2 жыл бұрын
I rarely heard such a wonderful piece from Bach. I’m amazed.
@earlystrings1
2 жыл бұрын
This masterful gem is lute music although it works beautifully on harpsichord. Because of the limitations imposed by the lute, Bach allowed himself an absolutely naked parallel fifth in the third measure from the end of the prelude. Always makes me smile.
@espressonoob
2 жыл бұрын
I genuinely think a lot of musicians could learn from the prelude to this piece, especially keyboard players. Not so much from technique or something like that, but kind of abstract in a way? I think it teaches you to be patient and appreciate a piece of music with less than meets the eye of what is currently occurring. Feels like we often get caught up in music that is extremely showcasing, technically brilliant, and dastardly complex. Much comes from the prelude to me as I feel incredibly at peace listening to it, almost as if I can envision a bard in front of me or something lol. Maybe I sound crazy typing this, but it just feels like something I had to express for some reason.
@alexanderbayramov2626
2 жыл бұрын
this prelude is amazing though, you're totally right my scuffed friend
@johnbogle59
2 жыл бұрын
Basically what you’re saying is the enigma of Bach ; lots of people say and feel that when listening to Bach they experience the things you mention but can’t understand why. That’s Bach’s gift to mankind. In a technical sense Bach understood which chord combinations would elicit the feelings you describe . In other words, Bach had a perfect understanding of the relationship between music and human emotion, so it’s no accident that you feel the way you do when listening to his compositions. Keep listening to Bach !!
@hiera1917
2 жыл бұрын
I think honestly to learn patience and elegance in a piece of music, especially when derived from its utter simplicity, we need look no further than the cello suites
@flhrcl4120
2 жыл бұрын
素晴らしい演奏!感動しました。。
@elmiramuradova561
2 жыл бұрын
Thank you ! As always very interesting piece.
@willardsteele4857
2 жыл бұрын
This performer listened to the Wanda Landowska version. This performance is very well done indeed.
@erizalbarnawi7876
2 жыл бұрын
Mantap jiwa 😇
@uhh8111
2 жыл бұрын
delightful!
@Ivan_1791
2 жыл бұрын
2:32 Parallel 5ths? 😳
@michelclavecin
2 жыл бұрын
mais oui, je l'ai joué souvent et je n'ai jamais remarqué
@Tredecimus
2 жыл бұрын
Such a wonderful piece, especially the fugue. But quite hard to play on a guitar if you’re not a really good player.
@xinzeng-iq7zv
3 ай бұрын
i have the mental comfort of not knowing if this is advance midi or actual score
@wernerretief4569
2 жыл бұрын
Also a staple for classical guitarists. Most of them don't have the stylistic insight of this recording.
@studentofcounterpoint
2 жыл бұрын
2:28 nice parallel fifths, the performer seemingly did not want to play them.
@peterwatchorn411
2 жыл бұрын
A good observation: You are right: this is an unusual case of highly exposed parallel 5ths. The performer (i.e. myself) sustained the upper note from the first inversion chord immediately before (E flat) in order to soften the effect of the parallels, which, in their exposed form do not, to my ears, sound so nice. On the Lautenwerk, the instrument for which this work was probably composed, the damping is less absolute than on the harpsichord, so the effect of these exposed parallels would also be softened. Sometimes, in Bach, it's useful to apply the ear to make what seems like an exposed 5th sound less exposed. PW
@cactusowo1835
2 жыл бұрын
@@peterwatchorn411 I hope one day to understand why people hate parallel fifths, there's a lot of bach pieces with plel 5ths like prelude and fugue no 2 c minor is just an example
@babiskanas7821
2 жыл бұрын
Same at 3.10 (looks like a pattern here...) :)
@peterwatchorn411
2 жыл бұрын
@@babiskanas7821 the one in the fugue is a little disguised by the voice-leading (upper B flat eight-not). However, nothing sounds bad or untoward in these exposed 5ths - sometimes they are fine, and Bach on occasion did not avoid them. PW
@ogorangeduck
2 жыл бұрын
@@cactusowo1835 They usually break voice independence by being _too_ consonant
@giuseppelogiurato5718
2 жыл бұрын
Is it originally in E-flat?
@matt-chan3489
2 жыл бұрын
Is it just me or the tuning is shifted?
@bartjebartmans
2 жыл бұрын
Nothing shifted. It is Baroque tuning.
@matt-chan3489
2 жыл бұрын
@@bartjebartmans I learned it for the first time. The tuning is a bit lower than the modern one(A4 = 415Hz). Thank you.
@alger3041
2 жыл бұрын
@@matt-chan3489 So in essence, we are hearing what is to our modern ears is in D Major. So why don't we simply write out the piece in two sharps and we'll be playing it as Bach allegedly heard it.
@peterwatchorn411
2 жыл бұрын
This is from the performer of this recording for those interested in the question of Baroque pitch, which listeners will notice if they are used to A=440HZ as a pitch standard.. Modern listeners and players are used to thinking of a pitch standard of A=440HZ as universal, though, even today, some musical centres adopt a slightly higher pitch (around A=442 in Vienna, for example). In Bach's time in Leipzig (1723-1750), there were two distinct pitches in operation, which seems strange to us. First was so-called "Kammerton", or "chamber pitch". This was equivalent in concept (though not in actual pitch) to modern "concert" pitch; however, in Bach's Germany, this pitch was around A=410 HZ. If you walked into church, however, and played middle "C", you would have noticed that it sounded a whole tone above middle C at chamber pitch (A=465HZ). This distinct pitch standard was known as "Chorton", or "choir pitch". In other words, middle C on the organ would have sounded the same pitch as D above middle C at chamber pitch (on a harpsichord, for example). String and wind instruments were tuned to "Kammerton". This meant that, on Sundays, when Bach directed the weekly cantata performance in church, the organ part which accompanied the orchestra had to written a whole tone LOWER than it sounded, in order to work with the chamber instruments. That means that the organ was used as a transposing instrument, when combined with other instruments. This would mean that in a piece composed in C minor, the organ part would be written in B-flat minor, as we know from Bach's many surviving cantata manuscripts with separate organ parts. Many original organs survive from the 18th century: in Germany they are nearly always at a pitch of around A=465. This is a whole step above A=415 HZ (the pitch you can hear on this recording), and a half-step above modern concert pitch of A=440HZ. In this video from the Netherlands Bach Society of Bach's Cantata BWV 29, the orchestra is playing D major, whereas the organist is playing the same piece in C major (as you can tell from watching the video): kzitem.info/news/bejne/1KeavquacHh2rH4 The modern selection of A=415HZ as a standard "Baroque" pitch represents an average of mid-18th century pitches that range from A=408-410 (Germany) to A=422 (London). A=415 sits an exact semitone below A=440HZ, which makes transposing keyboards possible on instruments like harpsichords and chamber organs. This is a very useful thing, but A=415 HZ is an approximation (and one that is found sometimes in historic instruments). There is a current fad all over the internet (originated by the American, Lyndon LaRouche) for the pitch standard of A=432 as representing some kind of Holy Grail pitch standard. It is based on a complete fallacy to do with Giuseppe Verdi's ideas on pitch. The Internet is great for spreading this kind of unsupported idea, with a tiny little germ of fact as its source. www.washingtonpost.com/archive/lifestyle/1989/05/27/lyndon-larouches-pitch-battle/756e0713-65eb-4059-90b2-037fd2f1f6e1/ If one really studies the subject, however, different pitch standards occurred in different locations, even some that were in close proximity. When Mozart visited Italy he wrote to his father about the high pitch standards he encountered there. at another extreme, French chamber pitch in the late 17th and early 18th centuries was set around A=390HZ. A=432HZ, is close to the standard Viennese pitch of around 1810-1850 (A=430HZ is an average). The first attempt to "standardize" pitch on an international level took place in the late 19th century, the standard being set at A=435HZ (I have a 1908 Chickering piano from Boston, where this pitch is stamped on the frame as "International Pitch"). I hope that this sheds some light on what is, actually, a highly complex question. This does not even address the related issue of tuning and temperament, with which most modern listeners to piano performances of Bach are entirely unaware. I hope that this will shed some real light on this topic for our esteemed listeners here. PW
@peterwatchorn411
2 жыл бұрын
@@alger3041 actually, guitarist Julian Bream did precisely that, way back when: kzitem.info/news/bejne/ybCewHVosWNoYJw
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