This piece fascinate me, in every aspect, since I first listened to it in live on my city's cathedral. It was totally memorable, I still remember that I had chills listening to it. Fun fact is that specialists don't even know exactly if Bach composed this or not. The oldest manuscrit of this composition ever found is from Johannes Ringk who is believed to have copied the original from Kellner's collection, who was indeed a pupil of Bach. Some claims that there are incompatibilities with Bach style and they also claims that in its first measure (of this piece) the composition contains a C♯, a note organs in Bach's time apparently rarely had, and which Bach almost never used in his organ compositions. Last suggestion is that this piece may have been originally composed for violin and so that the organ one is a transcription from neither Kellner, Ringk, or even maybe Bach himself... How ironic isn't it ? Though I do not believe it since Toccata isn't really a proper form for violin as far as I know. Bach or not, this is this piece that led me to listen to baroque music, and since I became an amateur of Bach's music, I've heard a lot of pieces from him and his contemporary. To me there is no doubt that Bach left his mark on this piece.
Forget the purists I am sure Bach is looking down in approval. He was a prolific arranger of both his and other peoples (Ernst, Vivaldi etc) for alternative instruments.
well, this music is widely misinterpreted for being a horror music, in fact, this music shows the humorous side of J.S.Bach however, thanks to hollywood, whenever we here the toccata, we think of horror directly
I disagree that Bach didn't write this piece. This is very much Bach's style of music(original for organ instead of piano, always sounds great no matter instrumentation, contrapuntal, etc.). However with the horror, I agree, at least for non-organ forms of the piece. On the organ it can sound pretty scary. But on the piano or in an orchestra it doesn't have that scaring factor, just the notes and rhythm and style.
Caters Carrots What style are you referring to? Because this is why I argue I don't believe he wrote this piece, its form matches very little of what he'd normally do.
Contrapuntal is something that Bach used a lot. This has it. Also, he has written lots of toccatas and fugues(I mean just look at Bach's pieces on IMSLP. At least 20 of them are toccatas and fugues including this one.). Now yes there are pieces on IMSLP that are not by supposed composer(Like symphony no 50 in the Mozart symphonies. Mozart only wrote 41 of those supposed Mozart symphonies.). And most of his keyboard pieces used the organ(or harpsichord in orchestra) since pianos were very rare back then. In fact, the piano as we know it didn't exist until Mozart's time. But just because it has something unusual for Bach doesn't mean it isn't by Bach. I mean look at Mozart and Beethoven. Beethoven did a lot of unusual things in his pieces(single motive throughout piece, extending to triple concerto(piano, violin, and cello), and in general unusual style) but it is clearly Beethoven. Same thing for Mozart but to a lesser degree. And there were even stranger things about Mozart than Beethoven. Mozart could play piano before he could read. He started writing music at 5 years old. He wrote 626 pieces in 30 years. He is the fastest composer I know of. Mozart used a lot of mordents, turns, and trills, especially in his sonatas. That wasn't common in his time(except maybe the mordent which Bach used in a lot of his pieces). He used many repeats in his pieces with his Turkish march having the most repeats. But all of this is clearly Mozart despite the fact that some of this was unusual for him. So you can't say "This Tocatta and Fugue in D minor is clearly not Bach because of style" when Mozart and Beethoven are 2 great examples of unusual style that was clearly from Mozart or from Beethoven.
Each composer / performer / arranger has his / her own view and feel (read knowledge and experience) in composing / interpreting / arranging music. In my humble opinion, any attempt to touch me in my soul is worth being absorbed. What's "good" or "bad" is different every time, so every attempt is essentially good.
Even with my large hands, from C to F the octave above with ease, this is still a pain in the ass to play. But what a pleasure to play even with the inevitable mistakes. J.S. Bach is simple the greatest there has ever been. After reading some of the comments I realize I've been playing piano for 38 years and graduated my music degree over 20 years ago..... Mid 40s now and it sounds like such a long time, but with works like this every minute has been a pleasure. Thanks for posting this!
Realmente é monumental essa transcrição de Busoni pra piano! Quando se fala em órgão essa música é a primeira que vem na mente das pessoas dada sua beleza e performance. É dificil imaginar uma transcrição melhor que essa .Há quem diga que a de Tausig seja igual ou melhor!Aí vai do discernimento de cada crítico. Parabéns ao pianista! A minha impressão é que e mais dificil interpretar essa transcrição ao piano do que executa-la ao órgão, pelo menos pra mim que sou mais organista do que pianista.
Reasons why this piece might NOT be composed by JS Bach: - 2nd Fugue subject (2nd voice) is introduced in g minor (the 4th of d minor), instead of the 5th (a minor) like in pretty much every other fugue by Bach - unusual amount of weird tempo changes - fugue subject has violinistic elements - toccata is (compared to other bach toccatas) way too "easy" and simple (see very early but difficult organ works by Bach like BWV 538, 532, 564) Reasons why this piece might be composed by JS Bach: - ends in a minor chord (d minor), something very unusual for organ works of the baroque era, but also something Bach had the balls to do a lot of times - counterpoint - his students had copies of this piece - reminds a lot of Buxtehude's style (which had a huge impact on Bach's early organ works)
@@countmozart72 deisregarding time, the styles that influenced both Bach and rachmaninoff that bring simlarities between the two would correlate to this comments validation
Why are musicians and musicologists frequently so disapproving and critical of anything coming from Tausig? I mean, I know that Busoni's arrangement is far superior over Tausig's, but one has to realize that Tausig wrote this arrangement at a relatively young age and also died at a very young age. Plus, he has written many other works which demonstrate much maturity and craft, or at least among most composers his age. One mediocre arrangement should not characterize his entire oeuvre and compositional skills.
I personally prefer the Tausig’s transcription over Busoni’s but I find both interesting, especially Tausig’s arpeggios and Busoni’s Alternating Octaves and single notes.
Sometimes the part of me that is drawn to Beethoven takes over and, in place of the D minor chord specified in the sheet music, I just play a D major at the end. I've always found that it makes for a discouragingly nihilistic conclusion when played as written. I suppose Bach was just young and angsty.
@@wilh3lmmusic You're absolutely right: there is doubt as to the authorship of the piece. Nevertheless, in spite of these doubts and contrary to what many believe, the preponderance of evidence actually _does_ suggest that Bach is the most likely candidate. Anyway, whatever the case, it's great music, whoever wrote it.
sstuddert Beethoven wouldn’t do that, not likely anyway. I have listened to a lot of Beethoven and he rarely ever uses the Picardy Third, which is where you play a tonic major chord at the end of a minor key piece. Usually he will end his minor key pieces in minor, with a minor chord at the end.
If you repeat the same things for 13 years, of course you won't improve. Improvement in any area comes with effort. Never stick to your comfort zone and always try to get better by tackling something a little more difficult. When you try to play something new and you can't from the first time, that's your cue; it's a chance for improvement. If everything you try is easy, then you'll be stuck in that same pond until you actually try to look for a bigger pond beyond your horizon and find it.
Don't worry Amelia. I've been playing the piano and working through the classical literature since I was about 3 and a half. I'll turn 50 this year. I've made a career out of performing and teaching music for decades, and the works of the masters STILL make me feel inadequate. Realizing this doesn't mean that you're deficient, it means that you're smart enough to realize the level of genius that it took to produce this music. :-)
During the baroque era lots of music was scored and played using figured bass. Figured bass was basically a precursor to the chord symbol we used today. This implies that baroque music was in fact very improvisational and playing note perfect renditions can be a soul killing, negative approach to music. We have computers and recordings to do that stuff. I'm a jazz/pop guy and have a fake book with lots of the classics and I enjoy playing this one a lot. I think It's more about getting the sound and the flavor of the piece over getting a note perfect rendition. Pay more attention to the chords, scales and modes being used. Use that to develop work-arounds in the tough areas. If this piece was written using figured bass we wouldn't even be having this conversation. It's not about the mastery of the difficult its about getting the Sound. Don't forget Bach was improvising when he made this up and so is anyone who does and arrangement of it.
The fugue isn't allegro as the sheet music shows. I mean, the quarters are at 60 BPM. That is Larghetto. And this is in 4/4. The only way this could be allegro is if you sped it up or if the time signature is 8/8.
From 7:55 to 7:57 of this video, the words, "*He missed something???" appear on the screen. Help me out. Did Busoni miss something or the pianist? In which bar did "he" miss something?
Génial awesome brillant affable большой et c’est peu pour décrire cette œuvre mais merde quoi ! Une pub au début ou à la fin ok ça passe mais au milieu ça bousille toute l’expérience !
Weird arrangement. I mean, of course the durability of the notes can't be the same on the piano than on the organ, but I don't think it's that necessary to repeat the chords so much to "acomplish" the resonance of the organ. Just my opinion though. Anyway, it's still an interesting and good arrangement.
It is a very good interpration but the sound recording is bad. You always hear such scratchy sounds. This happens when the microphones are too sensitive. One can prevent this by reducing the amplitude of the microphones.
The Toccata is what gets me. I mean sections in Prestissimo? I can get to allegro just fine but Presto and Prestissimo are extremely hard for me. I have only been able to do it once with practice(and that was with a sonatina that I sped up just to see how fast I can play it). All the other times I have done it have been sheer luck. Once I reach allegro, the faster I play, the more mistakes I make and I know that the more mistakes I make, the more likely I am to practice those mistakes. I think I might need to do something like tell myself "Just think of it as a big trill and glissando, you can do it." since I have no piano teacher(the one I had was rude at me in my second year and since then I taught myself) to be able to do presto without mistakes because I keep practicing, trying to reach higher speeds than allegro and I don't reach those speeds without mistakes.
Well, what's known today as prestissimo and what was known back then as Prestissimo were way different as musicians started to push the limits of music, loud got louder, soft got softer, fasr got faster and slow got slower
Well, simply because it is different. Bach has no boundaries. His compositions know no restraints; it transcends limitations to any one instrument. That is one of the many geniuses of Bach. Yes, it is one of the 'big stop' organ pieces. But the pianist here performs it masterfully with great integrity. It is magnificent and brings a different color and texture to the piece. I am an organist and play this piece, but it takes a pianist of immense skill, talent, and discipline to perform this piece with such brilliance on the piano. Wow! I am sitting here in jaw-dropping awe of what I just heard.
@@EntelSidious_gamzeylmz Not superior, just different. Oh, and it is so brilliant. I am just blown away by this piece on the piano. Wow! This pianist has such a supple technique.
To be honest virtuousity can be placed anywhere expect for powerful or beautiful works like this for example.The toccata misses that element of surprise even if it can't be replicated on a organ and the organ is better suited here however that doesn't mean Busoni should ruin the tocatta with virtouosity and the fugue is too slow,too heavy and sometimes is overdecorated with ornaments that Bach himself would'nt agree with and being better than someone will definetly hurt you in the end because this piece may have been ruined by this but it's always good to do an attempt at the most haunting piece ever in music history.
Thanks. The pianist deserves more than 10 seconds of credit. The full name should be clearly displayed (as in a program), not the last name tucked into the text of the notes.
Although I much prefer the piano to the original organ, this is not the interpretation I'd like to hear. Very strange tempii, including the too fast Toccata opening, and the too slow Fugue. A rather perverse use of rubato. Technically, it's not all that difficult. More should play it.
¿Por qué le siguen atribuyendo a ese pobre compilador conservacionista esta obra? Los historiógrafos saben muy bien, y está sobradamente corroborado por el estudio minucioso de los documentos históricos, que esta pieza (como tantas otras) no es de Bach, sino de un alumno suyo, del mismo modo que la fantasía Cromática es de uno de sus hijos, y otras piezas fueron escritas por su segunda esposa, Anna.
Offensive. He skipped the best part right before the end with those cadences landing on major 7ths that are inverted to give those amazing half-step dissonances. Quarter (1), Arpeggio sweep up (2,3) Quarter (4), repeat. You know, that part :P This man is an arranger and has no place editing full sections out of Bach like that.
![Bach + [Various]: Transcriptions (Weissenberg, Rösel, Bax, Grimaud, Glemser)](http://i.ytimg.com/vi/exYK6Wzmh2g/mqdefault.jpg)
![Bach + [Various]: Transcriptions (Weissenberg, Rösel, Bax, Grimaud, Glemser)](/img/tr.png)
This piece fascinate me, in every aspect, since I first listened to it in live on my city's cathedral. It was totally memorable, I still remember that I had chills listening to it.
Fun fact is that specialists don't even know exactly if Bach composed this or not. The oldest manuscrit of this composition ever found is from Johannes Ringk who is believed to have copied the original from Kellner's collection, who was indeed a pupil of Bach. Some claims that there are incompatibilities with Bach style and they also claims that in its first measure (of this piece) the composition contains a C♯, a note organs in Bach's time apparently rarely had, and which Bach almost never used in his organ compositions.
Last suggestion is that this piece may have been originally composed for violin and so that the organ one is a transcription from neither Kellner, Ringk, or even maybe Bach himself... How ironic isn't it ? Though I do not believe it since Toccata isn't really a proper form for violin as far as I know.
Bach or not, this is this piece that led me to listen to baroque music, and since I became an amateur of Bach's music, I've heard a lot of pieces from him and his contemporary. To me there is no doubt that Bach left his mark on this piece.
Forget the purists I am sure Bach is looking down in approval. He was a prolific arranger of both his and other peoples (Ernst, Vivaldi etc) for alternative instruments.
7:55 yes, he does
no dude. the pianist had make a mistake, not the composer
Wolfgang Amadeus Mozart yes he did, mozart
That time you stumble across Mozart and Beethoven discussing a Bach piece, arranged in the 20th century, on UA-cam...
Someone turned the page at the wrong time. kkkk
@@renardgrise Using americanisms, moreover.
Magnificent work.
I'm actually a pedagogical descendant of Busoni, all but one of my main teachers studied with his one of his students students.
Impressive. My teacher, Professor Paul Stoye, studied with Lizst's secretary. So?
well, this music is widely misinterpreted for being a horror music, in fact, this music shows the humorous side of J.S.Bach however, thanks to hollywood, whenever we here the toccata, we think of horror directly
*hear
+John Clement Husain I agree with the scholars, I don't think Bach wrote this piece
I disagree that Bach didn't write this piece. This is very much Bach's style of music(original for organ instead of piano, always sounds great no matter instrumentation, contrapuntal, etc.).
However with the horror, I agree, at least for non-organ forms of the piece. On the organ it can sound pretty scary. But on the piano or in an orchestra it doesn't have that scaring factor, just the notes and rhythm and style.
Caters Carrots What style are you referring to? Because this is why I argue I don't believe he wrote this piece, its form matches very little of what he'd normally do.
Contrapuntal is something that Bach used a lot. This has it. Also, he has written lots of toccatas and fugues(I mean just look at Bach's pieces on IMSLP. At least 20 of them are toccatas and fugues including this one.).
Now yes there are pieces on IMSLP that are not by supposed composer(Like symphony no 50 in the Mozart symphonies. Mozart only wrote 41 of those supposed Mozart symphonies.). And most of his keyboard pieces used the organ(or harpsichord in orchestra) since pianos were very rare back then. In fact, the piano as we know it didn't exist until Mozart's time.
But just because it has something unusual for Bach doesn't mean it isn't by Bach. I mean look at Mozart and Beethoven. Beethoven did a lot of unusual things in his pieces(single motive throughout piece, extending to triple concerto(piano, violin, and cello), and in general unusual style) but it is clearly Beethoven.
Same thing for Mozart but to a lesser degree. And there were even stranger things about Mozart than Beethoven. Mozart could play piano before he could read. He started writing music at 5 years old. He wrote 626 pieces in 30 years. He is the fastest composer I know of. Mozart used a lot of mordents, turns, and trills, especially in his sonatas. That wasn't common in his time(except maybe the mordent which Bach used in a lot of his pieces). He used many repeats in his pieces with his Turkish march having the most repeats. But all of this is clearly Mozart despite the fact that some of this was unusual for him.
So you can't say "This Tocatta and Fugue in D minor is clearly not Bach because of style" when Mozart and Beethoven are 2 great examples of unusual style that was clearly from Mozart or from Beethoven.
I LOVE THIS TRANSCRIPTION!! Except it's probably way too tough for me......
Each composer / performer / arranger has his / her own view and feel (read knowledge and experience) in composing / interpreting / arranging music. In my humble opinion, any attempt to touch me in my soul is worth being absorbed. What's "good" or "bad" is different every time, so every attempt is essentially good.
Busoni no era un aprendiz para haber logrado una transcripcion tan notable de una Obra Magnifica del mas grande musico de la Historia.......
Bach is a Mankind’s diamond!
Bach's Fugue always merge with holy and evil emotions, and always drives people to search for the meaning of music deeply and frenetically.
Even with my large hands, from C to F the octave above with ease, this is still a pain in the ass to play. But what a pleasure to play even with the inevitable mistakes. J.S. Bach is simple the greatest there has ever been.
After reading some of the comments I realize I've been playing piano for 38 years and graduated my music degree over 20 years ago..... Mid 40s now and it sounds like such a long time, but with works like this every minute has been a pleasure.
Thanks for posting this!
Очень впечатляюще! Это моё любимое сочинение Баха. Звучит не хуже, чем на органе.
Realmente é monumental essa transcrição de Busoni pra piano! Quando se fala em órgão essa música é a primeira que vem na mente das pessoas dada sua beleza e performance. É dificil imaginar uma transcrição melhor que essa .Há quem diga que a de Tausig seja igual ou melhor!Aí vai do discernimento de cada crítico. Parabéns ao pianista! A minha impressão é que e mais dificil interpretar essa transcrição ao piano do que executa-la ao órgão, pelo menos pra mim que sou mais organista do que pianista.
Bach captured the entire personality of any key
Reasons why this piece might NOT be composed by JS Bach:
- 2nd Fugue subject (2nd voice) is introduced in g minor (the 4th of d minor), instead of the 5th (a minor) like in pretty much every other fugue by Bach
- unusual amount of weird tempo changes
- fugue subject has violinistic elements
- toccata is (compared to other bach toccatas) way too "easy" and simple (see very early but difficult organ works by Bach like BWV 538, 532, 564)
Reasons why this piece might be composed by JS Bach:
- ends in a minor chord (d minor), something very unusual for organ works of the baroque era, but also something Bach had the balls to do a lot of times
- counterpoint
- his students had copies of this piece
- reminds a lot of Buxtehude's style (which had a huge impact on Bach's early organ works)
Haven't played the piano for 11 yrs,and now I'm self-learning THIS song.What am I even doing?
Keter_2438 and how's your success? I'll try to learn easy transcription
la mejor adaptación al piano. supera ampliamente a la de tausing
it’s not talked about enough just how complex this piece of music is. this not only looks hard, but when you attempt if, start praying
Fugue. 3:13
So many layers to this piece.
I can hear a lot of Rachmaninoff in this arrangement. Bravissimo.
cause much chords in it might be right I thought？
Bussoni was pre-Rachmaninoff so it must be the other way around
@@countmozart72 deisregarding time, the styles that influenced both Bach and rachmaninoff that bring simlarities between the two would correlate to this comments validation
Why are musicians and musicologists frequently so disapproving and critical of anything coming from Tausig? I mean, I know that Busoni's arrangement is far superior over Tausig's, but one has to realize that Tausig wrote this arrangement at a relatively young age and also died at a very young age. Plus, he has written many other works which demonstrate much maturity and craft, or at least among most composers his age. One mediocre arrangement should not characterize his entire oeuvre and compositional skills.
I HATE the Busoni arrangement (and this Tausig is like unto it). Just play the original.
What if you don't have an organ?
@@calebhu6383 you can ask someone to donate you one. People donate organs quite normally these days.
@@metodoinstinto what if you CANT have an organ
I personally prefer the Tausig’s transcription over Busoni’s but I find both interesting, especially Tausig’s arpeggios and Busoni’s Alternating Octaves and single notes.
One of my childhood favorites.
Last three chords are the darkest, sadder than sad cadence evar.
Sometimes the part of me that is drawn to Beethoven takes over and, in place of the D minor chord specified in the sheet music, I just play a D major at the end. I've always found that it makes for a discouragingly nihilistic conclusion when played as written. I suppose Bach was just young and angsty.
@@sstuddert Sure, you can do that, but it's a LIE!!
@@sstuddert there’s a theory that Bach didn’t write it…
@@wilh3lmmusic You're absolutely right: there is doubt as to the authorship of the piece. Nevertheless, in spite of these doubts and contrary to what many believe, the preponderance of evidence actually _does_ suggest that Bach is the most likely candidate.
Anyway, whatever the case, it's great music, whoever wrote it.
sstuddert Beethoven wouldn’t do that, not likely anyway. I have listened to a lot of Beethoven and he rarely ever uses the Picardy Third, which is where you play a tonic major chord at the end of a minor key piece. Usually he will end his minor key pieces in minor, with a minor chord at the end.
There's a place in hell for those who put 20s unskippable ads in the midst of a piece.
The best piano version of Toccata und Fuge!....
Best version on YT
I've been playing piano for 13 years since I was 5 and I still think this piece is over my skill. I feel inadequate ._.
If you repeat the same things for 13 years, of course you won't improve. Improvement in any area comes with effort. Never stick to your comfort zone and always try to get better by tackling something a little more difficult. When you try to play something new and you can't from the first time, that's your cue; it's a chance for improvement. If everything you try is easy, then you'll be stuck in that same pond until you actually try to look for a bigger pond beyond your horizon and find it.
Don't worry Amelia. I've been playing the piano and working through the classical literature since I was about 3 and a half. I'll turn 50 this year. I've made a career out of performing and teaching music for decades, and the works of the masters STILL make me feel inadequate. Realizing this doesn't mean that you're deficient, it means that you're smart enough to realize the level of genius that it took to produce this music. :-)
@@valentinh1384 well said.
the purpous of music playing is knowing yourself.
During the baroque era lots of music was scored and played using figured bass. Figured bass was basically a precursor to the chord symbol we used today. This implies that baroque music was in fact very improvisational and playing note perfect renditions can be a soul killing, negative approach to music. We have computers and recordings to do that stuff. I'm a jazz/pop guy and have a fake book with lots of the classics and I enjoy playing this one a lot. I think It's more about getting the sound and the flavor of the piece over getting a note perfect rendition. Pay more attention to the chords, scales and modes being used. Use that to develop work-arounds in the tough areas. If this piece was written using figured bass we wouldn't even be having this conversation. It's not about the mastery of the difficult its about getting the Sound. Don't forget Bach was improvising when he made this up and so is anyone who does and arrangement of it.
it was so inspiring listening to this piece thanks
formidable
fuga starts 3:11
Браво молодец играет супер
The fugue isn't allegro as the sheet music shows. I mean, the quarters are at 60 BPM. That is Larghetto. And this is in 4/4. The only way this could be allegro is if you sped it up or if the time signature is 8/8.
Caters Carrots Tempo is relative.
very good
thenameisgsarci don't you have this piece in pdf? just wondering if you could share it
anyway thanks for the video
You can find this in IMSLP. Thank you. :)
Brilliant gespielt. Es bleibt dennoch ein Orgelwerk.
Google makes the Cardinal Sin of interrupting Bach with commercials, lol.
Pay $15/mo bi**h if you don’t want ads.
From 7:55 to 7:57 of this video, the words, "*He missed something???" appear on the screen. Help me out. Did Busoni miss something or the pianist? In which bar did "he" miss something?
Look and listen, my friend. That's the only clue I'm going to tell you.
+WaterlooUploader The missing part that the pianist missed out was the second half of the second bar at 7:50 (correct me if I'm wrong).
+Nelson Tan It's actually the whole second bar that was missing. Nice try, though, thank you for playing the game. :D
Haha no problem! Thank YOU for uploading this! After hearing the various versions of Toccata and Fugue, the Bach-Busoni version is my favourite!
+Nelson Tan
No. Thank YOU. :D
I can't find the sheet on impls, could you please link it to me?
Stunning how people here need to say that they ALSO play, that they ALSO play this ... Please reflect: WHO CARES ? :)
how are we supposed to reach these massive hand chords? how big were busonis hands?
Sounds great!
7:55 absolutamente!
I prefer it on organ but this sounds new and interesting.
Well, I used the pedal a bit too much, when I played it. According to most musicians/pianists. But I liked it
just awesome ande beautiful piece, I will like to know if there is a chance u have the piano sheets I would like to play it
Please give pianist's name in the written introduction.
Génial awesome brillant affable большой et c’est peu pour décrire cette œuvre mais merde quoi ! Une pub au début ou à la fin ok ça passe mais au milieu ça bousille toute l’expérience !
deberia ser castigado con prision el que pone propaganda ...
@@oroartesanal Propaganda???
@@cha_mzzn5690 nono...comerciales..excelente..gracias!
maestoso...
I can play this song now
It's a piece, actually
Trying to learn it. It's difficult.
very well very good version of Jean sebastien bach works
Weird arrangement. I mean, of course the durability of the notes can't be the same on the piano than on the organ, but I don't think it's that necessary to repeat the chords so much to "acomplish" the resonance of the organ. Just my opinion though. Anyway, it's still an interesting and good arrangement.
0:14: Adagio
(Idk where to put the rest i cant read sheet music please help me)
"Artist" - Johann Sebastian Bach??
It is a very good interpration but the sound recording is bad. You always hear such scratchy sounds. This happens when the microphones are too sensitive. One can prevent this by reducing the amplitude of the microphones.
The description confuses me. It says there aren't arpeggios in this, but isn't say, all the stuff at 1:16 a bunch of arpeggios in triplets?
I'm looking at the fugue section and I'm thinking this doesn't look too hard to play (I'm not that great of a pianist) and I try and it's hell XD
"Never underestimate all things." XD
Good advice!
It is hard. It took me long to learn it. And I'm here to hear someone else playing, to know if I'm playing wrong or not
The Toccata is what gets me. I mean sections in Prestissimo? I can get to allegro just fine but Presto and Prestissimo are extremely hard for me. I have only been able to do it once with practice(and that was with a sonatina that I sped up just to see how fast I can play it). All the other times I have done it have been sheer luck. Once I reach allegro, the faster I play, the more mistakes I make and I know that the more mistakes I make, the more likely I am to practice those mistakes.
I think I might need to do something like tell myself "Just think of it as a big trill and glissando, you can do it." since I have no piano teacher(the one I had was rude at me in my second year and since then I taught myself) to be able to do presto without mistakes because I keep practicing, trying to reach higher speeds than allegro and I don't reach those speeds without mistakes.
Well, what's known today as prestissimo and what was known back then as Prestissimo were way different as musicians started to push the limits of music, loud got louder, soft got softer, fasr got faster and slow got slower
8:26
3:12
splendida, l'esecuzione e' difficile, almeno per me!
Tears 😭 to my eyes . Is there copy of this that one can purchase please ?i will love to work on this piece 😊please
No need to, I have included a link in the description box where you can download the sheet music.
@@thenameisgsarci so sorry , I was unable to open the link .
@@nisookh you have to copypaste the link into a browser.
@@thenameisgsarci thank you 😊
epic
What does it mean, arpeggios a technique not found on the organ?.
Needs more 32' diapason and maybe a Mixture V.
Who is the performer here, please?
its in beginning of video, idont want ceck cause im listening
@@mustysheep3977 bruh
Waw I play it I don't complete it and I'm not in this level (I finished tokata but not fugue)
3:12 fugue
Tough choice between this price and Chaconne 🤔
for me charconne is leagues better in both the original and the busoni transcription
'띠로리' 피아노 버전은 뭔가 허전하네
Sorry. In quale ottava sarebbe questa partitura? si capisce poco bene.
Does anyone know who the pianist is?
띠로리~~
Please include the performer clearly *in* the description; it is disrespectful not to
Ok done
Is this in cyclic form?
Great transcription, but why play this on the piano when the organ version is so FREAKIN AWESOME
Not everyone has a pipe organ in their house.
@@KneeJerkish also there is the fact that some textures here are superior to the organ one (3.00 for example)
Well, simply because it is different. Bach has no boundaries. His compositions know no restraints; it transcends limitations to any one instrument. That is one of the many geniuses of Bach. Yes, it is one of the 'big stop' organ pieces. But the pianist here performs it masterfully with great integrity. It is magnificent and brings a different color and texture to the piece. I am an organist and play this piece, but it takes a pianist of immense skill, talent, and discipline to perform this piece with such brilliance on the piano. Wow! I am sitting here in jaw-dropping awe of what I just heard.
@@EntelSidious_gamzeylmz Not superior, just different. Oh, and it is so brilliant. I am just blown away by this piece on the piano. Wow! This pianist has such a supple technique.
Look isn't the Dumbflower, it the a so
want has molpicas equals Pea nut.
One question please : who plays ?
Et question subsidiaire : comment fait-on pour éloigner efficacement les vampires?
To be honest virtuousity can be placed anywhere expect for powerful or beautiful works like this for example.The toccata misses that element of surprise even if it can't be replicated on a organ and the organ is better suited here however that doesn't mean Busoni should ruin the tocatta with virtouosity and the fugue is too slow,too heavy and sometimes is overdecorated with ornaments that Bach himself would'nt agree with and being better than someone will definetly hurt you in the end because this piece may have been ruined by this but it's always good to do an attempt at the most haunting piece ever in music history.
It would be nice to know the name of the pianist doing all the hard work.
It would be also nice to look at the first 10 seconds of the video and the description box, too. :)
Thanks. The pianist deserves more than 10 seconds of credit. The full name should be clearly displayed (as in a program), not the last name tucked into the text of the notes.
Karen
one part starts like Orochimarus theme from Naruto Anime 😆
It's the other way around, ain't it?
Better than his attempt with the chaconne
wow...
Although I much prefer the piano to the original organ, this is not the interpretation I'd like to hear. Very strange tempii, including the too fast Toccata opening, and the too slow Fugue. A rather perverse use of rubato. Technically, it's not all that difficult. More should play it.
Who is the pianist who is playing?
wi'll never know/ holy spirit most likely
this guy just broke all the chords
he broke the bad
He missed something, alright. This version makes the Busoni version more like the pansy Tausig version.
Oh, you saw the "Easter egg"? Hooray for good eyesight. :D
¿Por qué le siguen atribuyendo a ese pobre compilador conservacionista esta obra? Los historiógrafos saben muy bien, y está sobradamente corroborado por el estudio minucioso de los documentos históricos, que esta pieza (como tantas otras) no es de Bach, sino de un alumno suyo, del mismo modo que la fantasía Cromática es de uno de sus hijos, y otras piezas fueron escritas por su segunda esposa, Anna.
BWV 565 should not be played on the piano, it should on DEM *_PIPES!_*
Where did you hear of that rule?
コンスタンティン・ラニサヴリェヴィッチ - bruh it’s been so long I don’t even remember writing this comment
@@dopplerfox where did you hear of that rule?
Offensive. He skipped the best part right before the end with those cadences landing on major 7ths that are inverted to give those amazing half-step dissonances. Quarter (1), Arpeggio sweep up (2,3) Quarter (4), repeat. You know, that part :P This man is an arranger and has no place editing full sections out of Bach like that.
care to point to the minute in question?
Terrible rendition, in my opinion of course, of the fugue: it sounds like it was a romantic piece, with all that pedal...awful and dissapointing.
Well, this is arranged in a somewhat late Romantic style so..
It's Ferruccio Busoni. An historic composer with neo-romantic style. To be heard and appreciated in perspective.
Well the piano is a very romantic sounding instrument, so why not just like fully commit to making the whole piece sound romantic.
Отвратная игра, убожество.
8:40
3:12
3:10
3:40
3:10