As an organist, I've always appreciated this arrangement; and Stokowski's use of the woodwinds in the beginning is reminiscent of organ flue stops. Towards the end, however, the dramatic sound of the full orchestra reminds me of the beginning of a war movie. But I still love it!
As a very young violinist at the time of this recording who went on the play in a few orchestras over the next decades I’d be terrified of being under the baton of this great maestro. Even in his later years, as we can see here, his control of tempo and knowledge of the music, sans score, is superb. Bet they dare not put a foot wrong….
Stokowski's orchestration shows one of the most beautiful examples of woodwind ensemble, especially of the double reed section, in which everyone would hear the best traslation of Bach's true intentiopn of organ sound into the modern orchestra.Here you may recognize many virtuoso wind players of the NY Philharmonic, such as Harold Gomberg, oboe, Engeklbert Brenner, English horn, Julius Baker, flute, Stanley Drucker, clarinet, Manuel Zegler, bassoon among many,many others. It was indeed The Golden Age.
These Young People's Concerts were a series of nationwide broadcasts on commercial TV over the course of many years of Bernstein's tenure at the New York Philharmonic, something no commercial network would do today. How I loved those concerts and how I idolized Bernstein! Stokowski performed his usual sorcery in turning Bach's Little Fugue into Stokowski's Grand Fugue.
I believe that there is room for both the original historic version and the transcription. As for what Bach himself would think, we cam pm;y s[eci;ate. Once a work goes out into the world it becomes more than just its creator's.
+Michael Loutris The issue is: What is the most important factor in music? For artists like Stokowski it was the SOUND first them rhythm, dynamics, and onward. For some it was FASHION and making subscribers like them. For others it's HISTORY i.e. reproducing all of the problems composers had to deal with. What almost tempts me to laugh at Bernstein's remark is his using a 9 foot Steinway Concert Grand for Mozart. The same as ANY decent pianist today demanding "Only a Pleyel for Chopin!". It's such a ridiculous, effete snobbery that makes one shake their head. Now, that having been said, I didn't like anything else about Leonard Bernstein, but - What a sound he got out of the NY Philharmonic! As stated before, What's the most important thing? Not reprehensible, elitist, back stabbing gutter-snipes at the baton, but the SOUND alone.
@prepended prepended I agree with Bernstein. In order to know what Bach would or would not have done had he been alive in more modern times, one would have to be Bach himself.
Can't forget how I was first introduced to these two. My grandmother had a copy of the 1991 re-release of the original Fantasia, which sparked my love for music. To the point that my brother and I would literally burn that very VHS tape out due to how many times we've played it...
for school children...... I remember such things..... we lived in the middle of the Mid-West but such things reached all the way to us there... wonderful..... I wonder if there is anything today that would lift the mind of a young child in the same manner....... thanks for posting!!
Dear Hearts: a masterful performance of a piece that is very dear to my heart. When I was in college in the early '70's, I was friends with a organ major in the music department. He was an amazing organist. One night he was rehearsing for a upcoming recital and he invited me to listen (I knew other female students who would have killed for an invitation. I was, however, the only female student who wasn't interested in him romantically. I just knew he had a musical, creative gift to share.). He also knew how much I love the Little Fugue in G Minor. He played it that night and he told me after he finished rehearsing, that when he played it at the recital, he'd be playing it for me. Needless to say, I lost it. I found out he died about 15 years ago as did his younger brother. How I wish I could have seen both brothers one more time. By sharing this video, you have brought back my love for this piece and the respect I had for two wonderful brothers. Thank you from the bottom of my heart. All Love
Wow, that's a fascinating historical document. Bernstein inviting Stokowski to conduct, and two of the greatest conductors of all time in a Young Peoples' Concert.
La gran humildad de L.Bernstein,reconocer y honrar publicamente a un gran colega: Leopold Stokowski.Hoy ambos fellecidos,pero inmortales cuando suenan sus mu'sicas !!!.-
You can put it like that, yes. I think it's more like: 2' 4' 8' 16' Since this was originally an organ piece, the score follows the size of the pipes in octaves
Enjoyed this. Took me back many years to when I listened to Stokowski and his orchestras without ever seeing them. Seeing him now for the first time is a real treat! Thank you! ❤ 😊
This was a wonderful program for children (and adults). Since the eighties, classical music has been banned on commercial TV in America. Low taste, satisfied with even lower gratifications which led to even lower taste ..., this had been the involution of television in the US and elsewhere .
There is no need to be rude. The obvious (and sad) issue is that the market share of classical music by the 1980s had dipped under 5% (It is 3% now), which has made it unprofitable for programming on mass media.
I was never a huge fan of the idea that altering a bach piece would be disrespecting Bach or the music. Music is an art form, as well as an intellectual pursuit. I always love to listen to Bachs music reimagined, whether it's this, or Carlos Moog Bach. If I find one that I don't like, I just don't listen to it again. Music is meant to be manipulated and reimagined. If you know anything about Bach you know he would say the exact same thing; he often borrowed from other composers works, or sometimes even transcribed them for completely different ensembles/instruments (such as the Bach Vivalid pieces).
With Bach's works, if I encounter a transcription, or an adaptation to different instruments, I always give it several listenings before passing judgement.
@@spikespa5208 the same I do. Especially with fugues. Our mindset have changed so much over the years, back then a fugue was a fugue. Today it's more than a genre and a technique, it packs a lot of power, power which no ensamble at the time of J. S. Bach could handle and pass. The most powerful tool was the church pipe-organ. Amazing work by maestro Skotowski. If I were alive to meet him I would thank him by any mean I have.
Ah Bach. Take a simple little fugue and it can become a towering work, filling the hall with MUSIC. Just a simple round that goes round and round, like a snowball going down hill until it is a mighty force.
I remember when I first heard this song. I was blown away. I'm not sure if this was the particular treatment of it, but it's good. It's not just the piece of music, it's how it's treated. The spaces between the notes are as important as the notes, as well as which instruments come forward, when and in what combination.
Outside of the proper organ, this is my favorite arrangement of this most accessible of Bach's fugues. Why, the first violins don't appear until after the half-way mark, and then it's all goosebumps and epic sweeping afterwards.
Bernstein seems to think that only conductors made Bach transcriptions for themselves to conduct. However, although a few conductors did, such as Stokowski and Sir Henry Wood, arrangements of Bach's works were made far more by composers than conductors. The list includes Respighi, Elgar, Mahler, Schoenberg, Webern, Vaughan Williams, Holst, Bantock, Honegger, Reger, Stravinsky, Walton and many others. One of my favourites is the Bach-Elgar Fantasy and Fugue in C minor. If you'd like to hear it, click this link ... ua-cam.com/video/CsYKl-19K9g/v-deo.html
Interesting :O in separating different parts into different sections of instruments it’s easier to sense the almost mechanistic nature of the fugue. It’s almost like a romantic piece with each instrument having more autonomy in the piece. In that way, the old style just juts forth!
How to ski at freeway speeds.... 1) acquire skills 2) play little fugue in G in your head to provide courage and concentration. It worked wonderfully for me. Note : it may require starting the music in mid fugue to gain the proper affect.
It's because of this guy, felix mendelssohn and a few other conductors why bach is so famous today. Which is why I'm baffled when I see people criticizing this type of interpretation. But also makes me realize that so many people don't even know why they like bach. They only say they do because it's a famous name in the history of music.
...a bit of trivia. In this performance we see Philharmonic Hall in New York as originally built. It was an acoustical disaster and would later be gutted and rebuilt as Avery Fischer Hall.
Bernstein is amazing, Stokowski is god. But did you notice Moog Synthesizers behind? Robert Moog, the father of synthesize, is well deserved to be with this two giants.
No baton-Leopold Stokowski conducted with his bare hands. I was at the taping of this “Young People’s Concert,” and it was a thrill to see Stoki lead this marvelous transcription.
And parents took their very young pre-school, grade school, and teens to these concerts ! Too bad there isn't a similar program to used to expose children to live musicians playing real music on real instruments without any Autotune or any other "studio magic "..
Does the score for this still exist? I would love for this to be re-recorded with modern day technology. The arrangement is perfect but the recording quality is very bad.
Dear Muhammed, This entire piece is ´The Little Fugue in G Minor´ by J. S. Bach; but in a transcription arranged by the Conductor. What a wonderful rendition... Isn´t it? Atte. JG
when played on organ, as was probably originally intended, it does get a little muddy as is, IMO, often the case with organ music. the ending in this version is a bit OTT. the beginning was lovely but the length of the piece is not sufficient to support the bombast at the end. again IMO.
With my tongue somewhat in cheek, I think this fugue could've been named the America Fugue had Bach been living in more recent times instead -for me it conjures up the spirit of positive youthful competition more than any other piece of music that I know. Playing it at 1.05x speed ;D
I first heard "Leopold!" as a child about 40 years ago in that Bugs Bunny cartoon and had no idea who they were talking about, why everyone was whispering his name, or why that singer was so intimidated by Leopold. Now it all makes sense.
These days audiences give standing ovations because someone onstage hit their mark. It's lost value. Back then a standing ovation was for exceptional performance even grander than this. Had he conducted a full concert he likely would have received one. He was the one and only.
The arrangement for woodwind worked beautifully for me. As the arrangement built to full orchestra, I felt that the piece lost clarity and became unwieldy. Just my personal opinion as a non-musician.
On an organ it does sound much clearer, but in my opinion in this transcription the orchestra deals a lot of justice to the piece by giving it the power it holds in it, fortuned, inside the quadruple fugue.
Well, the two starting melodies are written in two different key signatures by Bach. Is that what you’re talking about, maybe? Some parts are not playing in G minor, I’m pretty sure that’s how Bach wrote it.
@@kingjiimmy160 No, I just think it sounds a bit bright; the opening is played by the oboe and bassoon which are obviously dry/nasal sounding and can be a bit harsh sometimes. Personally, I don't especially like this sound/performance either. I would either tune it down just a bit, have it sound a bit darker, or change the orchestration. But maybe it's just the performance because I have a recording of what's almost certainly the same arrangement as made by Stokowski for orchestra on CD, and it sounds fantastic. I'm not sure of all his works, but I don't think Bach wrote in polytonality, that is in multiple keys at the same time; the work opens in G minor then shifts to the Dominant which is D minor, and when this happens the accompanying line of the oboe modulates as well. Later it modulates(changes key) to Bb major, the relative major of G minor, as both keys have two flats. The key signature doesn't have to change for this to happen, accidentals are often used for this purpose. Here's a link to the piece along with a score: BWV 578 - "Little" Fugue in G Minor (Scrolling) ua-cam.com/video/Bbox4oi6HjA/v-deo.html As you can see, it opens in G minor, and @ 33 seconds when the second voice comes in, it changes/modulates to D minor, you can clearly see the accidentals marking E natural as well as C#.
Ah sanctity of the concert hall just think of all the history and upheaval in store for the world way back in 69 and yet except for Bernstein and Schakowsky's respective ages there is really nothing to date this recording. It really could've been recorded last month except for the analogue deterioration of audio and image quality. I guess dress of the audience. The concert hall a little sanctuary of civilization.
I was surprised to see the late President Brezhnev playing the Bassoon
😄😄😎
That's Manny Ziegler. He'd probably be amused by the comparison!
Lol
So do I
And Edward Woodward on oboe. So that's where he went.
Stokowski was born in 1882. This is simply astonishing. A piece of musical history.
As an organist, I've always appreciated this arrangement; and Stokowski's use of the woodwinds in the beginning is reminiscent of organ flue stops. Towards the end, however, the dramatic sound of the full orchestra reminds me of the beginning of a war movie. But I still love it!
Yes, it sounds like Bach at the beginning but ends more like Beethoven. Good point. To me the end is reminiscent of 7th Symphony in A major.
That finale is so incredibly epic.
As a very young violinist at the time of this recording who went on the play in a few orchestras over the next decades I’d be terrified of being under the baton of this great maestro. Even in his later years, as we can see here, his control of tempo and knowledge of the music, sans score, is superb. Bet they dare not put a foot wrong….
What baton?
I heard from someone who played in the London symphony orchestra that he was a very hard task-master, as were so many of his conducting generation.
The build up and clear progression of this piece is amazingly terrific.
Fun to think that this piece was originally composed to be played by a single person!
Stokowski's orchestration shows one of the most beautiful examples of woodwind ensemble, especially of the double reed section, in which everyone would hear the best traslation of Bach's true intentiopn of organ sound into the modern orchestra.Here you may recognize many virtuoso wind players of the NY Philharmonic, such as Harold Gomberg, oboe, Engeklbert Brenner, English horn, Julius Baker, flute, Stanley Drucker, clarinet, Manuel Zegler, bassoon among many,many others. It was indeed The Golden Age.
never can get enough GOMBERG!
These Young People's Concerts were a series of nationwide broadcasts on commercial TV over the course of many years of Bernstein's tenure at the New York Philharmonic, something no commercial network would do today. How I loved those concerts and how I idolized Bernstein! Stokowski performed his usual sorcery in turning Bach's Little Fugue into Stokowski's Grand Fugue.
I believe that there is room for both the original historic version and the transcription. As for what Bach himself would think, we cam pm;y s[eci;ate. Once a work goes out into the world it becomes more than just its creator's.
+Michael Loutris The issue is: What is the most important factor in music? For artists like Stokowski it was the SOUND first them rhythm, dynamics, and onward. For some it was FASHION and making subscribers like them. For others it's HISTORY i.e. reproducing all of the problems composers had to deal with. What almost tempts me to laugh at Bernstein's remark is his using a 9 foot Steinway Concert Grand for Mozart. The same as ANY decent pianist today demanding "Only a Pleyel for Chopin!". It's such a ridiculous, effete snobbery that makes one shake their head. Now, that having been said, I didn't like anything else about Leonard Bernstein, but - What a sound he got out of the NY Philharmonic! As stated before, What's the most important thing? Not reprehensible, elitist, back stabbing gutter-snipes at the baton, but the SOUND alone.
@prepended prepended I agree with Bernstein. In order to know what Bach would or would not have done had he been alive in more modern times, one would have to be Bach himself.
I was searching for a non- organ version of this fugue , never found it until now .😅
And Bernstein's speech is a treat.
I guess, that Bach might have been shocked at first, but gradually become more impressed and then, maybe inspired - given his great gift for drama.
Can't forget how I was first introduced to these two. My grandmother had a copy of the 1991 re-release of the original Fantasia, which sparked my love for music. To the point that my brother and I would literally burn that very VHS tape out due to how many times we've played it...
for school children...... I remember such things..... we lived in the middle of the Mid-West but
such things reached all the way to us there... wonderful..... I wonder if there is anything today that
would lift the mind of a young child in the same manner....... thanks for posting!!
Dear Hearts: a masterful performance of a piece that is very dear to my heart. When I was in college in the early '70's, I was friends with a organ major in the music department. He was an amazing organist. One night he was rehearsing for a upcoming recital and he invited me to listen (I knew other female students who would have killed for an invitation. I was, however, the only female student who wasn't interested in him romantically. I just knew he had a musical, creative gift to share.). He also knew how much I love the Little Fugue in G Minor. He played it that night and he told me after he finished rehearsing, that when he played it at the recital, he'd be playing it for me. Needless to say, I lost it. I found out he died about 15 years ago as did his younger brother. How I wish I could have seen both brothers one more time. By sharing this video, you have brought back my love for this piece and the respect I had for two wonderful brothers. Thank you from the bottom of my heart. All Love
Wow, that's a fascinating historical document. Bernstein inviting Stokowski to conduct, and two of the greatest conductors of all time in a Young Peoples' Concert.
I love the way the layers come in. This is such a monumental piece!
La gran humildad de L.Bernstein,reconocer y honrar publicamente a un gran colega: Leopold Stokowski.Hoy ambos fellecidos,pero inmortales cuando suenan sus mu'sicas !!!.-
Thank you to my 2018 Art History professor Professor Tinnen who showed the class this video. I was introduced to something sublime !!
2:09 (Soprano)
2:27 (Alto)
2:48 (Tenor)
3:05 (Bass)
You can put it like that, yes. I think it's more like:
2'
4'
8'
16'
Since this was originally an organ piece, the score follows the size of the pipes in octaves
The build up to 5:48 is amazing!
Enjoyed this. Took me back many years to when I listened to Stokowski and his orchestras without ever seeing them. Seeing him now for the first time is a real treat! Thank you! ❤ 😊
Glad you enjoyed it
This was a wonderful program for children (and adults). Since the eighties, classical music has been banned on commercial TV in America. Low taste, satisfied with even lower gratifications which led to even lower taste ..., this had been the involution of television in the US and elsewhere .
it has not been banned. your brain has been banned from your head.
There is no need to be rude. The obvious (and sad) issue is that the market share of classical music by the 1980s had dipped under 5% (It is 3% now), which has made it unprofitable for programming on mass media.
Was not ready for that ending...goodness! ❤️
part of the magic was the change from minor to major
Chills
2:48 - Brezhnev on bassoon.
i thought i recognised that guy lol
I remember as a little kid watching a bugs bunny cartoon featuring maestro Leopold!
Leopold!
This footage is beyond description
I was never a huge fan of the idea that altering a bach piece would be disrespecting Bach or the music. Music is an art form, as well as an intellectual pursuit. I always love to listen to Bachs music reimagined, whether it's this, or Carlos Moog Bach. If I find one that I don't like, I just don't listen to it again. Music is meant to be manipulated and reimagined. If you know anything about Bach you know he would say the exact same thing; he often borrowed from other composers works, or sometimes even transcribed them for completely different ensembles/instruments (such as the Bach Vivalid pieces).
With Bach's works, if I encounter a transcription, or an adaptation to different instruments, I always give it several listenings before passing judgement.
@@spikespa5208 the same I do.
Especially with fugues. Our mindset have changed so much over the years, back then a fugue was a fugue. Today it's more than a genre and a technique, it packs a lot of power, power which no ensamble at the time of J. S. Bach could handle and pass. The most powerful tool was the church pipe-organ.
Amazing work by maestro Skotowski. If I were alive to meet him I would thank him by any mean I have.
Ah Bach. Take a simple little fugue and it can become a towering work, filling the hall with MUSIC. Just a simple round that goes round and round, like a snowball going down hill until it is a mighty force.
I was there :)
Featuring the great Harold Gomberg on 1st Oboe!
Woohoo! Ralph Gomberg student here
Bach would probably love to write music for some of the pipe organs that exist today !!
Yes as a change between writing for Trumpet. So much of his music is perfect for the trumpet that was invented 100 years too late.
absolutely nice
you said it
the best version ever!!
It's just perfect..... so much.
finally find this perfect work, about 30 years ago I heard this on a tape
That happened to me too!!
incredible, universal music Bach wrote
One of the best renditions I've heard. Fantastic.
I love him, also best dress conductor. I wonder if a ponytail would have been perfect for him since he liked his hair longer.
This is out of this world!!!
Brilliant! The final part is arranged in a very russian style and reminds me of Shostakovich a lot! Beautiful!
I remember when I first heard this song. I was blown away. I'm not sure if this was the particular treatment of it, but it's good. It's not just the piece of music, it's how it's treated. The spaces between the notes are as important as the notes, as well as which instruments come forward, when and in what combination.
Outside of the proper organ, this is my favorite arrangement of this most accessible of Bach's fugues. Why, the first violins don't appear until after the half-way mark, and then it's all goosebumps and epic sweeping afterwards.
What if I told you those were actually violas?
We played this piece in 1979 High Point Central HS , High Point North Carolina
Leopold....Leopold....Leopold...
Uh, LEOPOLDT!
Nice one 😂
ua-cam.com/video/gt1V61SPI_w/v-deo.html
For people who didn't get it , I *think* this is what the reference meant
Bernstein seems to think that only conductors made Bach transcriptions for themselves to conduct. However, although a few conductors did, such as Stokowski and Sir Henry Wood, arrangements of Bach's works were made far more by composers than conductors. The list includes Respighi, Elgar, Mahler, Schoenberg, Webern, Vaughan Williams, Holst, Bantock, Honegger, Reger, Stravinsky, Walton and many others. One of my favourites is the Bach-Elgar Fantasy and Fugue in C minor. If you'd like to hear it, click this link ...
ua-cam.com/video/CsYKl-19K9g/v-deo.html
Interesting :O in separating different parts into different sections of instruments it’s easier to sense the almost mechanistic nature of the fugue. It’s almost like a romantic piece with each instrument having more autonomy in the piece. In that way, the old style just juts forth!
Now we just need Walt Disney to translate this to moving pictures.
Awesome 🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹
How to ski at freeway speeds.... 1) acquire skills 2) play little fugue in G in your head to provide courage and concentration. It worked wonderfully for me. Note : it may require starting the music in mid fugue to gain the proper affect.
Шедевр!!!
Tears.
There are very few that can appreciate Leo's contributions now. He was amazing.
It's because of this guy, felix mendelssohn and a few other conductors why bach is so famous today.
Which is why I'm baffled when I see people criticizing this type of interpretation.
But also makes me realize that so many people don't even know why they like bach. They only say they do because it's a famous name in the history of music.
"Leopold!!! Leopold!!!" That Bugs Bunny cartoon is a riot!
Just about everything I know about classical music, I learned from Bugs Bunny!
Carl Stalling was the music arranger for Bugs Bunny, etc. And was a classically trained musician and a very good conductor in his own right...
I so wanted him to ask for Bernstein's baton
and then snap it
Not gonna lie, I was expecting for the orchestrals to say "Leopold!" when he stepped on stage.
Beautiful!
best version I've heard so far
Three great masters!
Magnificent
Absolutely Beautiful! Sheer Heaven!!!
Here you can hear the influence the music Bach wrote had on young Beethoven.
Bernstein's best video ever!!!
Wonderful arrange.
...a bit of trivia.
In this performance we see Philharmonic Hall in New York as originally built. It was an acoustical disaster and would later be gutted and rebuilt as Avery Fischer Hall.
4:52 😍
"And all about the courtly stable,/Bright- harnesse`d Angels sit in order serviceable"-overwhelming beautiful!!!
Superb!!!!
Excellent!!!!!
My music teacher showed me this i love this
Fabulous
2:08
Bravissimo!!!
A mighty musical army waging Bach's war!
LEOPOLD!
I like how Leonard Bernstein pronounces Bach
This is the correct way of pronouncing bach btw
Jack Le it's because he knows german.
Bernstein is amazing, Stokowski is god. But did you notice Moog Synthesizers behind? Robert Moog, the father of synthesize, is well deserved to be with this two giants.
The greatest conductor of all time!
My favorite fugue
The bassoonist looks a bit like Brezhnev without the mighty soviet eyebrow(s).
"Soviet eyebrow(s)" :D
At the baton, he is unforgettable. God rest his soul.
No baton-Leopold Stokowski conducted with his bare hands. I was at the taping of this “Young People’s Concert,” and it was a thrill to see Stoki lead this marvelous transcription.
Superbe fugue de bach👩😘😘😘👍👍👍👍👍👍😘😘😘😘👍🎵🎶🎹🎹🎻🎻
And parents took their very young pre-school, grade school, and teens to these concerts !
Too bad there isn't a similar program to used to expose children to live musicians playing real music on real instruments without any Autotune or any other "studio magic "..
The detroit symphony does
2:08
2:08
2:08
2:08
Does the score for this still exist? I would love for this to be re-recorded with modern day technology. The arrangement is perfect but the recording quality is very bad.
How about this? ... ua-cam.com/video/U_OtfBwqzCE/v-deo.html
Thanks !
НЕВЕРОЯТНО!
L L L L LEOPOOOLD!!!
Wow!
Leopold! 1:35
Dear Muhammed, This entire piece is ´The Little Fugue in G Minor´ by J. S. Bach; but in a transcription arranged by the Conductor. What a wonderful rendition... Isn´t it? Atte. JG
Leopold!
L-L-L- Leopold!!
You stole my comment!!
I wonder if he knew about that cartoon. I suspect he would have thought it amusing.
when played on organ, as was probably originally intended, it does get a little muddy as is, IMO, often the case with organ music. the ending in this version is a bit OTT. the beginning was lovely but the length of the piece is not sufficient to support the bombast at the end. again IMO.
With my tongue somewhat in cheek, I think this fugue could've been named the America Fugue had Bach been living in more recent times instead -for me it conjures up the spirit of positive youthful competition more than any other piece of music that I know.
Playing it at 1.05x speed ;D
LEOPOLD!!!
I first heard "Leopold!" as a child about 40 years ago in that Bugs Bunny cartoon and had no idea who they were talking about, why everyone was whispering his name, or why that singer was so intimidated by Leopold. Now it all makes sense.
🌹☀❤Leopold the Great!
I think his gesture at 5:31 to 5:32 looks rather like a shot in the arm ..shark adrenaline time hehe
The brass dude
.........and why wasn't the audience on their feet?? Did they not know what they heard?
The applause seems to be extremely loud heh -doubt that it's the position of the speakers. They probably did one at the end of the concert..
These days audiences give standing ovations because someone onstage hit their mark. It's lost value. Back then a standing ovation was for exceptional performance even grander than this. Had he conducted a full concert he likely would have received one. He was the one and only.
The arrangement for woodwind worked beautifully for me. As the arrangement built to full orchestra, I felt that the piece lost clarity and became unwieldy. Just my personal opinion as a non-musician.
On an organ it does sound much clearer, but in my opinion in this transcription the orchestra deals a lot of justice to the piece by giving it the power it holds in it, fortuned, inside the quadruple fugue.
Great!!!¡¡ Wonderfull!!¡¡
There must be something wrong with tuning, it sounds terrible... Perharps it's deterioration given by the vhs recording, or at least I hope so...
Well, the two starting melodies are written in two different key signatures by Bach. Is that what you’re talking about, maybe?
Some parts are not playing in G minor, I’m pretty sure that’s how Bach wrote it.
The counter subject plays in the dominant
@@kingjiimmy160 No, I just think it sounds a bit bright; the opening is played by the oboe and bassoon which are obviously dry/nasal sounding and can be a bit harsh sometimes. Personally, I don't especially like this sound/performance either. I would either tune it down just a bit, have it sound a bit darker, or change the orchestration. But maybe it's just the performance because I have a recording of what's almost certainly the same arrangement as made by Stokowski for orchestra on CD, and it sounds fantastic.
I'm not sure of all his works, but I don't think Bach wrote in polytonality, that is in multiple keys at the same time; the work opens in G minor then shifts to the Dominant which is D minor, and when this happens the accompanying line of the oboe modulates as well.
Later it modulates(changes key) to Bb major, the relative major of G minor, as both keys have two flats. The key signature doesn't have to change for this to happen, accidentals are often used for this purpose.
Here's a link to the piece along with a score:
BWV 578 - "Little" Fugue in G Minor (Scrolling)
ua-cam.com/video/Bbox4oi6HjA/v-deo.html
As you can see, it opens in G minor, and @ 33 seconds when the second voice comes in, it changes/modulates to D minor, you can clearly see the accidentals marking E natural as well as C#.
I understand.
But a conductor's arrangement or transcription should and has to be performed by no other but the conductor himself.
Ah sanctity of the concert hall just think of all the history and upheaval in store for the world way back in 69 and yet except for Bernstein and Schakowsky's respective ages there is really nothing to date this recording. It really could've been recorded last month except for the analogue deterioration of audio and image quality. I guess dress of the audience. The concert hall a little sanctuary of civilization.