This arrangement is as hard to play as it is magnificent to hear. Your keyboard interpretations of Bach’s musical genius are truly a blessing to this world.
Magnificent. So many pieces deserve to be observed through the magnifying lens of a keyboard transcription. Your service to music will be aknowledged for sure, in due time.
A good tempo and a warm sound - thank you! The length of the piece with the same basic rhythm and comparatively few melodic variations expresses the meditative character of the music well and thus almost creating the effect of modern minimal music in the style of Philip Glass or Simeon ten Holt.
I'm glad he appreciates it! (I've heard of him but most of his channel is in a different genre so I haven't been following.) Thanks for letting me know - no wonder my video got a sudden spike in views the past few days!
Germany, near "Leipzig" J.S.Bach´s "Working-Town" my lovely Composer, I also play Piano and these is my lovely "Melody", sorry my english... Thanks fore these!
How beautiful melodies ! It takes my breath away ! Your transcriptions are amazing ! And I understood it. As you said, this piece is so difficult. But you have done it perfectly ♪ You are great, Ruoshiさん♪ : )
Thank you, and especially thank you for the link to your score! Too hard for me to sight read, but I will work on it. Your playing is magnificent, as always.
Truly beautiful - the hard and precise work you put in the transcription is paying off, this is a fantastic interpretation for piano, and piano transcriptions of Bach's work are magnificent on their own. I am partial to the ostinato-like violas in the orchestral version though, to me they make the piece :)
Thank you! Your synth arrangements are also amazingly nuanced. Getting those details right can take more effort than entering the notes themselves. It takes one to know one. :)
Many thanks Ruoshi for this transcription,that in contrast to many piano excerpts I saw of this piece, is very close to the cantata's original polyphonic writing- same time this does not necessarily translate into the most effective way to elevate the cantus over the harmonic structure. particularly in shaping the long melodic arches of the sung aria that are simply impossible to recreate on the piano with its fast decay. This asks for some compositional and interpretative trickery ( and/or proficiency with the grand piano's third sostenuto pedal in certain places). Anyway- excellent effort and I shall try to work on it in my own time to try to bring out the best of it.
Yes, voice crossings and sustained notes are always big challenges for me, and my digital piano has an even faster decay than an acoustic which exacerbates the problem. I suppose an easy remedy for b.23 is to have the left hand repeat the F twice more in the 3rd beat. I did something like that in b.30 but it didn't come out enough - there's always room for improvement in my technique. I think those are the two most problematic bars to your point. Thanks for your interest and feedback!
Good evening Ruoshiさん♪ How’s your day ? :) This piece has stuck in my mind. Another melody flows along with the charming melody. “Widerstehe doch der Suende" Those sounds remind me of the warning bells at the railroad crossings in Japan. While my ears were chasing a so beautiful melody, I couldn't help but be bothered by this warning sound. Why ? Why this sound ? I wondered and decided to googled it. That’s makes sense "Sodom's apple.” If this melody were composed to evoke a sense of warning, it can be said that the tones that humans perceive as warning or alarm have not changed from Bach's time to the present day. J.S. Bach is truly an amazing individual.
I love This Melodie 😊you Play it so easely … it is very very Hard to Play This Piece- maybe you can Play it a Little Bit slower and let the Energy Flow - Perfect Play ❤
Yes, you can find the model number from the "Piano:" line in the description. Recent videos have all been Yamaha CLP 785. Older videos that do not have this line in the description were recorded on Casio CDP 130.
I'm glad you commented separately on the transcription and the interpretation. For the latter aspect, I see this piece as a word painting of the title, where the bass is "standing firm" against the clashing treble voices that represent "sin." Another observation is that Bach tends to write "Adagio" for pieces that really should be played very slowly, but of course, in the absence of which, there is still a wide range of possibilities, with the extremities being Ólafsson's live performance of his transcription and the Netherlands Bach Society (almost twice as fast!). Within this spectrum my tempo is actually almost right in the middle. Like I mentioned in the description, I greatly admire Ólafsson's color and voicing, but I can't make that work with my word-painting interpretation. Note how his bass is barely audible and you don't hear the clashing pulse at that tempo. In any case, I am not forcing my interpretation on any pianist who wishes to play my transcription, and so I have not made any tempo/expression markings in the score. A meditative approach is certainly fine.
I agree with Ruoshi. You must be heavily influenced by Ólafsson, but his interpretation is very romantical and far from Bach’s original intention. Historically informed performance is not the only way to go, but framing a modern re-reading of a piece as the composer’s intention is simply not correct.
This arrangement is as hard to play as it is magnificent to hear. Your keyboard interpretations of Bach’s musical genius are truly a blessing to this world.
The most important thing happening on UA-cam, your piano transcriptions of Bach's truly amazing vocal pieces, many of us surely agree.
Honestly, I don't know what else is happening on UA-cam. I live in my own world. 😂
@@RuoshiSunhaha we're glad you do! But for sure, living in you own world makes big things possible sometimes. Very good job!
Yeah, I surely do. Such an addition to the world of Bach's music. And it's all so well done. I'm happy to be alive.
Fantastic! Loving your arrangements and wonderful performances of these Bach works. Hope to see more. Bravo!
Amazing! I was looking for a piano transcription of this piece and I will be printing and practicing your wonderful version. Cheers from Brazil.
Magnificent. So many pieces deserve to be observed through the magnifying lens of a keyboard transcription. Your service to music will be aknowledged for sure, in due time.
Thank you so much for your kind words! :)
Beautiful! Thank you!
A good tempo and a warm sound - thank you! The length of the piece with the same basic rhythm and comparatively few melodic variations expresses the meditative character of the music well and thus almost creating the effect of modern minimal music in the style of Philip Glass or Simeon ten Holt.
Beautiful. if you haven't checked out Rick Beato talking about the Gould version you might like it
I'm glad he appreciates it! (I've heard of him but most of his channel is in a different genre so I haven't been following.) Thanks for letting me know - no wonder my video got a sudden spike in views the past few days!
Germany, near "Leipzig" J.S.Bach´s "Working-Town" my lovely Composer, I also play Piano and these is my lovely "Melody", sorry my english... Thanks fore these!
Danke schön! Kein Problem - ich kann ein bisschen Deutsch sprechen. Google Translate ist auch hilfreich.
How beautiful melodies ! It takes my breath away ! Your transcriptions are amazing ! And I understood it. As you said, this piece is so difficult. But you have done it perfectly ♪ You are great, Ruoshiさん♪ : )
まゆみさん、本当にありがとうございます！もっと難しいことを練習中です。 今年後半に完成することを願っています。
Thank you, and especially thank you for the link to your score! Too hard for me to sight read, but I will work on it. Your playing is magnificent, as always.
wow
Truly beautiful - the hard and precise work you put in the transcription is paying off, this is a fantastic interpretation for piano, and piano transcriptions of Bach's work are magnificent on their own. I am partial to the ostinato-like violas in the orchestral version though, to me they make the piece :)
Thank you! Your synth arrangements are also amazingly nuanced. Getting those details right can take more effort than entering the notes themselves. It takes one to know one. :)
@@RuoshiSun "it takes one to know one" - you're so right :)
Thank u so much!😘
Many thanks Ruoshi for this transcription,that in contrast to many piano excerpts I saw of this piece, is very close to the cantata's original polyphonic writing- same time this does not necessarily translate into the most effective way to elevate the cantus over the harmonic structure. particularly in shaping the long melodic arches of the sung aria that are simply impossible to recreate on the piano with its fast decay. This asks for some compositional and interpretative trickery ( and/or proficiency with the grand piano's third sostenuto pedal in certain places). Anyway- excellent effort and I shall try to work on it in my own time to try to bring out the best of it.
Yes, voice crossings and sustained notes are always big challenges for me, and my digital piano has an even faster decay than an acoustic which exacerbates the problem. I suppose an easy remedy for b.23 is to have the left hand repeat the F twice more in the 3rd beat. I did something like that in b.30 but it didn't come out enough - there's always room for improvement in my technique. I think those are the two most problematic bars to your point. Thanks for your interest and feedback!
Great Ruoshi！👍
Good evening Ruoshiさん♪ How’s your day ? :) This piece has stuck in my mind. Another melody flows along with the charming melody. “Widerstehe doch der Suende" Those sounds remind me of the warning bells at the railroad crossings in Japan. While my ears were chasing a so beautiful melody, I couldn't help but be bothered by this warning sound. Why ? Why this sound ? I wondered and decided to googled it. That’s makes sense "Sodom's apple.” If this melody were composed to evoke a sense of warning, it can be said that the tones that humans perceive as warning or alarm have not changed from Bach's time to the present day. J.S. Bach is truly an amazing individual.
まゆみさん, I'm happy to see that you achieved 悟り from Bach's music. Congratulations! 🎉
@@RuoshiSun ありがとうございますRuoshiさん(^-^)♪
Ruoshiさんによるこのpiano transcriptionそして演奏、何度 視聴しても本当に素晴らしいです💐🎹
I love This Melodie 😊you Play it so easely … it is very very Hard to Play This Piece- maybe you can Play it a Little Bit slower and let the Energy Flow - Perfect Play ❤
Do you record your pieces on a digital piano?
Yes, you can find the model number from the "Piano:" line in the description. Recent videos have all been Yamaha CLP 785. Older videos that do not have this line in the description were recorded on Casio CDP 130.
Great transcription... but why play it so fast??? This piece is about tranquility, meditation,...surely not a dance.But congratulations to your work.
I'm glad you commented separately on the transcription and the interpretation. For the latter aspect, I see this piece as a word painting of the title, where the bass is "standing firm" against the clashing treble voices that represent "sin." Another observation is that Bach tends to write "Adagio" for pieces that really should be played very slowly, but of course, in the absence of which, there is still a wide range of possibilities, with the extremities being Ólafsson's live performance of his transcription and the Netherlands Bach Society (almost twice as fast!). Within this spectrum my tempo is actually almost right in the middle. Like I mentioned in the description, I greatly admire Ólafsson's color and voicing, but I can't make that work with my word-painting interpretation. Note how his bass is barely audible and you don't hear the clashing pulse at that tempo.
In any case, I am not forcing my interpretation on any pianist who wishes to play my transcription, and so I have not made any tempo/expression markings in the score. A meditative approach is certainly fine.
I agree with Ruoshi. You must be heavily influenced by Ólafsson, but his interpretation is very romantical and far from Bach’s original intention. Historically informed performance is not the only way to go, but framing a modern re-reading of a piece as the composer’s intention is simply not correct.
Lovely to listen to ! Hard to play ! 🙂
Gorgeous. Thank you!