This is my favorite of the Brandenburgs. It's the first one my good friend Elizabeth treated me to when I ask her about classical music. She was well versed, had a degree in music, played beautiful piano, and her family had a wall of classical music LPs. I can never thank her enough. That was nearly 50 years ago. My travels through classical music genres have been nothing short of a religious experience thanks to her and my Aunt Inez who taught me to play piano and read music (55 years ago!) Wonderful to read along and not have ro to pop back and forth between Kindle and UA-cam to continue reading and listening. Thank you for your superb work combining the sheet music with the performance!
this is the very composition...that turned me into a classical musician in Jr High. I could even bang out the melodies on my toy reed organ. thus conservatory debt to this very day but so many amazing concerts. Carnegie Hall debut April 18 2001, THEN I hit the NYC streets busking after Carnegie DELI to make my first NYC trophy Buck. still have it laminated. J.S.Bach greatest man ever lived just count the wives and kids and do that on a choir directors salary
Excellent performance! Well done! I have some quibbles with the cellos and double basses, but overall it's the BEST I've heard so far! Especially pleasant are the Fast tempos, which correspond directly to the Virtuoso Schools of Harpsichordists and to Vivaldi and Mozart!
This piece was it for me too. I first heard it from my favorite violin instructor way back in Jr High orchestra way back in 1982. I knew I wanted to play that one just like the orchestras did one day.
+Harry Andruschak I'm glad you think so! It's one of my favorite harpsichord pieces ever, yet it remains so undiscovered. I don't believe it's been published, but I could be wrong.
That was such a long cadence for an improvisation - and the Adagio in all other interpretations was always not very much beyond the one bar in the original manuscript - but I'm not complaining!
www.quora.com/Why-do-Baroque-pieces-sound-half-a-step-down-than-their-intended-keys pbosf.blogspot.com/2010/01/story-of-more-about-baroque-pitch.html All three movements are in the same tuning btw.
Improvised cadenza, not bloody likely -- it sounds like a solo keyboard work by possibly Rameau! Whatever it is, it wanders far afield from the sense of the Brandenburg III concerto. At the very end it segues (electronically speaking) into Bach's second movement (Adagio) cadence, played by the ensemble.
@@paulojorgecruz6768 www.chambermusicsociety.org/about/news/improvisation-in-the-brandenburg-concertos/ Improvisation is a hallmark of baroque music. If you don’t know what you’re talking about, then you shouldn’t speak.
Depends which harpsichordist you ask tbh haha. To my knowledge, the harpsichordist in this performance played the cello/bass line for the first and third movements, and improvised (or prepared, who knows) a performance for the second movement.
So is it a common skill for a Harpsichord to be able to sightread figured bass? In this performance, would the harpsichordist play a supporting line in the right hand because I don't see any figured bass on the score?
I wish I knew enough to tell you :( I am merely a biochemistry major that deeply enjoys classical music and happens to know an assortment of things about it. If you happen to google this information, please let me know what you find!
@@contrapunctusmammalia3993 Sightreading and improvising a melody over a figured bass is probably THE skill a harpsichordist has to master - after all a lot of music from the late 17th and early 18th century is deeply dependend on a masterful harpsichordist to improvise and play the most flexible part of the orchestra (very often you see them perform from the orchestra score to be able to mix the voices of the other instruments into their continuo playing). In this case, one could say that figured bass and improvisation are essential parts of the harpsichords musical tradition!
can anybody find a moment where the texture is monophonic? I'm meant to be looking for different textures in this piece of music and that's the only one i can't find :(
I had to look up a quick definition of monophony, so if my choice seems bad, it's because I didn't educate myself enough. The only part I can think of is parts like 1:45 or 1:55, where an instrument gets a solo and the other instruments provide the background. Otherwise, this whole concerto is constructed so that each part essentially accompanies each other. Alternatively though, I also remember reading that this concerto is constructed in a way where each instrument's part can also essentially function as its own solo piece as well, meaning you could take, like, Cello #2's part and play it by itself and it will sound fine. Hopefully that helps!
This is a polyphonic composition for 9 instruments plus continuo. Why are you expecting homophony? A monophonic texture would have only a single melody and NO accompaniment whatsoever. Gregorian chant is an example of monophonic texture. There are a couple of brief passages in the 1st movement of this concerto where all the strings play in unison or octaves. Those passages would qualify as monophonic texture. E.g., the 2nd half of the penultimate measure through the last measure.
@@TheExarion No. Those are examples of solos with accompaniment. A monophonic texture would have only a single melody and NO accompaniment. Gregorian chant is an example of monophonic music. In the 1st movement of this Bach concerto, there are a few brief passages where all the strings play in unison or octaves. E.g., the 2nd half of the penultimate measure and the last measure. Those passages are the only examples of monophonic texture in this work.
Is this AI. I don't know I hope not. Might be my hearing going or something. But it is my favorite still to this very day. My 1st violin sheet music is in bad shape now.
@@TheExarion I mean yes I know this piece doesnt have a set tempo and whatever tempo it was originally written in has been lost to time, but it still feels really jarring to hear it played on steroids.
Excellent performance! Well done! I have some quibbles with the cellos and double basses, but overall it's the BEST I've heard so far! Especially pleasant are the Fast tempos, which correspond directly to the Virtuoso Schools of Harpsichordists and to Vivaldi and Mozart!
@@TheExarion To TheExation: When the orchestra do not resound the notes and glides over notes, the counterpoint is not exact. Too often modern orchestras play Bach too fast and often have out-of-tune string sections which sound scratchy as well. Keyboardists play Bach on the piano at lightning speed resulting a cacophony of blither. Bach should be played on the harpsichord so that the strings can resonate. Modern organists do not let the pipes breathe and cheapen the texture of the notes emanating from the pipes. I'm glad I bought my recording collection 45 years ago when musicians were taught Bachian style, otherwise I would never have gotten into Bach's music. I'll stick to my opinion, but thanks for the reply.
Are you talking about the tuning? If so, it's because (paraphrasing from a comment I saw from the audio I pulled this from), the tuning of A in the baroque period was slightly lower than what it is today
@@TheExarion This is NOT 'slightly lower', it is an EXACT half step lower, from G to G flat. If that was done deliberately by the ensemble I would call it quite extreme, even for the kooky fringe of self-nominated Baroque purists.
As long as it's in G flat major, and not G flat minor, it's the same piece. Maybe one of the musicians had an instrument with a bad note, so they transposed it. Happens all the time.
Funny how you managed to write this nice comment in two thousand languages and in all of them you misspelled the italian "moderato", creating a nonsense word which furthermore seems to incorporate "ratto", italian for "rat".
Idk why so many people have such a problem with the tempo - especially since everyone acts like they *know* what the tempo should be but with no sources or expertise to back up their distaste. Not to mention, I’ve seen plenty of people play this piece at much faster tempos too. It’s up to the ensemble to interpret the tempo to their liking/abilities. Regardless, if you don’t like this performance, there are hundreds of other performances out there.
The Second movement was amazing
This is my favorite of the Brandenburgs. It's the first one my good friend Elizabeth treated me to when I ask her about classical music. She was well versed, had a degree in music, played beautiful piano, and her family had a wall of classical music LPs. I can never thank her enough. That was nearly 50 years ago. My travels through classical music genres have been nothing short of a religious experience thanks to her and my Aunt Inez who taught me to play piano and read music (55 years ago!)
Wonderful to read along and not have ro to pop back and forth between Kindle and UA-cam to continue reading and listening.
Thank you for your superb work combining the sheet music with the performance!
Candenza 5:12
Adagio 7:14
Allegro 7:31
this is the very composition...that turned me into a classical musician in Jr High.
I could even bang out the melodies on my toy reed organ. thus conservatory debt to this very day but so many amazing concerts. Carnegie Hall debut April 18 2001, THEN I hit the NYC streets busking after Carnegie DELI to make my first NYC trophy Buck. still have it laminated. J.S.Bach greatest man ever lived just count the wives and kids and do that on a choir directors salary
I played the whole entire thing. I was cello number 3. It is a hard piece,but manageable and beautiful
Same here! This was the first piece I had to play with my string ensemble many years ago - brings back so many memories :' )
Played second in vibraphone, it qualified as a PITA sheet music (Pain In The Ass)
What did you think about the 2nd movement 😂
I'm no expert, but almost all of Bach is hard. At least I find it so, but I'm just a lowly hobby mandolinist. Hard perhaps, but so beautiful!
Tempo was so fast 😢
Excellent performance! Well done! I have some quibbles with the cellos and double basses, but overall it's the BEST I've heard so far! Especially pleasant are the Fast tempos, which correspond directly to the Virtuoso Schools of Harpsichordists and to Vivaldi and Mozart!
I love how the second movement is just 2 minims
Played viola 1 almost 35 years ago and I still remember the fingering for my part.
This piece was it for me too. I first heard it from my favorite violin instructor way back in Jr High orchestra way back in 1982. I knew I wanted to play that one just like the orchestras did one day.
holy hell that cadenza 🔥
As i am the only violist in my orchestra, i played viola 1 with no other parts to assist me. It was a complete nightmare :,D
But you did it! I'm sure it was well appreciated by the other members and the audience! 😊😊😊
That was an impressive 2nd movement cadenza. Has it been published?
+Harry Andruschak I'm glad you think so! It's one of my favorite harpsichord pieces ever, yet it remains so undiscovered. I don't believe it's been published, but I could be wrong.
2:50
That was such a long cadence for an improvisation - and the Adagio in all other interpretations was always not very much beyond the one bar in the original manuscript - but I'm not complaining!
Happy birthday master
Shit goes so hard
The first trill in the cadenza made me cry....
I'm glad someone appreciates it as much as I do :)
all-region excerpt - 8:06
when does the second movement begin??
5:16 is the cadenza leading into the second movement, and then 7:18 to 7:28 is the whole second movement.
thanks
Why is the third movement in Gb? The key signature gays it's in G, but actually it's a half step lower? Why?
www.quora.com/Why-do-Baroque-pieces-sound-half-a-step-down-than-their-intended-keys
pbosf.blogspot.com/2010/01/story-of-more-about-baroque-pitch.html
All three movements are in the same tuning btw.
@@TheExarion Cool! So they are playing in G, but their reference is A=415 and mine is A=440. So to me it sounds a half step lower! That's pretty cool!
7:30 = the start of Allegro.
Love following the cello part in second Allegro.
that last movement....my arm is dead.
I know exciting, but masturbating to it is a little inappropriate.
Movement 2 (Allegro) 7:31
What are the themes in the first piece? Is there only one that follows?
Improvised cadenza, not bloody likely -- it sounds like a solo keyboard work by possibly Rameau! Whatever it is, it wanders far afield from the sense of the Brandenburg III concerto. At the very end it segues (electronically speaking) into Bach's second movement (Adagio) cadence, played by the ensemble.
Are you Jordan Peterson?
@@nunziomeatballs Why do you ask?
@@paulojorgecruz6768 www.chambermusicsociety.org/about/news/improvisation-in-the-brandenburg-concertos/
Improvisation is a hallmark of baroque music. If you don’t know what you’re talking about, then you shouldn’t speak.
@@commontater8630 It's the way you said "not bloody likely" 😂
@@ninotavadze904 Is everybody that says "not bloody likely" Jordan Peterson?
por que suena medio tono mas abajo? por los instrumentos?
Guess who's Bach. Bach again. J. S. Bach. Tell a friend.
2 things:
1) Please don’t do that again lol.
2) Did you reupload this video to your channel?
@@TheExarion you can take the video down, report it
Do harpsichordists prepare exactly what they are going to play beforehand?
Depends which harpsichordist you ask tbh haha. To my knowledge, the harpsichordist in this performance played the cello/bass line for the first and third movements, and improvised (or prepared, who knows) a performance for the second movement.
So is it a common skill for a Harpsichord to be able to sightread figured bass? In this performance, would the harpsichordist play a supporting line in the right hand because I don't see any figured bass on the score?
I wish I knew enough to tell you :( I am merely a biochemistry major that deeply enjoys classical music and happens to know an assortment of things about it. If you happen to google this information, please let me know what you find!
@@contrapunctusmammalia3993 Sightreading and improvising a melody over a figured bass is probably THE skill a harpsichordist has to master - after all a lot of music from the late 17th and early 18th century is deeply dependend on a masterful harpsichordist to improvise and play the most flexible part of the orchestra (very often you see them perform from the orchestra score to be able to mix the voices of the other instruments into their continuo playing). In this case, one could say that figured bass and improvisation are essential parts of the harpsichords musical tradition!
@@benneteicke2171 to deal with reading more than 2 staves certainly sounds like an envyable skill.
2:56. 7:30
Merci beaucoup pour le scrolling, but weren't they using another edition?
i played this piece with orchestra recording
"GOOD EVENING GENTLE LISTENERS!!"
can anybody find a moment where the texture is monophonic? I'm meant to be looking for different textures in this piece of music and that's the only one i can't find :(
I had to look up a quick definition of monophony, so if my choice seems bad, it's because I didn't educate myself enough. The only part I can think of is parts like 1:45 or 1:55, where an instrument gets a solo and the other instruments provide the background. Otherwise, this whole concerto is constructed so that each part essentially accompanies each other. Alternatively though, I also remember reading that this concerto is constructed in a way where each instrument's part can also essentially function as its own solo piece as well, meaning you could take, like, Cello #2's part and play it by itself and it will sound fine. Hopefully that helps!
GCSE music or something?
This is a polyphonic composition for 9 instruments plus continuo. Why are you expecting homophony?
A monophonic texture would have only a single melody and NO accompaniment whatsoever. Gregorian chant is an example of monophonic texture.
There are a couple of brief passages in the 1st movement of this concerto where all the strings play in unison or octaves. Those passages would qualify as monophonic texture. E.g., the 2nd half of the penultimate measure through the last measure.
@@TheExarion No. Those are examples of solos with accompaniment.
A monophonic texture would have only a single melody and NO accompaniment. Gregorian chant is an example of monophonic music.
In the 1st movement of this Bach concerto, there are a few brief passages where all the strings play in unison or octaves. E.g., the 2nd half of the penultimate measure and the last measure. Those passages are the only examples of monophonic texture in this work.
That cadenza tho
No está ejecutado en Allegro Moderatto. Pierde la máxima "expresión" la obra de esa manera.
Is this AI. I don't know I hope not. Might be my hearing going or something. But it is my favorite still to this very day. My 1st violin sheet music is in bad shape now.
The video performances are in the video’s description.
Это не выполняется в Allegro Moderatto. Так теряет максимальное «выражение» работы.
Domine, non est apud Moderatto supplicium. Amittimus maxima 'expressio "viam operis est.
Definitely too fast for the elderly and the infirmed. How fast can you make your wheelchair go?
Det udføres ikke i Allegro Moderatto. Mister det maksimale "udtryk" værket på den måde.
JESUS CHRIST WHY IS IT SO FAST
Speed is relative. Believe it or not, I've heard it played much faster.
@@TheExarion I mean yes I know this piece doesnt have a set tempo and whatever tempo it was originally written in has been lost to time, but it still feels really jarring to hear it played on steroids.
@@jaybonn5973 ok
Excellent performance! Well done! I have some quibbles with the cellos and double basses, but overall it's the BEST I've heard so far! Especially pleasant are the Fast tempos, which correspond directly to the Virtuoso Schools of Harpsichordists and to Vivaldi and Mozart!
Det körs inte i Allegro Moderatto. Förlorar det maximala "uttrycket" på det sättet.
Imagine writing the same pointless shit in several languages instead of practicing
This is played way too fast!!!
no it's not lol
@@TheExarion To TheExation: When the orchestra do not resound the notes and glides over notes, the counterpoint is not exact. Too often
modern orchestras play Bach too fast and often have out-of-tune
string sections which sound scratchy as well. Keyboardists play Bach
on the piano at lightning speed resulting a cacophony of blither. Bach should be played on the harpsichord so that the strings can resonate. Modern organists do not let the pipes breathe and cheapen the texture of the notes emanating from the pipes. I'm glad I bought my recording
collection 45 years ago when musicians were taught Bachian style, otherwise I would never have gotten into Bach's music. I'll stick to my opinion, but thanks for the reply.
Nu este executat în Allegro Moderatto. Pierde „expresia” maximă în acest fel.
Why is this in G flat? Brandenburg 3 is in G Major!!!!!!!
Are you talking about the tuning? If so, it's because (paraphrasing from a comment I saw from the audio I pulled this from), the tuning of A in the baroque period was slightly lower than what it is today
@@TheExarion This is NOT 'slightly lower', it is an EXACT half step lower, from G to G flat. If that was done deliberately by the ensemble I would call it quite extreme, even for the kooky fringe of self-nominated Baroque purists.
@@commontater8630 ok then
@@commontater8630 www.quora.com/Why-do-Baroque-pieces-sound-half-a-step-down-than-their-intended-keys
pbosf.blogspot.com/2010/01/story-of-more-about-baroque-pitch.html
As long as it's in G flat major, and not G flat minor, it's the same piece. Maybe one of the musicians had an instrument with a bad note, so they transposed it. Happens all the time.
Il n'est pas exécuté dans Allegro Moderatto. Perd le maximum "expression" du travail de cette façon.
Není to provedeno v Allegro Moderatto. Ztrácí maximální „výraz“ práce tímto způsobem.
Non viene eseguito in Allegro Moderatto. In questo modo perde la massima "espressione" del lavoro.
Funny how you managed to write this nice comment in two thousand languages and in all of them you misspelled the italian "moderato", creating a nonsense word which furthermore seems to incorporate "ratto", italian for "rat".
Es wird nicht in Allegro Moderatto ausgeführt. Verliert der maximale "Ausdruck" der Arbeit auf diese Weise.
Chan eil e air a chur gu bàs ann an Allegro Moderatto. A ’call an“ abairt ”as motha san obair san dòigh sin.
Az Allegro Moderattoban nem hajtják végre. Így veszíti el a munka maximális "kifejezését".
Não é executado no Allegro Moderatto. Perde a "expressão" máxima do trabalho dessa maneira.
Allegro Moderattoでは実行されません。 そのようにして作品の最大の「表現」を失います。
lololololololololololololololoolololololoo hamilton is better
Fight fight fight
I like Hamilton, but Classical music trumps all
Lol hamilton sucks
bro wat is dis shi-
It is Bach's Brandenburg Concerto No.3.
I cannot fathom how anyone can look at this score and pick such a tasteless tempo. What a mess.
Idk why so many people have such a problem with the tempo - especially since everyone acts like they *know* what the tempo should be but with no sources or expertise to back up their distaste. Not to mention, I’ve seen plenty of people play this piece at much faster tempos too. It’s up to the ensemble to interpret the tempo to their liking/abilities.
Regardless, if you don’t like this performance, there are hundreds of other performances out there.
This is being played too fast. It sounds awfully sloppy.
Candenza 5:12
Adagio 7:14
Allegro 7:31
8:41
2:38
4:14
7:29
1:42
SUCH A BEAUTIFUL PART SO TEAR DROPING OF PROUDNESS!!! 😢😊😊😊😊