This is another beautiful example of Bach by Grimaud. One finds many people on YT complaining about her playing... For me it's very close to the divine. Her personality is present only in its clarity, beauty, and fidelity to the spirit of Bach! She is certainly one of the best of the modern interpreters of Bach, ... one shouldn't call it interpretation, more like a materialization, or perhaps bringing his spirit into manifestation.
This type of post is one of the jewels of the internet. I appreciate the great effort you must have expended to include the scores with the performances.
I know Jesu Joy of Man's Desiring is one of the best-known pieces of music ever written, but there's a reason for it. Every time I listen to it I am transported by its simple beauty.
I feel the same way about Wachet Auf/Zion Hort die Wächter Singen. I like Bax's recording of it, better though what he does is make it feel very modern.
It is played frequently to a considerable extent; there are more transcriptions of the same works that are perhaps never played- the transcriptions of Tivadar Szántó and Gino Tagliapietra to name a few.
wow, that Prelude & Fugue in D Major is dazzling. That must be even harder than Busoni's Chaconne arrangement. So many octaves, thirds and sixths. Brilliantly played by Rösel.
An absolutely fascinating collection - with some beautiful performances. The voicing in the Bax "Sheep may safely Graze" is indeed wonderful. Thank you for creating this compilation. 'Purists' should remember that Bach re-arranged many pieces for different combinations. Harpsichord concertos became organ solos even movements from cantatas so the pianist has every right to treat the transciptions as piano pieces. As for tempo, there are no markings so again it's up to the performer.
Bax has redefined Bach for me!!!! I've been playing for 35 years and even if I clone myself and do a duet with myself I wouldn't be able to bring out the voices like he can by himself.. Glorious!!!
Unpopular opinion: Bach's music was written to be played on a piano, it sounds divine. Not that it doesn't when it's played on an organ or a harpsichord
Rosel's performance of BWV 532 is just exemplary. A lot of Busoni's transcriptions (not all) and his own music are real finger-breakers - the configuration of the hand is constantly changing from phrase to phrase - this is one of those. Rosel's articulation, balance of sound, and control of dynamics are total; he builds the fugue to an inexorable climax.
What an incredible compilation. I loved it all but have never heard Helen Grimaud like this. Such articulation, especially appreciable in the unpedalled sections. Thanks so much.
Admiration, smiles, tears and even a few giggles. There are few ways I could think of, spending an hour in a more pleasing way. These works are just the epitome of human creations. In other words, holy shit that was amazing.
Just rewatched this and I think my previous post was pretty close to the mark. That prelude and fugue in A minor still does it for me.When ever I play it, admittedly less skillfully that Ms. Grimaud, I am overcome with awe. Never has there been a greater musical genius than our good Mr. Bach. Imagine meeting Johann in a small restaurant in Leipzig and sharing a beer or 2 with him. I would sit there across from him and I wouldn't know what to say. Just a ridiculous and tearful stare of admiration is no doubt all I would be able to muster. Thank the gods for what has to be amongst the greatest of human creations.
the magic in bach is that he plays generally two or more simultaneous tones per beat, this makes his music interesting for a musician who wants to arrange it, i also have downloaded the video, thanks Ashish Xiangyi Kumar
Thank you, thank you, thank you. This is marvelous. So rich and satisfying. I find myself drawn to listening to this every day. I want to add: the choice and ordering of the pieces and the magnificent performers show great artistic sensibility.
We need a part 2 of Bach transcriptions that includes Vikingur Olafsson and Alicia de Larrocha playing Bach-Bosoni Chaconne. And Daniil Trifonov playing Bach-Brahms Chaconne ☺️
I love it when you talk about Bach. More, please.Just my little thought on some of the pieces: Bach-Liszt: Prelude & Fugue in a. I recommend Jorge Luis Prats. He captured the grandiose effect of the piece. To this day I still wonder how he managed to produce that first bass A note. A single note yet full of nuance and depth. He has taken into consideration of the original organ sound combined with Lisztian piano tradition (watch his interview about the piece). A bit of pedals ma non troppo. When he reached the height of climax in the Fugue, it really shines the strength and glory of the 10.000 pipes organ. Bach-Busoni: Nun komm, der Heiden Heiland by Horowitz. The one which he played it in his home. A bit too romantic flavor for me yet his wide spectrum of sound really is astonishing. He starts hushed and very much highlights the Canto. The magic happens on 1:39. That pianissimo. My god! Bach-Kempff: Siciliano by Hewitt. I love her detached intro and then a various handling of the repeated (up to three times) theme. Makes it more interesting, you know. Her tempo here is impeccable. Not too rasch. Also, my favorite one is Kempff's transcription of the Cantata 25 (known as the Ratswahl). Not even close to moderately manageable piece. So difficult. Yet she plays it with such ease and with appropriate fanfare. Unfortunately not available on YT. Bach-Siloti Prelude in e by Gilels. Great pacing. Amazing treatment of the choral on the second repeat. I admit, I learned the piece after I listened to Sokolov. Played it in my lesson where I was supposed to play the WTC Book 1 e minor. And my teacher commented that she likes the similarity between the two. Like a couple of siblings. From Alessio Bax's album, I like the Siloti's Andante in a minor Violin Sonata. A great encore piece. James Ehnes performed that as if it was a religious sacrament. So out of this world.The Bax's Chaconne, though... umm yeah... no one beats Kissin in that department.The Fuga from the first Sonata is a wonderful surprise. Rarely played but it is one of the notable pillars of the whole Sonatas and Partitas for solo Violin oeuvre (along, of course, with the Chaconne and the mighty C major Fugue). My only regret is that Busoni did not transcribe the whole 6 pieces. Many people transcribed Bach, but Busoni and Liszt - and Kempff too - really reveal the infinite genius possibilities of counterpoints in these masterpieces.
Fantastic music, adorable interpretations! Thanks for adding the Scores. I played most of the Organ pieces on the Organ. The Originals are demanding enough. But to Play them in these great Piano versions ist just hilarious! Unbelieveable! They give a quite new light into these pieces and new understanding and Inspiration of this wonderful music of Bach! By the way, I heared the Glemser Brothers while studying music in Freiburg, Germany. They were the famous piano stars at that time in the masterclass of Margulis. Thanks a lot!!!
I just found this scholarly treasure trove of Bach on steroids. Now I can't break away from listening to Bach with different rose-colored glasses. A breath of fresh air from these recastings and from the pianists.
I'm normally somewhat conservative when it comes to Bach-transcriptions since they normally tend to become too romantic/dramatic for my taste - but I am much enjoying most of this. Especially the whole new dimension the Bach-Liszt: Prelude and Fugue [43:00] in A Minor, BWV 543/S.462a [Grimaud] is getting. What a phenomenal piece. Bach forever.
Such beautiful works and rendered so well for us here thanks to your efforts. Nun komm, der Heiden Heiland (Rösel) draws tears every time for me - such power in that work and played accordingly. As a pianist, I really enjoy playing these pieces in my head while listening and following the music. I've tried to locate the same scores you are using with no luck and if you have a moment, I'd love to know where to buy them from. So a warm thank you from Sydney, Australia - Dave (telling all my musical friends about your channel).
I am lucky to be alive now, with everyone listening to this slow, grand turn of a mind-like galaxy. At 34:37 is a transcendently beautiful restatement of a melody that at first seemed like a lullaby but which in the relative minor becomes an inutterably sad surrender to whatever we face next, and that I consider, more than any ink set to score paper by any composer in the 18th century, the apex of effortless Baroque lyricism, amongst countless gestures of similarly breathtaking power. I have a fear that one day this passage that I purposefully breathe and eat to hear again will actually, however distant or no, genuinely come around for my rusty tympani for a last time, when I think of the color "hope" once more like the burnished finial at the top of art's, I mean life's, most elegant staircase. Well, that will be my generous fair warning--and good fortune--to have experienced such an inordinate achievement of human culture not gifted to millions of humans who lived before Bach's time or whose misfortune has since kept Bach misunderstood for them. Life for many of us has wandered from wonder to blunder, painful but sometimes privileged and to hear or study, sing or play Bach is absolutely a privilege. Anyway, who is more entitled than Bach (or Boethius or Bonhoeffer) to hover over us and judge our lives for toxic levels of luck or unluck? Fate, faith and finality are no-one's business, like generosity and ingenuous grace are actually each other's' business, but if Bach, and he only, told me to stay or go, I'd nod and salute to his will, humming Sheep May Safely Graze until music was over, for me but not, hopefully, for everyone.
Ashish Xiangyi Kumar, parabéns pelo seu maravilhoso trabalho. Ele vai além do tradicional, da simples postagem. Temos os comentários técnicos das obras, o que faz justiça à grandeza da obra. Essa leitura enriquece a apreciação das apresentações, temos o alcance artístico do que ela representa. O visual das partituras está magnífico. Fica à altura da alta cultura musical, além de que temos o luxo da sincronização, acompanhar passo a passo a apresentação das obras. Por último, mais importante, temos uma ótima seleção das peças musicais e com os seus virtuosos intérpretes. Estávamos precisando desse trabalho como o seu: beleza, técnica, arte.
Oh my! What a post! I'm currently working on Siloti's D Major adaptation of C Major Adagio from the A minor Violin Sonata, another piece played beautifully by Bax.
The transcribers are very good ... but the masterpieces of Bach or Bach-Busoni are wonderful and this compilation is so beautiful .... !!!! Thanks Ashish Kumar for download ..... !!!!!
И.С.Бах - моя неизменная, философская любовь, каждая транскрипция - уникальна,Ф.Бузони,перенес для нас на фортепиано всю красоту и неповторимую гармонию композитора, высоко-духовная музыкальная мысль этого Великого Гения невольно заставляет нас задуматься о скоротечности земной жизни и предстоянии перед Всевышним, а также знакомит с неземной,райской гармонией, где благодаря непрестанной молитве, а также, служению Богу, Господь открыл своему возлюбленному сыну, то великолепие Рая и мелодических линий,которую донес до нас Великий И.С.Бах.Да, будет имя его Благословенно, во веки веков...👏👏🎶🎼❤❤❤🎼🎶👏👏🎹👍👍👍
Прекрасные слова! Вам удалось выразить великую благодарность человечества и духовное величие Гения Баха, сына нашей планеты, вне времени и пространства .
Excellent post as always! Nice roundness of form as a listenable track, too: the chiastic triplet of titles at each the start and the finish. Great decision.
I love the D major prelude and fugue, in particular how Rösel take s a soft approach to the adagio at the end of the prelude. In the recording I'm most familiar with (Michael Murray on organ), the adagio is a wall of sound. Rösel's interpretation adds tension that is wonderfully resolved by the opening of the fugue.
Well....this is just such a Huge Treat! I'd never before even HEARD of Glamser or Rösel. Very much appreciate, too, your elegant, erudite 'obiter dicta.' (I have a nice recording of these by Kevin Oldham....wonder if anyone's heard of him?)
BWV 615 in der Interpretation von Rösel klingt für mich wie ein Marsch aus dem Jahr 1933. Das hätten weder Bach noch Busoni so gewünscht.Dazu aber BWV 734a ist für mich absolut gelungen. Eine der besten Interpretationen!
That’s absolutely right! And the Repetition ist essential for the understanding of Silotis transcription. Hereby a totally different voicing should be paid attention. For me, Gilels is unequaled
*Certaines de ces oeuvres magistrales de BACH sont des chefs-d'oeuvres absolus. Les transcriptions pour piano sont excellentes, ainsi que l'interprétation du pianiste.* *Les pianistes (élèves et étudiants des conservatoires et écoles de musique, et autres) devraient jouer plus fréquemment des transcriptions des oeuvres de BACH les plus géniales : les grands Préludes et Fugues pour orgue, comme cette oeuvre merveilleuse (Jesus bleibet meine Freude / Jesu, Joy of Man’s Desiring, BWV 147) ou la célèbre Sicilienne en sol mineur.*
Sheep May Safely Graze is so beautiful, I will immediately track down the music. It doesn't seem too hard, outside of the tenor voice being so loud compared to the soprano, played simultaneously by the right hand.
Гармония и Абсолют : - Пусть Музыка всегда Царит в сердцах Людей. И чтобы снова воскресла Чудесная Эпоха настоящего мутабельного Живого Искусства во всем его многообразии и люди снова смогут поднятся над низкой ментальностью войн............Люблю Вас всех!! И обожаю Музыку!!
Thanks to posting... well done with some interesting comments... and Do you think about Demidenko interpretation of Bach'-Busoni transcriptions ? I have the complete CD and in my opinion is wonderful....
Nun komm, der Heiden Heiland at 03:25 and 51:07 is BWV 659, not 62 (I'd like to hear THAT one on a piano or organ!). Superb heartfelt renditions of BWV 855a and 208, here. 734a feels unnecessarily rushed, almost fussy. It's a chorale arrangement after all, spiritual music, cantus firmus calls for more stately and reserved pace, I daresay :)
Thanks so much for this beautiful, and instructive, upload. A lot of the time I am curious, and perhaps seriously uninformed as to WHY, peculiar changes are introduced by transcribers, into the music of Bach. OK: the double octave bass lines on piano imitating a 16 ft organ stop for instance. An example of a peculiar change that continually bothers me, is the rolled chords that periodically come up in the Busoni transcription of BWV 639, rather than the straight forward "transcription" by Petri, which I prefer. The lengthy rolling of chords and attendant gratuitous fermata's, break the natural stride of the music, for me when they are taken that way. Sometimes performers slightly anticipate the beat and roll quickly, and continue playing in a natural rhythm, which is perfectly, OK with me,.. but when performer's draw out the rolled chords, as though these chords portend some great ominous turn of emotion (that we would otherwise foolishly miss),, the music is spoiled for me. I understood that rolling of chords was for clarity, and at the discretion of the performer... if one vertical chord is rolled, then probably all of them should be, and certainly (I would think) they should complement the logic, and or emotion that is naturally present in the piece as Bach wrote it,.. and not be added as though Bach's work needed to be drizzled with maple syrup at certain points. If anyone has some insight i am missing please enlighten me.
Can I ask you if you know where to find the sheet music for the first transcription? (Bach-Myra Hess: Jesus bleibet meine Freude (Jesu, Joy of Man’s Desiring), BWV 147 [Weissenberg])
I believe the original version is Prelude from No.10 of the WTC book 1.The original has two voices, and the Siloti version takes just one of those voices and transposes it to B minor (I believe.) The original sounds very much more like Bach but is also very good -- it contains this piece within it.
I thought the same, but I don't think it's from the WTC - the figuration is exactly the same and it is E minor, but, surprisingly, it's a different piece than no.10
This is the first time I've ever criticized an expert like Myra Hess in their style but the middle part of Jesu Joy...was to loud to hear the tune. I can play this at a basic level and the hardest thing by far is accenting notes on fingers OTHER than the little finger. Maybe I should use headphones but.....
The counterpoint in the Liszt transcription makes me want to cry it’s so beautiful and grimaud brings it to life wonderfully
She gives a stunning live performance of the Chaconne, on UA-cam.
This is another beautiful example of Bach by Grimaud. One finds many people on YT complaining about her playing... For me it's very close to the divine. Her personality is present only in its clarity, beauty, and fidelity to the spirit of Bach! She is certainly one of the best of the modern interpreters of Bach, ... one shouldn't call it interpretation, more like a materialization, or perhaps bringing his spirit into manifestation.
Ronald Poentinen had played it equally well, if not better.
listz's transcription of 543 is pretty much identical to bach's original. that counterpoint is bach not liszt.
@@TwelfthRoot2yes
This type of post is one of the jewels of the internet. I appreciate the great effort you must have expended to include the scores with the performances.
I absolutely agree! What a wonderful video. "Schafe können sicher weiden" is fantastic. What a performance!
I agree too - what a fabulous way to enjoy these works.
Yes.
I know Jesu Joy of Man's Desiring is one of the best-known pieces of music ever written, but there's a reason for it. Every time I listen to it I am transported by its simple beauty.
I feel the same way about Wachet Auf/Zion Hort die Wächter Singen. I like Bax's recording of it, better though what he does is make it feel very modern.
This Bach-Liszt in a minor is criminally underrated. A true gem.
It's highly rated by pianists.
The way Grimaud starts the fugue, super pianissimo like the sound of small bells, and the thunderous end
The Bach-Busoni prelude and fugue in D major is a true gem too!
It is played frequently to a considerable extent; there are more transcriptions of the same works that are perhaps never played- the transcriptions of Tivadar Szántó and Gino Tagliapietra to name a few.
@@DavidKancsarTMS Isn't it great when you find a piece that does that to you? It's so musically fulfilling.
wow, that Prelude & Fugue in D Major is dazzling. That must be even harder than Busoni's Chaconne arrangement. So many octaves, thirds and sixths. Brilliantly played by Rösel.
It's super tough. Pacing the fugue without becoming to heavy to quickly is very challenging.
That's a *fantastic* pianissimo at 53:13
haha! well, notice that actually he plays the Kempff transcription (as well in BWV 147) where the pp is not written
hhahaha
😆
I clicked the time stamp expecting a perfect pianissimo and I was not disappointed
@@j2bigd590 I rate it 5/7.
You sure understand Weissenberg! Years ago I came across his album of transcriptions and was blown away. it's a groove. no one does that like him.
An absolutely fascinating collection - with some beautiful performances. The voicing in the Bax "Sheep may safely Graze" is indeed wonderful. Thank you for creating this compilation. 'Purists' should remember that Bach re-arranged many pieces for different combinations. Harpsichord concertos became organ solos even movements from cantatas so the pianist has every right to treat the transciptions as piano pieces. As for tempo, there are no markings so again it's up to the performer.
WONDERFUL to hear all of these Bach transcriptions by a number of pianists! Thank you SO MUCH for this assemblage! KUDOS!
Bax has redefined Bach for me!!!! I've been playing for 35 years and even if I clone myself and do a duet with myself I wouldn't be able to bring out the voices like he can by himself.. Glorious!!!
Unpopular opinion: Bach's music was written to be played on a piano, it sounds divine. Not that it doesn't when it's played on an organ or a harpsichord
Wow-this is a beautiful, thoughtful compilation of jaw-dropping musicality and pianistic nuance. Thank you for your work in preparing this!
Rosel's performance of BWV 532 is just exemplary. A lot of Busoni's transcriptions (not all) and his own music are real finger-breakers - the configuration of the hand is constantly changing from phrase to phrase - this is one of those. Rosel's articulation, balance of sound, and control of dynamics are total; he builds the fugue to an inexorable climax.
What an incredible compilation. I loved it all but have never heard Helen Grimaud like this. Such articulation, especially appreciable in the unpedalled sections. Thanks so much.
Could not agree with you more! This is a whopper of a performance!
Admiration, smiles, tears and even a few giggles. There are few ways I could think of, spending an hour in a more pleasing way. These works are just the epitome of human creations. In other words, holy shit that was amazing.
Just rewatched this and I think my previous post was pretty close to the mark. That prelude and fugue in A minor still does it for me.When ever I play it, admittedly less skillfully that Ms. Grimaud, I am overcome with awe. Never has there been a greater musical genius than our good Mr. Bach. Imagine meeting Johann in a small restaurant in Leipzig and sharing a beer or 2 with him. I would sit there across from him and I wouldn't know what to say. Just a ridiculous and tearful stare of admiration is no doubt all I would be able to muster. Thank the gods for what has to be amongst the greatest of human creations.
the magic in bach is that he plays generally two or more simultaneous tones per beat, this makes his music interesting for a musician who wants to arrange it, i also have downloaded the video, thanks Ashish Xiangyi Kumar
One of the best videos in a while. Thanks for your brief review and compilation!
Thank you so much. I start every day with this music.
Thank you, thank you, thank you. This is marvelous. So rich and satisfying.
I find myself drawn to listening to this every day. I want to add: the choice and ordering of the pieces and the magnificent performers show great artistic sensibility.
Absolutely impeccable taste in your selection of material - love every one and can listen to it over and over.
We need a part 2 of Bach transcriptions that includes Vikingur Olafsson and Alicia de Larrocha playing Bach-Bosoni Chaconne. And Daniil Trifonov playing Bach-Brahms Chaconne ☺️
no rap cap🙌
larrocha ciaconna is out
Thank you for sharing these pieces. It demonstrates the variation in how Bach can be presented.
Wonderful post... Thank you so much for sharing this supreme music with us
What a resource! Thanks so much for taking the time to include the scores, too- I can only imagine how much time that took to edit.... Bravo!
Busoni's hands must have been MUCH bigger than mine... Great upload. Listen to it often.
I love it when you talk about Bach. More, please.Just my little thought on some of the pieces:
Bach-Liszt: Prelude & Fugue in a. I recommend Jorge Luis Prats. He captured the grandiose effect of the piece. To this day I still wonder how he managed to produce that first bass A note. A single note yet full of nuance and depth. He has taken into consideration of the original organ sound combined with Lisztian piano tradition (watch his interview about the piece). A bit of pedals ma non troppo. When he reached the height of climax in the Fugue, it really shines the strength and glory of the 10.000 pipes organ.
Bach-Busoni: Nun komm, der Heiden Heiland by Horowitz. The one which he played it in his home. A bit too romantic flavor for me yet his wide spectrum of sound really is astonishing. He starts hushed and very much highlights the Canto. The magic happens on 1:39. That pianissimo. My god!
Bach-Kempff: Siciliano by Hewitt. I love her detached intro and then a various handling of the repeated (up to three times) theme. Makes it more interesting, you know. Her tempo here is impeccable. Not too rasch. Also, my favorite one is Kempff's transcription of the Cantata 25 (known as the Ratswahl). Not even close to moderately manageable piece. So difficult. Yet she plays it with such ease and with appropriate fanfare. Unfortunately not available on YT.
Bach-Siloti Prelude in e by Gilels. Great pacing. Amazing treatment of the choral on the second repeat. I admit, I learned the piece after I listened to Sokolov. Played it in my lesson where I was supposed to play the WTC Book 1 e minor. And my teacher commented that she likes the similarity between the two. Like a couple of siblings.
From Alessio Bax's album, I like the Siloti's Andante in a minor Violin Sonata. A great encore piece. James Ehnes performed that as if it was a religious sacrament. So out of this world.The Bax's Chaconne, though... umm yeah... no one beats Kissin in that department.The Fuga from the first Sonata is a wonderful surprise. Rarely played but it is one of the notable pillars of the whole Sonatas and Partitas for solo Violin oeuvre (along, of course, with the Chaconne and the mighty C major Fugue). My only regret is that Busoni did not transcribe the whole 6 pieces. Many people transcribed Bach, but Busoni and Liszt - and Kempff too - really reveal the infinite genius possibilities of counterpoints in these masterpieces.
I'll reply to your comment so I can find it later for reference. Thanks for the good suggestions!
I once saw, here in México, a TV Video of Prats' Rakhmaninov 2nd....HUUUUUGE!!!!
Great remarks... I felt the same about Jorge Luis Prats’ emphasize on bass G. I listen to his interpretation just to hear that G, vibrating my soul🙃🙏
fabulous. What a dedication to make this available to us.
Another wonderful video. Thank you. It is hard to complete a collection of the finest Bach transcription performances without Tipo though, to my mind.
Не перестаю восхищаться Вашим трудом! СПАСИБО😘💕. Огромная польза и удовольствие.
Fantastic music, adorable interpretations! Thanks for adding the Scores.
I played most of the Organ pieces on the Organ. The Originals are demanding enough. But to Play them in these great Piano versions ist just hilarious! Unbelieveable! They give a quite new light into these pieces and new understanding and Inspiration of this wonderful music of Bach!
By the way, I heared the Glemser Brothers while studying music in Freiburg, Germany. They were the famous piano stars at that time in the masterclass of Margulis.
Thanks a lot!!!
Oh wow! Thank you so much for this - really intelligent programming and wonderful choice of pianists.
A big THANK YOU for uploading this video! Much appreciated!!
wow, these transcriptions are brilliant. thanks for sharing these amazing players, I've never heard of any of them!
Thank you, Ashish for all of your efforts to bring beauty and civility into the lives of others. Wishes of Blessings and Happiness from Mike in India.
I just found this scholarly treasure trove of Bach on steroids. Now I can't break away from listening to Bach with different rose-colored glasses. A breath of fresh air from these recastings and from the pianists.
I am glued to it until its over, every time I put this compilation on. Unbelievable music and unbelievable performances that blow my mind away :D
Magnifique travail. Quelle belle idée que de synchroniser la partition au fur et à mesure que l'on écoute! Bravo.
I'm normally somewhat conservative when it comes to Bach-transcriptions since they normally tend to become too romantic/dramatic for my taste - but I am much enjoying most of this. Especially the whole new dimension the Bach-Liszt: Prelude and Fugue [43:00] in A Minor, BWV 543/S.462a [Grimaud] is getting. What a phenomenal piece. Bach forever.
Rosel's interpretations are fantastic, it's nice to discover this performer!
No one plays "Nun Komm' der Heiden Heiland" like Horowitz (The Last Romantic) ... he is the master of this piece.
Thank you so much for the hard work, this is exceptional!
Such beautiful works and rendered so well for us here thanks to your efforts. Nun komm, der Heiden Heiland (Rösel) draws tears every time for me - such power in that work and played accordingly. As a pianist, I really enjoy playing these pieces in my head while listening and following the music. I've tried to locate the same scores you are using with no luck and if you have a moment, I'd love to know where to buy them from. So a warm thank you from Sydney, Australia - Dave (telling all my musical friends about your channel).
Excellent selection and comments. Thanks for posting.
Awesome. Just perfectly awesome. If you don't like this channel/this video... what the hell is wrong with you?!
I am lucky to be alive now, with everyone listening to this slow, grand turn of a mind-like galaxy. At 34:37 is a transcendently beautiful restatement of a melody that at first seemed like a lullaby but which in the relative minor becomes an inutterably sad surrender to whatever we face next, and that I consider, more than any ink set to score paper by any composer in the 18th century, the apex of effortless Baroque lyricism, amongst countless gestures of similarly breathtaking power. I have a fear that one day this passage that I purposefully breathe and eat to hear again will actually, however distant or no, genuinely come around for my rusty tympani for a last time, when I think of the color "hope" once more like the burnished finial at the top of art's, I mean life's, most elegant staircase.
Well, that will be my generous fair warning--and good fortune--to have experienced such an inordinate achievement of human culture not gifted to millions of humans who lived before Bach's time or whose misfortune has since kept Bach misunderstood for them. Life for many of us has wandered from wonder to blunder, painful but sometimes privileged and to hear or study, sing or play Bach is absolutely a privilege.
Anyway, who is more entitled than Bach (or Boethius or Bonhoeffer) to hover over us and judge our lives for toxic levels of luck or unluck? Fate, faith and finality are no-one's business, like generosity and ingenuous grace are actually each other's' business, but if Bach, and he only, told me to stay or go, I'd nod and salute to his will, humming Sheep May Safely Graze until music was over, for me but not, hopefully, for everyone.
Love the contrasts.
Ashish Xiangyi Kumar, parabéns pelo seu maravilhoso trabalho. Ele vai além do tradicional, da simples postagem. Temos os comentários técnicos das obras, o que faz justiça à grandeza da obra. Essa leitura enriquece a apreciação das apresentações, temos o alcance artístico do que ela representa. O visual das partituras está magnífico. Fica à altura da alta cultura musical, além de que temos o luxo da sincronização, acompanhar passo a passo a apresentação das obras. Por último, mais importante, temos uma ótima seleção das peças musicais e com os seus virtuosos intérpretes. Estávamos precisando desse trabalho como o seu: beleza, técnica, arte.
É realmente um trabalho heróico.
28:30 amazing voicing by the performer
Oh my! What a post!
I'm currently working on Siloti's D Major adaptation of C Major Adagio from the A minor Violin Sonata, another piece played beautifully by Bax.
The transcribers are very good ... but the masterpieces of Bach or Bach-Busoni are wonderful and this compilation is so beautiful .... !!!! Thanks Ashish Kumar for download ..... !!!!!
Cela me donne envie d' essayer ces pièces sur mon piano.
Thanks for posting such amazing music.
И.С.Бах - моя неизменная, философская любовь, каждая транскрипция - уникальна,Ф.Бузони,перенес для нас на фортепиано всю красоту и неповторимую гармонию композитора, высоко-духовная музыкальная мысль этого Великого Гения невольно заставляет нас задуматься о скоротечности земной жизни и предстоянии перед Всевышним, а также знакомит с неземной,райской гармонией, где благодаря непрестанной молитве, а также, служению Богу, Господь открыл своему возлюбленному сыну, то великолепие Рая и мелодических линий,которую донес до нас Великий И.С.Бах.Да, будет имя его Благословенно, во веки веков...👏👏🎶🎼❤❤❤🎼🎶👏👏🎹👍👍👍
Прекрасные слова!
Вам удалось выразить великую благодарность человечества и духовное величие Гения Баха, сына нашей планеты, вне времени и пространства .
@@НиколайВасильев-ш2ж Благодарю! ❤
i really would love to see a part 2 of this
Thank you. Just... thank you. This is beautiful.
Amongst all the crap on youtube, this is an outstanding upload, which will fill many hearts with joy and beauty!
Excellent post as always! Nice roundness of form as a listenable track, too: the chiastic triplet of titles at each the start and the finish. Great decision.
I love the D major prelude and fugue, in particular how Rösel take s a soft approach to the adagio at the end of the prelude. In the recording I'm most familiar with (Michael Murray on organ), the adagio is a wall of sound. Rösel's interpretation adds tension that is wonderfully resolved by the opening of the fugue.
1:53 poco F
Weissenberg: FFFFFFFF or nothing, take it or leave it
Grandioso! Gracias por esta bella e inmortal música.
The infinite and wonderful melody. Great, great B-A-C-H.
Well....this is just such a Huge Treat! I'd never before even HEARD of Glamser or Rösel. Very much appreciate, too, your elegant, erudite 'obiter dicta.' (I have a nice recording of these by Kevin Oldham....wonder if anyone's heard of him?)
wonderful!
You are doing God's work, Ashish.
BWV 615 in der Interpretation von Rösel klingt für mich wie ein Marsch aus dem Jahr 1933. Das hätten weder Bach noch Busoni so gewünscht.Dazu aber BWV 734a ist für mich absolut gelungen. Eine der besten Interpretationen!
For the Bach-Siloti Prelude en E minor, Emil Gilels must be heard. He is awesome.
That’s absolutely right! And the Repetition ist essential for the understanding of Silotis transcription. Hereby a totally different voicing should be paid attention. For me, Gilels is unequaled
Bach-Busoni in D major by Gilels is also unparalleled
*Certaines de ces oeuvres magistrales de BACH sont des chefs-d'oeuvres absolus. Les transcriptions pour piano sont excellentes, ainsi que l'interprétation du pianiste.*
*Les pianistes (élèves et étudiants des conservatoires et écoles de musique, et autres) devraient jouer plus fréquemment des transcriptions des oeuvres de BACH les plus géniales : les grands Préludes et Fugues pour orgue, comme cette oeuvre merveilleuse (Jesus bleibet meine Freude / Jesu, Joy of Man’s Desiring, BWV 147) ou la célèbre Sicilienne en sol mineur.*
Thank You so much. Every one is a masterpiece.
Sheep May Safely Graze is so beautiful, I will immediately track down the music. It doesn't seem too hard, outside of the tenor voice being so loud compared to the soprano, played simultaneously by the right hand.
Bach, sublime, always.
Thanks Ashish-all very well worth hearing. Cathy Jones
Deslumbrante. Viva Bach!
Still a very good video. love it.
thank you for this. I like Bax's Wachet Auf / Zion Hört die Wächter Singen a lot.
Гармония и Абсолют : - Пусть Музыка всегда Царит в сердцах Людей. И чтобы снова воскресла
Чудесная Эпоха настоящего мутабельного Живого Искусства
во всем его многообразии и люди снова смогут поднятся
над низкой ментальностью войн............Люблю Вас всех!! И обожаю Музыку!!
Espléndido. Gracias por compartir
Thanks to posting... well done with some interesting comments... and Do you think about Demidenko interpretation of Bach'-Busoni transcriptions ? I have the complete CD and in my opinion is wonderful....
Nun komm, der Heiden Heiland at 03:25 and 51:07 is BWV 659, not 62 (I'd like to hear THAT one on a piano or organ!). Superb heartfelt renditions of BWV 855a and 208, here. 734a feels unnecessarily rushed, almost fussy. It's a chorale arrangement after all, spiritual music, cantus firmus calls for more stately and reserved pace, I daresay :)
my boyfriend is learning all of these pieces ... they're so lovely
Excellent !!!
This is some of the greatest music ever.
Thanks so much for this beautiful, and instructive, upload. A lot of the time I am curious, and perhaps seriously uninformed as to WHY, peculiar changes are introduced by transcribers, into the music of Bach. OK: the double octave bass lines on piano imitating a 16 ft organ stop for instance. An example of a peculiar change that continually bothers me, is the rolled chords that periodically come up in the Busoni transcription of BWV 639, rather than the straight forward "transcription" by Petri, which I prefer. The lengthy rolling of chords and attendant gratuitous fermata's, break the natural stride of the music, for me when they are taken that way. Sometimes performers slightly anticipate the beat and roll quickly, and continue playing in a natural rhythm, which is perfectly, OK with me,.. but when performer's draw out the rolled chords, as though these chords portend some great ominous turn of emotion (that we would otherwise foolishly miss),, the music is spoiled for me. I understood that rolling of chords was for clarity, and at the discretion of the performer... if one vertical chord is rolled, then probably all of them should be, and certainly (I would think) they should complement the logic, and or emotion that is naturally present in the piece as Bach wrote it,.. and not be added as though Bach's work needed to be drizzled with maple syrup at certain points. If anyone has some insight i am missing please enlighten me.
Can anybody explain, why Weissenberg does this big, big, big crescendo in the middle of the piece?
Una compilación muy buena. Gracias por compartir
Can I ask you if you know where to find the sheet music for the first transcription? (Bach-Myra Hess: Jesus bleibet meine Freude (Jesu, Joy of Man’s Desiring), BWV 147 [Weissenberg])
Jesus, que Sua Glória resplandeça sobre todos povos, tal qual nos inspira esta música!
the prelude in e minor at 23:05 sounds shockingly modern, i’ve never heard it before
I believe the original version is Prelude from No.10 of the WTC book 1.The original has two voices, and the Siloti version takes just one of those voices and transposes it to B minor (I believe.) The original sounds very much more like Bach but is also very good -- it contains this piece within it.
Ibrahim Nur Gilels made a fantastic interpretation of the piece, its on UA-cam.
I thought the same, but I don't think it's from the WTC - the figuration is exactly the same and it is E minor, but, surprisingly, it's a different piece than no.10
@@10mimu the Siloti melody is Bach's bass. Testament to Bach's genius that his basslines can made romantic melodies on their own
7:44 - wtf lol.
Ikr? Why is he playing so damn fast?? This isn’t flight of the bumblebee..
Pretty amazing. It is in 4:4 so if you count four beats per measure it is a pretty reasonable allegro.
Great video. I always listen with headphones tho as there is always something lost if i dont :p
I'm amazed at how the upper lines in the fugue on Grimaud's performance sound like the "flute" pipes of a pipe organ. It's bizarre.
7:10 sounds similar to Chopin's Nocturne op. 48 n° 2
Listen to the second song on its original instrument, it’s beautifull
Way cool! Thanks!
17:11
Große Sendung!
personally, I prefer Bach's Fuga BWV 532 played on piano because it's got more dynamics so it means that it does not make me feel hypnotic.
Great big sigh..... thank you.
This is the first time I've ever criticized an expert like Myra Hess in their style but the middle part of Jesu Joy...was to loud to hear the tune. I can play this at a basic level and the hardest thing by far is accenting notes on fingers OTHER than the little finger. Maybe I should use headphones but.....
James, I think it is Weissenberg who is performing a Myra Hess transcription, so perhaps the dynamics are in his domain...
You should listen to Dinu Lipatti's rendition of the piece. It's probably the best piece recording I know
15:55-15:57, freaking Bill Evans is thinking that's too hip.
Where can i find the score for the first piece?
54:57 - this ending is divine