Voici une exquise interprétation de cette magnifique fantaisie et fugue de JS Bach (pour une des meilleurs pièces de JS Bach) à écouter, à ré-écouter, à apprécier, et ensuite à en devenir totalement "accro" , ça fait plus 45 ans que je l'écoute que je l'admire..et que je tente de l'interpréter, et d'en extraire l'essence, mais pas avec ce brio, ni cette profondeur artistique, car , cette œuvre et profonde et extrêmement difficile à exécuter, pour en restituer, toute l'âme et la profondeur. CG
Bonjour Je partage entièrement votre point de vue. Sûrement le dyptique le plus achevé de JS Bach avec une économie de moyens remarquable. Un chef d'oeuvre!
That playing was sublime! I didn't know this particular piece of JS's but it a really great piece. The instrument is just superb, and as an English ex organ builder it's extraordinary that the pedal department stands alone throughout this piece without the need to couple to either of the manuals. This in English organs was not really possible in most parish church organs until the 1950's or even later. It's no wonder that Bach rated this instrument very highly. The tonal quality is exceptional. This organ builder was a genius and only to my mind in England Henry Willis, and in France Caville-Coll was his successors as brilliant organ designers and voicers.
That is because baroque organs in the 1600 in England were lacking quite a bit. English baroque repertoire on the organ is clearly further behind than German or Western Europe repertoire. Lots of English pieces are played with manuals and don’t have complex pedal parts.
Als ehemaliger Organist, der ich dieses Werk natürlich auch gespielt hatte, möchte ich auch was sagen, mit Respekt und wie unter Brüdern, welche stets auf der Suche nach "gültigster" Interpretation sind. Vorweg: Alexei Galea's Interpretation ist eine der Besten, die ich in meinem Leben gehört habe. Kompliment und Dank für die Freude beim Hören! Besondere Freude habe ich an Alexei's Agogik! So viele Organisten spielen Bach, als hätten sie ein Metronom verschluckt. Nicht so Alexei. Meist erfüllt er meine diesbezüglichen "Wünsche". Einige Bitten in Sachen Agogik hätte ich allerdings doch. Das Wichtigste davon: In der Exposition des Praeludiums, da wünschte ich mir vor und nach den Auftakten deutlich längere spannungssteigernde Dehnung, damit den auch innewohnenden Tanz zum Schwingen bringend. Daraus ergäbe sich dann automatisch das von petertyrrell3391 angeregte, minimal "langsamere" Tempo, was aber keine Langeweile verursachen würde, denn Tanz und Majestät, beides würde gefördert :-) Die Fuge? In meinem Ohr sagenhaft gut gelungen! Summa cum laude. Und ich hoffe, Alexei sei dankbar für seine Gabe des Auswendigspielens. Ich hatte die nicht, klebte immer an den Noten, da half alles Üben nicht. Es bindet Konzentration, verringert die Möglichkeit, wirklich nach augenblicklichem Gusto zu spielen, so oder etwas anders zu gestalten, je nach Instrument, je nach Raumakustik und durchaus je nach eigener Tageslaune :-)
Peter Tyrrell, I can’t find some of my comments, so I am trying this. I agree that it’s fine to perform the Prelude in 54 crotchets per minute. But different sources say 60, that’s not wrong either. That you prefer slower tempi is no proof that no one played the Prelude in 60, or 63. Don’t you realize that our personal taste is without value in the debate? In Bach’s time there were many Peter Tyrrell’s and many Geir Ø Eskeland’s, they had different perceptions of tempo, therefore some chose to play slower than others. BWV 548 is not church music. But Bach’s original says organ with obligato pedal, therefore it is common to perform BWV 548 in churches, for this is usually where we find the organs. But the churches were cold in winter, so they played at home, on a harpsichord with pedal. Is there still church music, then?
Fast or not??? Please prove! Altenburg close to my fathers home and church, he is big Bach fan and getting soon 98, I will have to prove, he knows organ and church from his child days!!!
@@samuelfabian9737 There is a tendency to play Baroque music much to fast with the semi-quavers sounding phrenetic. This prelude has some characteristics of the polonaise, which was a courtly dance and required a relatively moderate tempo, so more dignity might be be suitable.
@@petertyrrell3391 Sorry for insisting, but what do you mean by "dignity", a slower tempo? Bach certainly knew what a polonaise is, it requires indeed a relatively moderate tempo. On the other hand, anything he puts his hands on always ends up as a masterpiece. ua-cam.com/video/3jYxMlPm-_Y/v-deo.html
@@samuelfabian9737 A slower tempo, but not so slow it becomes lento. Dignity - majesty, a royal procession. However, the semi-quaver movement will keep it from sounding too slow. It reminds me a bit of the polonaise (?) movement in the B minor suite. Anyway, that's my opinion.
I absolutely loved this performance. Even in the most complex, rapid passages, all the voices could be clearly heard. Thank you!
This organ has taught many students... how to play. Love the clarity between the individual voices. No wonder Bach loved it.
Great playing, Alexei, and a beautifully shot video
What a spiffing occurrence my brother I cannot lie. This is surely one of the music moments of all time
Voici une exquise interprétation de cette magnifique fantaisie et fugue de JS Bach (pour une des meilleurs pièces de JS Bach) à écouter, à ré-écouter, à apprécier, et ensuite à en devenir totalement "accro" , ça fait plus 45 ans que je l'écoute que je l'admire..et que je tente de l'interpréter, et d'en extraire l'essence, mais pas avec ce brio, ni cette profondeur artistique, car , cette œuvre et profonde et extrêmement difficile à exécuter, pour en restituer, toute l'âme et la profondeur.
CG
Bonjour Je partage entièrement votre point de vue. Sûrement le dyptique le plus achevé de JS Bach avec une économie de moyens remarquable. Un chef d'oeuvre!
A beautiful and great recording! Very well played! I like it very much! Thanks for uploading!
MAGNIFICENT!
That playing was sublime! I didn't know this particular piece of JS's but it a really great piece. The instrument is just superb, and as an English ex organ builder it's extraordinary that the pedal department stands alone throughout this piece without the need to couple to either of the manuals. This in English organs was not really possible in most parish church organs until the 1950's or even later. It's no wonder that Bach rated this instrument very highly. The tonal quality is exceptional. This organ builder was a genius and only to my mind in England Henry Willis, and in France Caville-Coll was his successors as brilliant organ designers and voicers.
That is because baroque organs in the 1600 in England were lacking quite a bit. English baroque repertoire on the organ is clearly further behind than German or Western Europe repertoire. Lots of English pieces are played with manuals and don’t have complex pedal parts.
Schönes Schloss und Orgel...da war ich schon 100x zum Konzert....
Als ehemaliger Organist, der ich dieses Werk natürlich auch gespielt hatte, möchte ich auch was sagen, mit Respekt und wie unter Brüdern, welche stets auf der Suche nach "gültigster" Interpretation sind.
Vorweg: Alexei Galea's Interpretation ist eine der Besten, die ich in meinem Leben gehört habe. Kompliment und Dank für die Freude beim Hören!
Besondere Freude habe ich an Alexei's Agogik! So viele Organisten spielen Bach, als hätten sie ein Metronom verschluckt. Nicht so Alexei. Meist erfüllt er meine diesbezüglichen "Wünsche".
Einige Bitten in Sachen Agogik hätte ich allerdings doch. Das Wichtigste davon: In der Exposition des Praeludiums, da wünschte ich mir vor und nach den Auftakten deutlich längere spannungssteigernde Dehnung, damit den auch innewohnenden Tanz zum Schwingen bringend.
Daraus ergäbe sich dann automatisch das von petertyrrell3391 angeregte, minimal "langsamere" Tempo, was aber keine Langeweile verursachen würde, denn Tanz und Majestät, beides würde gefördert :-)
Die Fuge? In meinem Ohr sagenhaft gut gelungen! Summa cum laude.
Und ich hoffe, Alexei sei dankbar für seine Gabe des Auswendigspielens. Ich hatte die nicht, klebte immer an den Noten, da half alles Üben nicht. Es bindet Konzentration, verringert die Möglichkeit, wirklich nach augenblicklichem Gusto zu spielen, so oder etwas anders zu gestalten, je nach Instrument, je nach Raumakustik und durchaus je nach eigener Tageslaune :-)
God be praised!
gracias por compartir tan bella musica!!!
Wonderful
Excellent!!!
I love that melody at 11:29
Brawo mistrzu!
Marvelous!
Prachtig orgel en mooie uitvoering.
(Introduction - 00:00)
Prelude - 05:55
Fugue - 12:10
5:55 Music starts here.
Very, very good !!! My only doubt is about the first note of the "trillo" in the fugue ... ;-)
Ok, something makes an instant decresc. When the pedals is re-engaged, i think
Peter Tyrrell, I can’t find some of my comments, so I am trying this. I agree that it’s fine to perform the Prelude in 54 crotchets per minute. But different sources say 60, that’s not wrong either. That you prefer slower tempi is no proof that no one played the Prelude in 60, or 63. Don’t you realize that our personal taste is without value in the debate? In Bach’s time there were many Peter Tyrrell’s and many Geir Ø Eskeland’s, they had different perceptions of tempo, therefore some chose to play slower than others. BWV 548 is not church music. But Bach’s original says organ with obligato pedal, therefore it is common to perform BWV 548 in churches, for this is usually where we find the organs. But the churches were cold in winter, so they played at home, on a harpsichord with pedal. Is there still church music, then?
He is playing with NO MUSIC! It is memorized!
Something is wrong with sound from ca. 11:18 !!
Is the recording device limiting the dynamics in audible sound? …like some sudden dolce?
Fast or not??? Please prove! Altenburg close to my fathers home and church, he is big Bach fan and getting soon 98, I will have to prove, he knows organ and church from his child days!!!
what language is he speaking
Either dutch or german.
The first speaker, German. The organist, Italian.
The organist speaks Maltese, the language of his native Malta. It's actually a sort of mixture between Arabic and Italian.
@@samuelfabian9737 Thanks for pointing that out! ☺
Perhaps the Prelude needs more "maestoso"?
No. Alexei is playing Bach in a wonderful way, but he is also playing FOR Bach, because Johann Sebastian is still there, listening and enjoying.
@@samuelfabian9737 There is a tendency to play Baroque music much to fast with the semi-quavers sounding phrenetic. This prelude has some characteristics of the polonaise, which was a courtly dance and required a relatively moderate tempo, so more dignity might be be suitable.
@@petertyrrell3391 Sorry for insisting, but what do you mean by "dignity", a slower tempo? Bach certainly knew what a polonaise is, it requires indeed a relatively moderate tempo. On the other hand, anything he puts his hands on always ends up as a masterpiece.
ua-cam.com/video/3jYxMlPm-_Y/v-deo.html
@@samuelfabian9737 A slower tempo, but not so slow it becomes lento. Dignity - majesty, a royal procession. However, the semi-quaver movement will keep it from sounding too slow. It reminds me a bit of the polonaise (?) movement in the B minor suite. Anyway, that's my opinion.
The fugue subject has common points with the one of the Toccata in E minor.