Ohhh boy ...Whenever you think that you understood Bach He just finds a new way to reach your soul & Communicate with it directly through his music in a way no other composers can do
I have played this so many times and only saw today at 4.14 the brochure about Nicholas Harnoncourt dated. May 2009. Wonder what this means and what the significance is. Can someone from All of Bach please let me know ? Thank you.
This is an excellent performance, but, if you want to hear the dissonances in the prelude at full "clash," listen to Andras Schiff play the same piece. A couple of the best discords ever!
No, something must be different with the temperament (or the pitch?) of the instrument. We don't even know what specifications Bach himself wanted, only that no one could tune better than he could.
@@MitchBoucherComposer Yes... The tonality always changed according the organ's A in the place where the piece was played in the Bach's time... But that's always strange to see a B-flat Major tonality and listen a totally different thing than what we were used (415Hz in the"standard" baroque tonality)... (sorry for my english; I'm French)
5 років тому
@The MIDI Bach Project This performance is at A392, but that is about a half step below A415. Perhaps that's what you meant by "a step."
5 років тому
@@iveremort6710 The tonality never changed according the organ's A. Why would it? There were several pitch conventions (not to be confused with temperament or tonality) in Germany Bach time. The notion that tonality is tied to pitch assumes a universal pitch standard. What distinguished one tonality from another the temperament, not the pitch. (Well temperament was not equal temperament.) It was not at all strange in Germany in Bach's time to tune to French chamber pitch (~A392), which the German's called Tief Cammerton, which is what this instrument is tuned to. In Bach's Weimar church music, the pitch convention was to tune the ensemble to the organ (A462, which is a whole step above A415) and transpose the parts for winds that could only play at A415 up a whole step. Bach predecessor in Leipzig, Johann Kuhnau, established the convention of tuning the ensemble a whole step below the organ to A415 and transposing the organ part down a whole step to A415. When Bach wanted to perform his Weimar church music in Leipzig, he had to transpose the Weimar score up a whole step. The only reason you're used to A415 is because so many period ensemble follow the 20th-century convention of tuning to A415. I don't think people in Bach's time thought the tonality changed with pitch like you seem to think. The tonality of this piece is remains B-flat minor whether the instrument is tuned to ~A392 (Tief Cammertron), ~A415 (Cammerton), ~A462 (Chorton) or ~A490 (high Chorton) --- all of which were pitch conventions in Germany in Bach's time. Only rarely did you find an organ tuned to A415, such as the organ at the Sophienkirche (? not sure of the name) in Dresden, where Bach's eldest son was organist and where his father gave concerts.
@@MitchBoucherComposer You're confusing pitch and temperament. One has absolutely nothing to do with the other. The pitch and temperament of a keyboard instrument are completely independent. This instrument is tuned to French chamber pitch aka deep chamber pitch, which is about a 1/2 step lower than chamber pitch (A415).
No, the tempo is of no concern. I think it is played in a romantic way which I do not really favor. The thing I don't like is when too many rests are built in making it sound hesitative. Rondeau f.i. does that too, but more precise and without overstatement.
This sounds so authentic and in my opinion very much like Bach might have played this. I could not really find a possible reason why you would make the statement you did so I visited your website briefly. I quickly noticed that the majority of videos were of Bach's pieces but synthesised. Could not get out of that fast enough! At least now I do understand and see what your taste really is.
What I publish as a synth player has nothing to do with my comments as a listener. Apparently our tastes differ and synthesizers make you sick. So what. You ought to know that Bach can be played in many different ways, on anything that makes noise, the synth included.
0:07 Prelude
2:42 Fugue
The most emotional of the preludes, played without with sentiment, but without sentimentality - perfect
the music was so strong that only 2 pages of that big book remained at the end, truly unseen
As Mr Malsteen once said "Less is not more, more is more."
Words cannot describe. Exquisite in the highest. Voices distinctly accentuated and articulated masterfully. Immaculate texture.
Ohhh boy ...Whenever you think that you understood Bach He just finds a new way to reach your soul & Communicate with it directly through his music in a way no other composers can do
who would be so brash to think that a person could understand Bach. Easier to understand the physics of dark stars and newborn galaxies.
Simply because art, in the end, has no explanation
Thank you Bach, for Bach.
Wonderfully played with much sensitivity and refinement.
This is really wonderful-thank you Ms Verhelst and the Netherlands Bach Society!
Lovely. Thank you so much to Kris Verheist and the Netherlands Bach Society. And thank You, LORD, for Bach.
The one inner voice at 2:08 is gorgeous - almost hidden under the hypnotic rhythmic drone...
Excellent playing. She's amazing
Such an outstanding performance! Bravo 👏🎹🎶💐💙
Beautiful!!!
Wow, breathtaking!
Really piece..... Fantastic interpretation
Gorgeous playing!
thank you thank you thank you
This is a masterpiece
My favourite work from the WTC - played here at a sensible speed. The best piano version I have heard is from Tatiana Nicolaeva.
Which one (number) is this?
@@carlosbashuertas 22
What about Sviatoslav Richter's take?
@@schrysafisI love that. Slower and more penetrating.
Dank je wel Kris! Verrukkelijk!
Lo strumento è formidabile
I have played this so many times and only saw today at 4.14 the brochure about Nicholas Harnoncourt dated. May 2009. Wonder what this means and what the significance is. Can someone from All of Bach please let me know ? Thank you.
It is a programme from Gustav Leonhardt's recital.
You mean the program of a recital by Gustav Leonhardt. He was an immensely inspiring harpsichordist.
This is an excellent performance, but, if you want to hear the dissonances in the prelude at full "clash," listen to Andras Schiff play the same piece. A couple of the best discords ever!
Brahms said it is the dissonances of Bach that make him a truly great composer. He cited Mozart also.
🧡
She looks like tyotya Shura from Sovetskaya Street in Belarus.
😊👍🎹🎶
Is this not in A minor (415 Hz) ??!!
No, something must be different with the temperament (or the pitch?) of the instrument. We don't even know what specifications Bach himself wanted, only that no one could tune better than he could.
@@MitchBoucherComposer Yes... The tonality always changed according the organ's A in the place where the piece was played in the Bach's time... But that's always strange to see a B-flat Major tonality and listen a totally different thing than what we were used (415Hz in the"standard" baroque tonality)...
(sorry for my english; I'm French)
@The MIDI Bach Project This performance is at A392, but that is about a half step below A415. Perhaps that's what you meant by "a step."
@@iveremort6710 The tonality never changed according the organ's A. Why would it? There were several pitch conventions (not to be confused with temperament or tonality) in Germany Bach time. The notion that tonality is tied to pitch assumes a universal pitch standard. What distinguished one tonality from another the temperament, not the pitch. (Well temperament was not equal temperament.)
It was not at all strange in Germany in Bach's time to tune to French chamber pitch (~A392), which the German's called Tief Cammerton, which is what this instrument is tuned to. In Bach's Weimar church music, the pitch convention was to tune the ensemble to the organ (A462, which is a whole step above A415) and transpose the parts for winds that could only play at A415 up a whole step. Bach predecessor in Leipzig, Johann Kuhnau, established the convention of tuning the ensemble a whole step below the organ to A415 and transposing the organ part down a whole step to A415. When Bach wanted to perform his Weimar church music in Leipzig, he had to transpose the Weimar score up a whole step. The only reason you're used to A415 is because so many period ensemble follow the 20th-century convention of tuning to A415. I don't think people in Bach's time thought the tonality changed with pitch like you seem to think.
The tonality of this piece is remains B-flat minor whether the instrument is tuned to ~A392 (Tief Cammertron), ~A415 (Cammerton), ~A462 (Chorton) or ~A490 (high Chorton) --- all of which were pitch conventions in Germany in Bach's time. Only rarely did you find an organ tuned to A415, such as the organ at the Sophienkirche (? not sure of the name) in Dresden, where Bach's eldest son was organist and where his father gave concerts.
@@MitchBoucherComposer You're confusing pitch and temperament. One has absolutely nothing to do with the other. The pitch and temperament of a keyboard instrument are completely independent. This instrument is tuned to French chamber pitch aka deep chamber pitch, which is about a 1/2 step lower than chamber pitch (A415).
I need it a little bit slower. Nice, indeed.
First I see Sato playing the harpsichord and now another violinist is also doing it too
Sato was playing the harpsichord? Which video?! I want to see!
@@JamesZhan ua-cam.com/video/XkSJq_W58TU/v-deo.html
@@itsmeashbeel9175 That's not Sato lol
Gut aber zu schnell bitte.
Va ritenuto di più nelle risoluzioni dei ritardi sennò la tensione va via
Played with too much hesitation, for my taste.
What do you mean ? Tempo perhaps ? If so, it sounds perfect to me.
No, the tempo is of no concern. I think it is played in a romantic way which I do not really favor. The thing I don't like is when too many rests are built in making it sound hesitative. Rondeau f.i. does that too, but more precise and without overstatement.
Did we watch the same video? The performance is quite regular, not much fluctuation.
This sounds so authentic and in my opinion very much like Bach might have played this.
I could not really find a possible reason why you would make the statement you did so I visited your website briefly. I quickly noticed that the majority of videos were of Bach's pieces but synthesised. Could not get out of that fast enough!
At least now I do understand and see what your taste really is.
What I publish as a synth player has nothing to do with my comments as a listener. Apparently our tastes differ and synthesizers make you sick. So what. You ought to know that Bach can be played in many different ways, on anything that makes noise, the synth included.