Dear FallCrk, Thank you for posting this wonderful video! Can I, by any chance, repost your channel on the Gan Jing World platform? Of course I will keep everything as is and also include your channel as source.
"Wenn die Engel und Gott gemeinsam Musik hören welche denn Bach Wenn die Engel unter sich sind hören sie welche denn Mozart" Wenn die Deutschen ihr Schicksal hörbar vernehmen wollen Beethoven
The performance by the JSQ is excellent. The background noise is part of life as this was a live performance. Compare to the Emersion Quartet version of all 14 - Contrapunctus and a few Canons at: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-g6vF9owrxMo.html
So profound,masterful and powerful music.Nobody's else music can beat it.Telemann is great,so are Handel,Scarlatti and Vivaldi as well but Bach's music is right from the lap of the God.
This is one of the central works in Vikram Seth's excellent novel "An Equal Music" - along with Beethoven Opus 104 . . . Wonderful playing Juillard! I wish I could have experienced this first hand.
Very good, shame you couldn't give us the list of each sub-section and when they start. I only had time to find the one I was looking for (by ear): Contrapunctus 2 starts 4:28 in.
On a de la peine à imaginer que cette musique date du milieu du 18ème siècle. Comment les contemporains de Bach pouvaient ils l'apprécier? L'art de la fugue préfigure déjà les derniers quatuors de Beethoven, avec plus de 70 ans d'avance...
I hadn't noticed until seeing actual people play these that the first four contrapuncti begin with each of the four voices - first Violin II for contrapunctus I, then Cello, then Viola, and finally Violin I for contrapunctus IV. A very clever way of demonstrating the versatility of the exposition on Bach's part!
@@nellyd9280 No no, what I mean is that the first voice for each fugue, not just in Contrapunctus I. Cont. I is exposed by second violin, cont. II is exposed by cello, etc...
:D - that firecracker at 1:08 !!! brilliant!!! ...very intersting also the 'attack' at 3:06 i enjoy the music looking forward to more action going on behind :)
I agree with the criticism below, in that the issue is that this was played under a wrong concept, wrong strings, wrong bows and wrong style. Too much vibrato all the time heavy bowing, strange early XXth century phrasing and agogics, &c., &c.
These guys get better with time. Remember these guys are the Quartet Default standard. That is Very High Standard. Wow! Awesome. They make it look simple stupid. God given talent.
Joseph Lin is a very deep thinking, and gracious person, which is reflected in his playing. I had the honor of of discussing a collaboration with him years ago in Dalian, China.Nothing ever came of that, but the memory of his visit and the time he and his lovely wife spent with me is still very fresh in my memory. I was thrilled to learn that he had gotten first violin with the JSQ. Well deserved.
I'm not quite sure what people are talking about when they say that this interpretation doesn't sound as good as bach intended it to be. I think it sounds just fine, but then again, what I say isn't really "the truth," and neither is what any of these critics say is "the truth" either.
@@jasondonald9830 He knew his options. Getting four strings together costs money and takes time. He probably always knew when he was making the feet dance too quickly on the organ for bass lines. Other than those two constraints, I prefer all contrapuntal music to be transferred or rendered on strings better than organ. Mussorgsky's "Pictures at an Exhibition" was written on keyboard but you can tell Mussorgsky had instruments in mind. It's not obvious when Ravel orchestrates a saxophone into it though LOL But certain types of lines lend themselves to certain instruments, and certain textures go with certain combos like all brass at once or all woodwinds at once or all strings at once. Seldom will Bach's lines lend themselves to a "tutti" texture, because he had to be into restraint in his culture if not just naturally in his personality. The same effect becomes evident if you compare Mozart's Reguiem Mass with Verdi's Requiem Mass. Verdi has no compunction against unrestrained showiness in the face of death. The younger generations into the 1800's became more brash. Beethoven opened it all up ushering in "Romanticism.".
