Compare the interpretations of the Freiburg Baroque Orchestra to the ones of Orchestra Mozart under the direction of Claudio Abbado. Which do you like better? ru-vid.com/group/PLBjoEdEVMABJhjc66cvtxhvEaTjEC3hkz
Both are so glorious! The Freiburg recording makes me feel as if I am back, actually in, Bach's time, hearing the music the way Bach did; the Abbado recording makes me feel as if I am here, today. I think Bach would be very pleased with both performances. So blown away by the musicianship on these recordings.
+EuroArtsChannel Ever since I came across this video I have become a big fan of Freiburger and have purchased several of their CDs. I can highly recommend Telemann's Tafelmusik as well as this.
Freiburg Baroque Orchestra for ever! By the way, thank you so much for filming and posting such glorious music with such a wonderful interpretation! And the filming and the location are also wonderful!!! Thank you for such a great service to art, culture and beauty! Greetings from Florence, Italy
For those who don't know about the story behind Bach's Brandenburg concertos. In 1721, Bach composed six “concertos for various instruments”. He dedicated them to a German nobleman and sent the manuscript as a gift, hoping to land a job as the court composer in Brandenburg. The nobleman never replied. Bach eventually took another job in Leipzig, where he lived for the rest of his life. The 6 concertos were lost for 130 years. They were never performed. The manuscript was eventually sold for about $20 and shelved in a library. The Brandenburg Concertos sat there until 1849, when they were discovered and published for the first time. Thank god.
Bach wrote in the dedication to the nobleman about the concertos, "...begging Your Highness most humbly not to judge their imperfection...". Surely Bach was taking the piss.
I have heard that Mozart had a great respect for Bach. If he had known about these concerti, what would he have done with them? Performed them or adapted them in some wondrous new format? The possibilities are surely endless.
i like the cellos no percussion no trumpets a lot of timing i like 4 violins one plays lead cellos are base and the other three violins are rhythym almost like rock and roll without the noise
performances like this are treasures. We often get too critical and times we need to just sit back and enjoy, no matter what instruments chosen. So Thank you with polite applause
Actually we may hear this better than audiences did in Bach's time. Some instruments are intrinsically louder than others, while others (recorders, perhaps) are quieter. But with modern recording engineering techniques, this can be balanced so we hear each contrapuntal line as Bach probably intended...?
@@Tristan_ll Bach is a classical composer and also a Baroque era composer. Mozart is a classical composer and also a Classical era composer. Do you understand?
I agree that Mozart was a great melodist, but Bach was called by Beethoven "the Father of Harmony". And many experts since then have agreed. Mozart didn't get to hear as much Bach as he did Handel. And Handel was another great melodist.
I've listened to the this concerto all my life. It's my favorite of these. It's never been played better! This is what humans can do when they work together for a worth while purpose.
That violin soloist omg. The way he plays, so smooth and clever but yet so soft and sweet, i feel like the melody could cry and feel. Such a beautiful piece and beautiful interpreters. I'm in love
Aakao for so many years I had third concert as such a favorite that I don't thing I ever tried to listen to the others. just imagine my joy with this outstanding gem just now...
Mentally it seems I cannot reach this level of music. When I listen to this music I become completely silent and descend to a kind of mystical level. I remain amazed and amazed...
Too wonderful for words. That written...this is stupendous Bach! The musicians, instruments, and the hall. Perfection! The ensemble, the musicianship, is extraordinary. Thank you!
The Brandenburg Concertos are always a source of meditative delight! These musicians have a good crisp sound, they don't have that mechanical sound like so many others do!
Im Verhältnis zu anderen Aufnahmen bei RU-vid ist das hier sauber gespielt. Ich habe das Stück auf einer Schallplatte und bemerke den Unterschied. Wer von Euch hat auch noch heute eine Sammlung an Platten und hört sie auch ?
recorder has a reputation for being TOOT TOOT SCREECHY SCHREECH but that is only because only 2 year olds play it before quiting after grade 1. all instruments sound screechy screechy when 2 year olds are doing it for grade 1
I would like to be: it is a wonderful instrument with a wonderful and wide repertory, from middle age up to contemporary music, missing just XIX and first part of XX century. I know several professional recorder players.
Los Conciertos de Brandenburgo o Conciertos brandeburgueses, BWV 1046-1051 (título original: Six Concerts à plusieurs instruments) constituyen una colección de seis conciertos que Johann Sebastian Bach presentó en 1721 a Christian Ludwig, Margrave de Brandeburgo. Índice Concierto de Brandeburgo n.º 1 en fa mayor, BWV 1046 Concierto de Brandeburgo n.º 2 en fa mayor, BWV 1047 Concierto de Brandeburgo n.º 3 en sol mayor, BWV 1048 Concierto de Brandeburgo n.º 4 en sol mayor, BWV 1049 Concierto de Brandeburgo n.º 5 en re mayor, BWV 1050 Concierto de Brandeburgo n.º 6 en si bemol mayor, BWV 1051 Probablemente Bach compuso los conciertos a lo largo de varios años mientras ocupaba el puesto de Kapellmeister en Köthen, y la tarea se prolongó hasta que estuvo de vuelta en su empleo en Weimar (1708-1717). La dedicatoria de Bach al Margrave data del 24 de marzo de 1721 y su primera frase dice así: Como he tenido la suerte hace unos años de ser escuchado por su Alteza Real, a las órdenes de Su Alteza, y como me percaté entonces de que Su Alteza tuvo algún placer en los pequeños talentos que Dios me ha dado para la música, y como al despedirse Su Alteza Real, se dignó honrarme con la orden de enviar a su Alteza algunas piezas de mi composición: Tengo de conformidad con las órdenes más corteses de su Alteza tomada la libertad de hacer mi más humilde deber a Su Alteza Real con los presentes Conciertos, que he adaptado a diversos instrumentos; rogando a su Alteza humildemente que no juzgue su imperfección con el rigor de ese gusto exigente y sensible, que todo el mundo sabe que Él tiene para las obras musicales, sino que más bien tome en benigna consideración el profundo respeto y la más humilde obediencia que yo así trato de mostrarle. El cuarto Concierto de Brandenburgo se anotó para violín, dos flautas, cuerdas y bajo continuo. La puntuación de Bach llama a las flautas "fiauti d'echo", un término inusual que probablemente indica que un registro en F se pretendía. Pero, ¿"d'echo" significa más que simplemente especificando que los registradores se iban a utilizar? Si, efectivamente, grabadoras, en lugar de la flauta transversal, entonces uno podría suponer que el sonido más suave de la grabadora está pensado como una especie de eco - excepto por el hecho de que las estrías aparecen desde el inicio de la Cuarta Brandenburg, incluso sin el violín solo, y si bien en ocasiones el doble del violín solo, rara vez se utilizan en una función de eco. Lo hacen de vez en cuando "eco" entre sí, especialmente en el segundo movimiento, pero uno se pregunta si realmente Bach pensaba de estos "ecos" repetidos como ecos más suaves, o pasajes meramente como imitativas, que encontramos tan a menudo en la música barroca. Las flautas de hecho juegan un papel prominente, lo que podría hacer pensar este concierto tiene un grupo en solitario (concertino), en el formato concerto grosso, pero el trabajo es a veces considerado un concierto en solitario para violín, dados los largos pasajes para violín solo solo (sin las flautas y con las cuerdas orquestales que prestan apoyo limitado). O tal vez la Cuarta Brandenburgo es una fusión de los dos tipos distintos de conciertos. El Cuarto Concierto de Brandenburgo es único, ya que es el único de los seis en los que se utilizan todos los instrumentos en todos los movimientos. (En el resto de los conciertos, los movimientos intermedios tienen una instrumentación reducida.) El primer movimiento (Allegro) utiliza tanto una estructura ritornello, así como una forma ABA, como era de esperar en un aria da capo. El tema ritornello regresa en numerosas formas, incluyendo en forma abreviada más adelante en el movimiento (típico de las formas ritornello de Vivaldi, uno de los modelos de Bach para el concierto barroco y concerto grosso), y se oyó presentado por las flautas y el violín solo , pero nunca por las cuerdas de la ripieno.
"Brandenburg Concerto No. 4 in G, Movement I (Allegro), BWV 1049" Kevin MacLeod" search Brandenburg Concerto No. 4 in G, Movement I (Allegro) its played by kevin macleod
Ein wunderbares Konzert - wunderbar gespielt. Es erklang auch zu Bachs 300stem Geburtstag im (damals Ost-)Berliner Konzerthaus am Gendarmenmarkt. Ich hatte das Glück, mit Texten seiner "Bewerbungsgeschichte" als Thomaskantor den "unbequemen" Charakter Bachs illustrieren zu dürfen. Der brillante Musiker - und die Leipziger Ratsherren: Das war auch eine satirische Parabel Der große Bach musste vor den Herren Kotau machen - lange vergessen - oder?
Agreed. I'm jealous of his effortless left hand shape. So hard to keep the little finger curled downwards like 95% of the time while playing on the other 3!!
I used to think #4 was my favorite. However, after listening to all of them, I have decided that I like best the one I'm listening to at the time. After all, this is Bach!!!
I love the way this one starts out all cutesy and nicely nice. Then descends into a beautiful chaotic madness that would make Vivaldi blush, then comes back out again into the beautiful nicely niceness, then back again. It’s truly spellbinding.
I was so lucky to have had a father who shared his appreciation in feelings, connection, and gratitude for classical music! This piece in particular always reminds me of him. He was an amazingly rounded individual!! Warms me through to my soul :-)
Hace 75 años que la música me apasiona. Siempre me gustó, como una de las melodías mas hermosas, el concierto nº4, pero lo había escuchado por la vieja radio Excelsior y el Sodre, de Montevideo. Nunca vi a un conjunto de cámara tocándolo. Y mi asombro fue grande, cuando vi a la Freiburger Barockorchester brillando. Y allí me enteré que las flautas que acariciaron mis oídos durante toda mi vida, no eran Boëhm sino las conocidadas flautas dulces, estas de madera. Sorpresa agradable.
Esta tocado con instrumentos barrocos originales, entonacion original, en el salon de los espejos donde dice la leyenda que Bach estreno estos conciertos.
Köthen, bin einige Jahre jeden Tag am Schloss vorbeigegangen, Chemie - Anlagenbau studiert. Habe nicht an Bach gedacht, aber später habe ich es Nachgeholt. Ja, ob Claudio Abbado das noch besser kann ist für mich nicht entscheidend, beide Orchester sind herrovragend. Köthen hat mein Herzblut.
Sorry, Minshwan, But Joel is right. And he isn't just the Father of Music, but also the Father of Harmony. Composers for many years have been learning from him.
he isn't the father of just nothing, and there isn't such a figure. He was an excellent musician, a genius if you like, but the father of nothing: western music existed before him and he virtually invented nothing new, just refined yet existing techinques and practices (and that's not just an easy path to follow....) I think it would be better to quit with this sensless "bach religion" that damages his music itself.
this is kind of a transcendental music if you can hear every part of melody, when I listen to this, I feel like I am in heaven, those harmonies can only come from Bach, Mozart, and Chopin
Brandenburg's No. 4 they play with exquisite skill and magnificent technique is beyond description , immeasurable , unfathomable and full of admiration and deep emotion , and comfortable to the ear and the mind .
did anyone notice how this is the backround music from brain4breakfasts rise and fall rise and fall and rise of germany. PS R.I.P brain 4 breakfast you were the best educator
Beautiful like spring where the life is pushing and blooming in all the glorious life that is beyond understandingly complex and so extracting and fascinating.
You can see the passion, the determination in Prof. Gottfried Graf von der Goltz playing the violin in every close up shot. It is absolutely mesmerizing to watch.
I got the "Switched-on Bach" record in the 1960's when I was about twelve, and loved it. Here, after 35 seconds, I see what I was missing: the timbre of the wood (and some metal) instruments. It reminds me of a book about the medicinal qualities of wine, and the author said wine contains, what, a hundred identifiable chemical compounds. A Moog synthesizer, by contrast, has a pure tone, no outliers, no flaws, no signs of life. Well, I suppose now they can program in a few. Correction: no metal flutes!
When I hear the first movement played, I think of that poem 'The Owl and the Pussycat' by Edward Lear: "...And hand in hand, on the edge of the sand, They danced by the light of the moon..."
ANY GRADE 9 STUDENTS WHO ARE AKSO HERE FOR RESEARCHING?? MAGAZINE THAT I’M ANSWERING BROUGHT ME HERE AND I THOUGHT THIS WOULD BE CREEPY LIKE ONE IN SALVE REGINA BUT DANGG, THIS IS SO AMAZING AND ADORABLE! NO LYRICS BUT THIS WOULD CLEARLY GIV EYOU A GOOD REMARKS ABOUT THIS. I CAME UP THINKING WISH I WAS BORN IN THIS GEN. WHEREIN I COULD WATCH A LIVE CONCERTO LIKE THIS. SO PEACEFUL. I LOVE IT. NOW I’M STARTING TO ADMIRE BACH FOR HIS GOOD WORK AND CONTRIBUTES IN MUSIC WORLD.
Yes!! The way the videography is handled at 1:37 is perfect! This way, the image matches exactly what one hears in an audio-only recording: The violin solo suddenly EMERGES in all its glory out of the background, seemingly "out of left field" (sorry, I'm American), thus creating one of THE great moments in the music of Bach. (In contrast, most videos of this piece destroy any potential for that moment happening because they zoom in and out on the violin soloist continuously and inanely from the very start of the piece.)