@Jay Preis i'm not concluiding nothing, i'm asking you if any Vivaldi work was of taste to Bach... If any Bach transcription was merely by pleasure... Sorry my english. Saludos desde México!
I don't recall hearing this ever, in 70 years, though playing Bach in recitals for 60 of them, until it was broadcast on KUSC the other night. I wasn't that wowed by that performance, more delighted by this one for sure, but it's great to know it is in the canon. Gorgeous piece.
Listen to Vivaldi's rv 565 the beginning is clearly quoted from the last movement. Edit: :16 on (ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-6yZaYMfNyfo.html)
It is strange that the third performer (Savall? I don't know) is not indicated, as if the gamba plays itself. In any case, this classic performance is exemplary. As for the countless comments about “Vivaldi's presence” here... Vivaldi is certainly a highest level composer who had an exceptional influence on his contemporaries, including Bach. But the distance from his music to this work is like from earth to heaven.
@@canman5060 No. The toccata-like opening reflects the _stylus phantasticus,_ which originated in Italy long before Vivaldi was born and spread to Germany and the Netherlands long before Bach was born. You simply have a hard need to believe Vivaldi influenced everything Bach wrote. Bach had other influences and was composing masterpieces long before he ever came across a Vivaldi score. You hear violin passagework over a pedal point and assume this must be Vivaldi. North German composers were writing violin passagework over pedal points before Bach and Vivaldi were born. You read somewhere that Bach wrote several keyboard arrangements of string concertos by Vivaldi (and other Italians), so you assume he must have admired Vivaldi so much that he imitated him. Keyboard arrangements of Italian strings concertos were popular in the Netherlands and Germany around the time Bach composed his. Italian strings concertos were all the rage in Germany around that time. At the time, Bach was court organist to the coreigning dukes of Weimar. He wrote the keyboard arrangements on commission or to expand his repertoire as court organist, not to learn from or pay homage to Vivaldi. You never stop to ask who influenced Vivaldi.
Super. j ai vu aussi le scrolling de Chaconne de J.S Bach. J'espère que vous ferez de même pour les 4 saisons de Vivaldi, surtout l'hiver et l'été. Julia Fischer joue merveilleusement bien ces trois œuvres musicales...
Odin G.S I don't think anyone anywhere at any time has ever been exposed and grown accustomed to atonal music with nonfunctional harmony before they have been exposed and grown accustomed to tonal music.
Daniel Hartnett You completely misunderstand, pop music’s harmony, while tonal, is based on loops rather than a grammatical flow of tension and release leading to a cadence. My point is that, while many bach pieces are appealing to listeners who are not familiar with classical music, this one would probably be harder to enjoy.
I can't see any parallel fifths or ninths? Where are they exactly? Edit: That was weird, RU-vid was showing me the comment section of the E minor sonata and the video of the G major sonata! Anyway, there's nothing wrong with parallel 9ths as long as both parts make sense. The A in the base and the C sharp in the violin are passing notes, the C sharp being an accented passing note. Well spotted though.
I know this is 4 years old but for personal reasons of learning please correct me if I am wrong, but the violin plays a passing note to B and the harmony is the same the bass just moving to a seventh it's not bad considering they don't need preparation. also if the 8th notes in the bass ( B-A ) were dotted there would be no problem at all contrapuntally.
