Evgeny Kissin: J.S. Bach, F. Busoni - Toccata, Adagio, Fugue in C major, BWV 564 

Рихтер по другому играет её.

@@user-yr6vc6dx6e С. Рихтер никогда не записывал/исполнял это произведение

He probably was. Inside.

No he s destroing it :-(

@@nikolatesla8108 detruit excessif ........ le piano denature l oeuvre de Bach ce qui est a l orgue reste a l orgue

@@simberou I dont know what you are writing but do you know the interpetation of Glenn Gould???? He is copying it With BIG EGO :-(

@@nikolatesla8108 you don't know anything about anything

@@GTXTi-db5xu You say it It it absolute then :-) Big Ego :-)

I came looking just for this section because it's so stunning on the organ, but pp in the organ, not loud. Listen to Hans Andre Stamm performance of this section. Not sure why Busoni chose to make a forte section out of it.

*Kissin butchered the Back transcription, OK?? Obviously, @Fred Maus, you don’t know very much about the music of Bach, but don’t feel too badly, because Kissin didn’t either, 20 years ago. Let’s hope he’s received instruction since then. Bach wrote nearly everything using a compositional technique called *P O L Y P H O N Y,* and you can look up the definition of that word. Every single voice, plays it’s own melody; when played individually, they sing….the sustain pedal cannot ever be used, or only sparingly, because it turns the delicate, stunning musical architecture into a thick mud of resonance. Pianists have to play Bach, and composers of his era, _with a completely different technique, in order for each voice to be heard._ Kissin played this piece as though it was a Liszt etude, or even Stravinsky’s “Rite of Spring” four 4 hands, just pounding and pounding and pounding, with constant use of the sustain pedal-NOT APPROPRIATE-and with zero understanding of how Bach’s music is constructed, theoretically, because _that is what informs the keyboard player how to play it!!_ if you want to know how Bach _should_ be played, listen to the Well Tempered Klavier as played on grand piano by Murray Periha and Glenn Gould.

@@voraciousreader3341 Too bad your many "shoulds" prevented you from hearing this magnificence. As for polyphony--large parts of this piece are not polyphonic. When Kissin gets to the fugue, he plays mostly without the sustain pedal, and the texture is crystalline.

Et que pensez-vous de cette interprétation ? @

what an interesting metaphor

Bach is the true genius here. No performer will ever equal him.

@@organboiyou’ve never heard him play bitch

Did you come here just to put down the piano because it is not the king of all instruments? I mean, really... justice is always served when BACH's music is played anytime!

@@enriquesanchez2001 Yes. In the hands of a great performer Bach's music will shine on any instrument and in any arrangement. Its perfection cannot be destroyed.

I completely agree. The piano transcription takes way too many liberties with the piece.

@@enriquesanchez2001 Wow, relax. Putting down piano? What a rude response. If you ever heard the original you would see how much it differs from this piano version, which is over the top Romantic and with incorrect dynamics.

@@bercg Not every transcription of Bach works well. Not if it actually strays from the original in numerous ways.

KISSIN IS THE BEST,,,,,,,IIS UNIC NEVER NOBODY LIKE HIM

Ugh. Not quite.

For a Christian like me it is lovely as well ;)

Bach the fifth evangelist)

I generally prefer busoni’s version over the original

You have no idea what you're talking about. Bach’s organ works have been played ENDLESSLY as concert pieces all over the world ever since they were first composed, especially after Bach’s death, and well before Busoni or Liszt or anyone else transcribed some of them for piano. Busoni did not "rescue" Bach’s music from religion. Please. And your opinions on God and religion have nothing to do with the matter.

What does instrument have to do with religion? Stop making fun of yourself

--- loud is allowed, not noise annoise

Listen to Gyorgy Sebok's interpretation, it's so different than this one.

What are you even saying

@@GTXTi-db5xu Exactly what I wrote. The piece is misattributed to Bach. You can Google the topic and find scholarly articles.

lol

😆

G.G. ...

I completely agree! Gyorgy Sebok's interpretation is simply another dimension, so profound, simple and pure at the same time. Seriously, that's the most beautiful thing I've ever heard. It brings tears to my eyes every time I listen to it.

おじさんうるさいよ😅

It's Bach-Busoni, not pure Bach.

бульшит

Organ music especially in the baroque has sturm und drang (and dynamics) in abundance

the question of instrument is irrelevant to Bach music, are you people ever gonna understand this!

I certainly agree with you. But are we aware that there is absolutely NO document whatsoever to support the conclusive confirmation that Bach wrote this piece for organ?? With it's vividness it's much more tailored for the idiom of a pedal harpsichord (harpsichords& clavichords with pedal keyboard were absolutely usual in Bach's time, and the sources show clearly that they were well used to PERFORM, not just practice). Indeed several manuscripts (with variants of the same BWV 564) may convince us that a pedal harpsichord or clavichord is ideally suited for lively tempos expected for this show-off pedal soli - the style here is quite of the Vivaldi's "dialect", which can be splendidly rendered by a good harpsichordist. Of course, Kissin's rendering on piano is really boring for most of the time, for it's lack of understanding the relationship between Bach's style and Busoni's romantic reaction.

One shouldn't play music for the sake of the challenge.

@@paulomtts One shouldn't write ignorant words for the sake of the challenge.

Enrique Sanchez One shouldn’t forsake arguments for a show of charisma.