My hat is off to the hr-Sinfonieorchester recording engineers. So many wonderful performances given freely to the world and with such outstanding technical quality. Thank you!
A seriously good reading of BWV 1052. I especially enjoyed the occasional flourishes from the harpsichord (Stéphane Fuget) and the improvisation at the end which contained elements from the cadenza BWV 1050, hints of BWV 903 and even some of the progressive ideas from BWV 846. Wow!
Wunderschöne Aufführung dieses perfekt komponierten Konzerts mit schimmerndem Klang des genialen Solocembalos sowie gut harmoniserten und perfekt entsprechenden Tönen der anderen Instrumente. Der zweite Satz klingt besonders schön und echt traurig. Im Kontrast klingt der dritte Satz echt lebhaft und auch überzeugend. Der intelligente und geniale Dirigent leitet das ausgezeichnete Streichorchester in verschiedenen Tempi und mit sorgfältig kontrollierter Dynamik. Alles ist wunderbar!
Each artist clearly has their style. But this interpretation is just mind-soul blowing! Played so delicately that the harpsichordist makes me yearn to hear it again, again and again. Bravo ❤
This is pretty much exactly like the violin concerto in d minor! Just a lot of his improvisation, which is cool. It’s cool hearing such a lovely piece played with very contrasting instruments
Fantastisch! Ich habe wieder von hr-Sinfonieorchester etwas neues erlebt. Innovativ und außerirdisch schön! Wahre Künstler! Das Gefühlt, das Ihre Kunst in mir erweckt hat, ist unbeschreiblich.
Merci Spinosi!!! Ça me semble plus un concert pour Orchestre avec accompagnement de clavecin!! Merci aussi pour réussir à tenir bien l’orchestre quand le claveciniste a la tendance à accélérer dans le premier mouvement!
I'm surprised that, as a soloist, Mr Fuget can't play from memory. Most keyboard soloists manage it. Big bonus - he did manage to turn the pages himself!! Well done. By the way, would someone please send a baton to Mr Spinosi for Christmas, it will help him, and especially those sitting in front of him. Not that I noticed many of them looking up. I digress, wonderful performance.
Playing from memory is good? Maybe for romantic piano concertos. Having the music of Bach in front of you does open up possibilities for improvisation, an important part of baroque performance.
@@mewsdo Many thanks for your reply and whilst I tend to agree with you, any "improvisation" made during the actual performance would surely have been thought through during practice and rehearsal time.
Performers in Bach's time rarely played without a score in front of them, unless they were improvising, Playing from memory started in the 19th century, with Liszt. It was a dog-and-pony show to wow idiots like you. Other performers, not to be outdone, also started performing from memory.
The orchestra is very sensitive in keeping the dynamic low, but it is nonetheless evident that there is a misbalance in loudness of solo instrument vs. orchestra. Nonetheless thanks for sharing the recording.
Das ist nur Bach. Ob du die Interpretation des Glenn Gould oder ein anders magst, dann ich glaube es ist einfach ein bisschen zu weg von die reales Barock weisen (aber Gould noch mein Lieblingspianisten ist 🤷♀️). Entschuldigung für mein Deustch, es ist nicht meine Muttersprache!
This is a fine performance, though the outer movements could have benefitted from slower tempos, and the second movement seemed somewhat Romanticized and lacking flow.
I wish that the players of this concerto would just SLOW it down slightly. His is not fastest I have heard, but it still feels too fast to me. (BTW, I could play this concerto--much more slowly) I know what some will say: "You don't have the technique to play this at full tempo so you complain." No, not exactly. I just like to hear all the notes. Much of this started with Glenn Gould who played Bach like a house on fire. Ironically, his version with Bernstein is not as fast as this. Sanjosemike (no longer in CA)
@@alexandrusimo899 I disagree. So called "ornamentations" are usually made as grace notes which must be maintained in the tempo of the performance. That is not why it sounds fast. It sounds fast because it is fast. Sanjosemike (no longer in CA)
@Alcina Good points. I started playing this piece on the Piano when I was about 12 y/o. I never played it on a harpsichord or forte piano. Sanjosemike (no longer in CA)
I actually think it's more lively at this tempo. I enjoy the Rondeau recording quite a bit, and that's faster than this performance. Though, I also quite enjoy the violin reconstruction by NBS (BWV 1052R) which is slower, so I guess it's possible to make this concerto shine at many tempos.
@@randomoneforstuff3696 BTW, I just listened to Glenn’s performance again, I am not sure how many recordings he made of this. I couldn’t tell who the conductor or orchestra was from the picture. But Glenn looked like a teenager on the picture. Most of it was typical Glenn, with almost the entire work staccato. This time, I thought it worked. This is a cheerful Bach. And a joyous one. The tempo was not rushed. Glenn at his best. Sanjosemike (no longer in CA)