The sublimity of Bach is that it transcends instrumentation. It moves in a rarefied world of pure Music - the same one from which Beauty shines across the centuries and my tears flow.
"Aus tiefer Not schrei' ich zu dir", Choral BWV 38 0:35 ---- "Die Kunst der Fuge | BWV 1080" Contrapunctus I 02:05 Contrapunctus III 05:20 Contrapunctus IV 8:18 Canon XV alla ottava (harpsichord) 13:40 Contrapunctus VI 18:37 Contrapunctus VII (harpsichord) 22:33 Contrapunctus VIII 27:24 Canon XIV per Augmentationem, contrario Motu (organ) 34:40 Contrapunctus IX 41:19 Contrapunctus XI 44:21 Canon XVI alla decima, in contrapunto alla terza 52:14 Contrapunctus XIIIa (rectus) 56:48 Contrapunctus XIIIb (inversus) 59:26 Contrapunctus XIIb (inversus) (harpsichord) 1:01:45 Contrapunctus XIIa (rectus) 1:05:11 Canon XVII alla duodecima in contrapunto alla quinta 1:07:20 Contrapunctus XVIII (XIX?) (Fuga a 3 soggetti) 1:09:43
@@ProdigyImprovisationI watched some DVD about Art of Fugue (G. Richie) - apparently there's a strong suggestion it might've been organ, because you can play it all on the keyboard and because of frequent pedal notes that make sense on the organ. But obviously it can be played on many instruments, which is nice.
@@0babul0 yes I’ve listened to it being played on all kinds of instruments. And I tried very hard to imagine what would Bach consider it the most? Then I realized he didn’t mark any instrumentation because the piece was simply timeless. At his time, I bet he had thought about this very much & even he himself couldn’t find an answer. But I would most likely assume if the string quartet were around in his time, he would’ve considered that as an option. Of which I assume he would think it is the closest choice to represent the ideas of the work. Since I have heard many recordings of art of the fugue. I find that the string quartet brings out most if not all of the characteristics as a whole. It gives it so much more life compared to other instruments. You can hear everything Bach intended. Even one note makes a major difference & only with the string quartet I can truly get myself transported into the mind of JS Bach & only with the string quartet I have the sense of feeling what he went through & the battle he was having while writing the art of the fugue. The true artistic form becomes openly represented with the string quartet version. And then I realize that I can almost be sure he wrote it for the string quartet without even realizing. It is just so proper when I hear it on the string quartet, I feel all the action as it was really meant to be. I recommend you listen to Emerson String Quartet’s version of the art of the fugue!
@@ProdigyImprovisationAye, it sounds great on strings for sure. I've already heard Emerson String Quartet version and I love it, Contrapunctus XIV is just magical! It's just classic. There's been also nice version by Amsterdam Loeki Stardust Quartet, on recorders. It's also interesting. Maybe the fact that's it's playable on keyboard is just coincidence, or Bach wanted for it to be playable like so, but without dedicating it to any instrument. If we follow his words he gave in the preface to Sinfonias, it's all about singing. Any instrument or voice can sing after all. That's what I like to think, it leaves it very open to everything. It's just voices singing.
Encís permanent, riu de música que prepara el silenci més gojós, so que nodreix els fràgils esperits, fita enlairant-se enmig la tempesta ewiger Zauber, Fluss der Musik, der die süßeste Stille bereitet, Klang, der zerbrechliche Geister nährt, Wahrzeichen, das sich inmitten des Sturms erhebt
This performance relies on sophisticated concealed amplification which i think detracts from the music. The little chest organ clearly has a microphone INSIDE the case which helps the treble but not the very narrow scaled bass pipes so the expertly played bass line is muffled and lost. And why do many of the string players need chin and shoulder rests? I suppose that in the concert hall playing to 600 people amplification is necessary but a better organ should have been used!
Schade, an sich eine tolle Interpretation. Nur die Posaune ist ein Fremdkörper im Oboenchor. Auch Bach setzte die Instrumente noch in Chören der jeweiligen Instrumentenfamilie ein und mischte nicht.
Que no los mezcló? En las plantillas instrumentales se daban con mucha frecuencia y hasta no hacía falta escribir sus partes porque era la norma en toda Europa desde el renacimiento para doblar las voces en toda catedral o iglesia mayor, ya fuera los Países Bajos o España. Es más, estaban en plantilla de las diferentes agrupaciones en las que fue capellmaister
