Johann Sebastian Bach (1685-1750) - Toccata and Fugue in D minor, BWV 565 (First Publication: 1831) - Originally written for organ, arranged for violin solo by Bruce Fox-Lefriche Sergey Krylov, violin
Крылов - чудесный скрипач! Предполагается, что это не переложение и вовсе не И.С. Бах. Рекомендую материал: Бах. Токката и фуга ре минор: вопрос авторства (выпуск 9) www.youtube.com/watch?v=bJ2cYO... Это программа музыковеда В.К. Сторожука.
Impressive! A wonderful performance of this all too rarely performed jewel of a virtuoso-piece. I admire Krylov for his honest playing, free from any calculated showmanship. The music itself is presented in all its beauty, that is the best any musician can do.
SUPER! S.Krylov è davvero un GENIO del violino! Non credo che si possa "estrarre" da un violino più Musica di quanto riesce a fare questo favoloso virtuoso! Complimenti e grazie per le emozioni, caro Sergey.
3 dislikes - how can that be - you might dislike the violin, you might dislike Bach, you might even dislike Toccatta and Fugue but how can you dislike brilliance, how can you dislike such a magnificent performance. Krylov is a genius with the violin and we get to see his performance. Shame on you for disliking this piece.
нет понятий хуже лучше -это пиар есть характер индивидуальность краска так вот не всем нравится стради и гварнери штайнер и прочие если он в действительности музыкант -он ищет свою скрипку а не гоняется за именами
Какой талантливый народ Россиийский и неужели мы заслужили вечное прозябание в бедности и нищете и обещания о светлом будущем господи за что такие испытания?
Dieser russisch-italienische Künstler -mit VILLA MUSICA- BACKGROUND in den 1990-er Jahren hat sich veramente zu einem der grossartigsten Meister seiner Zunft entwickelt! RUGGIERO SAULO/MAGONZA
Three have to hear with their hearts. Maybe they are not responsible for it. Let Bach touch them hoping that, on that day, such music will reveal itself to them. My wish and my hope.
Excellent violin virtuosity and a magnificent effort. But if you've heard this piece elsewhere, for example on organ, what's missing are the chords. Here the violinist follows the melody line a note at a time, sometimes 2, that's the nature of a single violin. But you have a whole orchestra sitting idly behind him, put them to work and generate the chords and resonances that together with the melody make this piece a classic. Maybe it depends, do you want to highlight the great violinist, or do you want to highlight the great music.
Chris Lewis This solo version came as an effort to attribute the disputed paternity of this piece back to Bach. They offered as an idea that the original composition might have been for a violin (Bach used to transcribe the violin pieces for keyboard, e.g. the partitas) and needed to fill in the chords to make it suitable for an organ arrangement. There are other more baroque inspired performances like the ones by Andrew Manze or Simon Standage. The case has some background, since it demands the full four octaves from the violin and a virtuosity that could be rivalled only by Vivaldian compoositions or Paganini flare. Recently I sang a Bach cantata which was originally conceived as an oboe concerto. The organ played a double role both as solo instrument and as accompaniment in the bass section. I can tell from that experience that Bach was a very instrumental composer even for the voice.
