As an organist, I've always appreciated this arrangement; and Stokowski's use of the woodwinds in the beginning is reminiscent of organ flue stops. Towards the end, however, the dramatic sound of the full orchestra reminds me of the beginning of a war movie. But I still love it!
Dear Hearts: a masterful performance of a piece that is very dear to my heart. When I was in college in the early '70's, I was friends with a organ major in the music department. He was an amazing organist. One night he was rehearsing for a upcoming recital and he invited me to listen (I knew other female students who would have killed for an invitation. I was, however, the only female student who wasn't interested in him romantically. I just knew he had a musical, creative gift to share.). He also knew how much I love the Little Fugue in G Minor. He played it that night and he told me after he finished rehearsing, that when he played it at the recital, he'd be playing it for me. Needless to say, I lost it. I found out he died about 15 years ago as did his younger brother. How I wish I could have seen both brothers one more time. By sharing this video, you have brought back my love for this piece and the respect I had for two wonderful brothers. Thank you from the bottom of my heart. All Love
Can't forget how I was first introduced to these two. My grandmother had a copy of the 1991 re-release of the original Fantasia, which sparked my love for music. To the point that my brother and I would literally burn that very VHS tape out due to how many times we've played it...
These Young People's Concerts were a series of nationwide broadcasts on commercial TV over the course of many years of Bernstein's tenure at the New York Philharmonic, something no commercial network would do today. How I loved those concerts and how I idolized Bernstein! Stokowski performed his usual sorcery in turning Bach's Little Fugue into Stokowski's Grand Fugue.
I believe that there is room for both the original historic version and the transcription. As for what Bach himself would think, we cam pm;y s[eci;ate. Once a work goes out into the world it becomes more than just its creator's.
+Michael Loutris The issue is: What is the most important factor in music? For artists like Stokowski it was the SOUND first them rhythm, dynamics, and onward. For some it was FASHION and making subscribers like them. For others it's HISTORY i.e. reproducing all of the problems composers had to deal with. What almost tempts me to laugh at Bernstein's remark is his using a 9 foot Steinway Concert Grand for Mozart. The same as ANY decent pianist today demanding "Only a Pleyel for Chopin!". It's such a ridiculous, effete snobbery that makes one shake their head. Now, that having been said, I didn't like anything else about Leonard Bernstein, but - What a sound he got out of the NY Philharmonic! As stated before, What's the most important thing? Not reprehensible, elitist, back stabbing gutter-snipes at the baton, but the SOUND alone.
@prepended prepended I agree with Bernstein. In order to know what Bach would or would not have done had he been alive in more modern times, one would have to be Bach himself.
Stokowski's orchestration shows one of the most beautiful examples of woodwind ensemble, especially of the double reed section, in which everyone would hear the best traslation of Bach's true intentiopn of organ sound into the modern orchestra.Here you may recognize many virtuoso wind players of the NY Philharmonic, such as Harold Gomberg, oboe, Engeklbert Brenner, English horn, Julius Baker, flute, Stanley Drucker, clarinet, Manuel Zegler, bassoon among many,many others. It was indeed The Golden Age.
Wow, that's a fascinating historical document. Bernstein inviting Stokowski to conduct, and two of the greatest conductors of all time in a Young Peoples' Concert.
for school children...... I remember such things..... we lived in the middle of the Mid-West but such things reached all the way to us there... wonderful..... I wonder if there is anything today that would lift the mind of a young child in the same manner....... thanks for posting!!
La gran humildad de L.Bernstein,reconocer y honrar publicamente a un gran colega: Leopold Stokowski.Hoy ambos fellecidos,pero inmortales cuando suenan sus mu'sicas !!!.-
As a very young violinist at the time of this recording who went on the play in a few orchestras over the next decades I’d be terrified of being under the baton of this great maestro. Even in his later years, as we can see here, his control of tempo and knowledge of the music, sans score, is superb. Bet they dare not put a foot wrong….
You can put it like that, yes. I think it's more like: 2' 4' 8' 16' Since this was originally an organ piece, the score follows the size of the pipes in octaves
Enjoyed this. Took me back many years to when I listened to Stokowski and his orchestras without ever seeing them. Seeing him now for the first time is a real treat! Thank you! ❤ 😊
I remember when I first heard this song. I was blown away. I'm not sure if this was the particular treatment of it, but it's good. It's not just the piece of music, it's how it's treated. The spaces between the notes are as important as the notes, as well as which instruments come forward, when and in what combination.
I was never a huge fan of the idea that altering a bach piece would be disrespecting Bach or the music. Music is an art form, as well as an intellectual pursuit. I always love to listen to Bachs music reimagined, whether it's this, or Carlos Moog Bach. If I find one that I don't like, I just don't listen to it again. Music is meant to be manipulated and reimagined. If you know anything about Bach you know he would say the exact same thing; he often borrowed from other composers works, or sometimes even transcribed them for completely different ensembles/instruments (such as the Bach Vivalid pieces).
With Bach's works, if I encounter a transcription, or an adaptation to different instruments, I always give it several listenings before passing judgement.
@@spikespa5208 the same I do. Especially with fugues. Our mindset have changed so much over the years, back then a fugue was a fugue. Today it's more than a genre and a technique, it packs a lot of power, power which no ensamble at the time of J. S. Bach could handle and pass. The most powerful tool was the church pipe-organ. Amazing work by maestro Skotowski. If I were alive to meet him I would thank him by any mean I have.
Outside of the proper organ, this is my favorite arrangement of this most accessible of Bach's fugues. Why, the first violins don't appear until after the half-way mark, and then it's all goosebumps and epic sweeping afterwards.
Interesting :O in separating different parts into different sections of instruments it’s easier to sense the almost mechanistic nature of the fugue. It’s almost like a romantic piece with each instrument having more autonomy in the piece. In that way, the old style just juts forth!
This was a wonderful program for children (and adults). Since the eighties, classical music has been banned on commercial TV in America. Low taste, satisfied with even lower gratifications which led to even lower taste ..., this had been the involution of television in the US and elsewhere .
There is no need to be rude. The obvious (and sad) issue is that the market share of classical music by the 1980s had dipped under 5% (It is 3% now), which has made it unprofitable for programming on mass media.
How to ski at freeway speeds.... 1) acquire skills 2) play little fugue in G in your head to provide courage and concentration. It worked wonderfully for me. Note : it may require starting the music in mid fugue to gain the proper affect.
It's because of this guy, felix mendelssohn and a few other conductors why bach is so famous today. Which is why I'm baffled when I see people criticizing this type of interpretation. But also makes me realize that so many people don't even know why they like bach. They only say they do because it's a famous name in the history of music.
Does the score for this still exist? I would love for this to be re-recorded with modern day technology. The arrangement is perfect but the recording quality is very bad.
Bernstein is amazing, Stokowski is god. But did you notice Moog Synthesizers behind? Robert Moog, the father of synthesize, is well deserved to be with this two giants.
Dear Muhammed, This entire piece is ´The Little Fugue in G Minor´ by J. S. Bach; but in a transcription arranged by the Conductor. What a wonderful rendition... Isn´t it? Atte. JG
Bernstein seems to think that only conductors made Bach transcriptions for themselves to conduct. However, although a few conductors did, such as Stokowski and Sir Henry Wood, arrangements of Bach's works were made far more by composers than conductors. The list includes Respighi, Elgar, Mahler, Schoenberg, Webern, Vaughan Williams, Holst, Bantock, Honegger, Reger, Stravinsky, Walton and many others. One of my favourites is the Bach-Elgar Fantasy and Fugue in C minor. If you'd like to hear it, click this link ... th-cam.com/video/CsYKl-19K9g/w-d-xo.html
when played on organ, as was probably originally intended, it does get a little muddy as is, IMO, often the case with organ music. the ending in this version is a bit OTT. the beginning was lovely but the length of the piece is not sufficient to support the bombast at the end. again IMO.
And parents took their very young pre-school, grade school, and teens to these concerts ! Too bad there isn't a similar program to used to expose children to live musicians playing real music on real instruments without any Autotune or any other "studio magic "..
...a bit of trivia. In this performance we see Philharmonic Hall in New York as originally built. It was an acoustical disaster and would later be gutted and rebuilt as Avery Fischer Hall.
I first heard "Leopold!" as a child about 40 years ago in that Bugs Bunny cartoon and had no idea who they were talking about, why everyone was whispering his name, or why that singer was so intimidated by Leopold. Now it all makes sense.
These days audiences give standing ovations because someone onstage hit their mark. It's lost value. Back then a standing ovation was for exceptional performance even grander than this. Had he conducted a full concert he likely would have received one. He was the one and only.
With my tongue somewhat in cheek, I think this fugue could've been named the America Fugue had Bach been living in more recent times instead -for me it conjures up the spirit of positive youthful competition more than any other piece of music that I know. Playing it at 1.05x speed ;D
The arrangement for woodwind worked beautifully for me. As the arrangement built to full orchestra, I felt that the piece lost clarity and became unwieldy. Just my personal opinion as a non-musician.
On an organ it does sound much clearer, but in my opinion in this transcription the orchestra deals a lot of justice to the piece by giving it the power it holds in it, fortuned, inside the quadruple fugue.
Stokowski was born in 1882. This is simply astonishing. A piece of musical history.
As an organist, I've always appreciated this arrangement; and Stokowski's use of the woodwinds in the beginning is reminiscent of organ flue stops. Towards the end, however, the dramatic sound of the full orchestra reminds me of the beginning of a war movie. But I still love it!
Yes, it sounds like Bach at the beginning but ends more like Beethoven. Good point. To me the end is reminiscent of 7th Symphony in A major.
I was surprised to see the late President Brezhnev playing the Bassoon
😄😄😎
That's Manny Ziegler. He'd probably be amused by the comparison!
Lol
So do I
And Edward Woodward on oboe. So that's where he went.
That finale is so incredibly epic.
Dear Hearts: a masterful performance of a piece that is very dear to my heart. When I was in college in the early '70's, I was friends with a organ major in the music department. He was an amazing organist. One night he was rehearsing for a upcoming recital and he invited me to listen (I knew other female students who would have killed for an invitation. I was, however, the only female student who wasn't interested in him romantically. I just knew he had a musical, creative gift to share.). He also knew how much I love the Little Fugue in G Minor. He played it that night and he told me after he finished rehearsing, that when he played it at the recital, he'd be playing it for me. Needless to say, I lost it. I found out he died about 15 years ago as did his younger brother. How I wish I could have seen both brothers one more time. By sharing this video, you have brought back my love for this piece and the respect I had for two wonderful brothers. Thank you from the bottom of my heart. All Love
Can't forget how I was first introduced to these two. My grandmother had a copy of the 1991 re-release of the original Fantasia, which sparked my love for music. To the point that my brother and I would literally burn that very VHS tape out due to how many times we've played it...
These Young People's Concerts were a series of nationwide broadcasts on commercial TV over the course of many years of Bernstein's tenure at the New York Philharmonic, something no commercial network would do today. How I loved those concerts and how I idolized Bernstein! Stokowski performed his usual sorcery in turning Bach's Little Fugue into Stokowski's Grand Fugue.
I believe that there is room for both the original historic version and the transcription. As for what Bach himself would think, we cam pm;y s[eci;ate. Once a work goes out into the world it becomes more than just its creator's.
+Michael Loutris The issue is: What is the most important factor in music? For artists like Stokowski it was the SOUND first them rhythm, dynamics, and onward. For some it was FASHION and making subscribers like them. For others it's HISTORY i.e. reproducing all of the problems composers had to deal with. What almost tempts me to laugh at Bernstein's remark is his using a 9 foot Steinway Concert Grand for Mozart. The same as ANY decent pianist today demanding "Only a Pleyel for Chopin!". It's such a ridiculous, effete snobbery that makes one shake their head. Now, that having been said, I didn't like anything else about Leonard Bernstein, but - What a sound he got out of the NY Philharmonic! As stated before, What's the most important thing? Not reprehensible, elitist, back stabbing gutter-snipes at the baton, but the SOUND alone.
@prepended prepended I agree with Bernstein. In order to know what Bach would or would not have done had he been alive in more modern times, one would have to be Bach himself.
Fun to think that this piece was originally composed to be played by a single person!
The build up and clear progression of this piece is amazingly terrific.
Stokowski's orchestration shows one of the most beautiful examples of woodwind ensemble, especially of the double reed section, in which everyone would hear the best traslation of Bach's true intentiopn of organ sound into the modern orchestra.Here you may recognize many virtuoso wind players of the NY Philharmonic, such as Harold Gomberg, oboe, Engeklbert Brenner, English horn, Julius Baker, flute, Stanley Drucker, clarinet, Manuel Zegler, bassoon among many,many others. It was indeed The Golden Age.
never can get enough GOMBERG!
I was searching for a non- organ version of this fugue , never found it until now .😅
And Bernstein's speech is a treat.
Wow, that's a fascinating historical document. Bernstein inviting Stokowski to conduct, and two of the greatest conductors of all time in a Young Peoples' Concert.
I love the way the layers come in. This is such a monumental piece!
for school children...... I remember such things..... we lived in the middle of the Mid-West but
such things reached all the way to us there... wonderful..... I wonder if there is anything today that
would lift the mind of a young child in the same manner....... thanks for posting!!
I guess, that Bach might have been shocked at first, but gradually become more impressed and then, maybe inspired - given his great gift for drama.
La gran humildad de L.Bernstein,reconocer y honrar publicamente a un gran colega: Leopold Stokowski.Hoy ambos fellecidos,pero inmortales cuando suenan sus mu'sicas !!!.-
2:48 - Brezhnev on bassoon.
i thought i recognised that guy lol
Thank you to my 2018 Art History professor Professor Tinnen who showed the class this video. I was introduced to something sublime !!
The build up to 5:48 is amazing!
I remember as a little kid watching a bugs bunny cartoon featuring maestro Leopold!
Leopold!
finally find this perfect work, about 30 years ago I heard this on a tape
That happened to me too!!
As a very young violinist at the time of this recording who went on the play in a few orchestras over the next decades I’d be terrified of being under the baton of this great maestro. Even in his later years, as we can see here, his control of tempo and knowledge of the music, sans score, is superb. Bet they dare not put a foot wrong….
What baton?
I heard from someone who played in the London symphony orchestra that he was a very hard task-master, as were so many of his conducting generation.
Was not ready for that ending...goodness! ❤️
part of the magic was the change from minor to major
Chills
2:09 (Soprano)
2:27 (Alto)
2:48 (Tenor)
3:05 (Bass)
You can put it like that, yes. I think it's more like:
2'
4'
8'
16'
Since this was originally an organ piece, the score follows the size of the pipes in octaves
This footage is beyond description
Enjoyed this. Took me back many years to when I listened to Stokowski and his orchestras without ever seeing them. Seeing him now for the first time is a real treat! Thank you! ❤ 😊
Glad you enjoyed it
Featuring the great Harold Gomberg on 1st Oboe!
Woohoo! Ralph Gomberg student here
the best version ever!!
One of the best renditions I've heard. Fantastic.
I love him, also best dress conductor. I wonder if a ponytail would have been perfect for him since he liked his hair longer.
I was there :)
Brilliant! The final part is arranged in a very russian style and reminds me of Shostakovich a lot! Beautiful!
Bach would probably love to write music for some of the pipe organs that exist today !!
Yes as a change between writing for Trumpet. So much of his music is perfect for the trumpet that was invented 100 years too late.
I remember when I first heard this song. I was blown away. I'm not sure if this was the particular treatment of it, but it's good. It's not just the piece of music, it's how it's treated. The spaces between the notes are as important as the notes, as well as which instruments come forward, when and in what combination.
I was never a huge fan of the idea that altering a bach piece would be disrespecting Bach or the music. Music is an art form, as well as an intellectual pursuit. I always love to listen to Bachs music reimagined, whether it's this, or Carlos Moog Bach. If I find one that I don't like, I just don't listen to it again. Music is meant to be manipulated and reimagined. If you know anything about Bach you know he would say the exact same thing; he often borrowed from other composers works, or sometimes even transcribed them for completely different ensembles/instruments (such as the Bach Vivalid pieces).
With Bach's works, if I encounter a transcription, or an adaptation to different instruments, I always give it several listenings before passing judgement.
@@spikespa5208 the same I do.
Especially with fugues. Our mindset have changed so much over the years, back then a fugue was a fugue. Today it's more than a genre and a technique, it packs a lot of power, power which no ensamble at the time of J. S. Bach could handle and pass. The most powerful tool was the church pipe-organ.
Amazing work by maestro Skotowski. If I were alive to meet him I would thank him by any mean I have.
It's just perfect..... so much.
absolutely nice
you said it
incredible, universal music Bach wrote
This is out of this world!!!
Awesome 🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹
We played this piece in 1979 High Point Central HS , High Point North Carolina
Outside of the proper organ, this is my favorite arrangement of this most accessible of Bach's fugues. Why, the first violins don't appear until after the half-way mark, and then it's all goosebumps and epic sweeping afterwards.
What if I told you those were actually violas?
Leopold....Leopold....Leopold...
Uh, LEOPOLDT!
Nice one 😂
th-cam.com/video/gt1V61SPI_w/w-d-xo.html
For people who didn't get it , I *think* this is what the reference meant
Interesting :O in separating different parts into different sections of instruments it’s easier to sense the almost mechanistic nature of the fugue. It’s almost like a romantic piece with each instrument having more autonomy in the piece. In that way, the old style just juts forth!
Now we just need Walt Disney to translate this to moving pictures.
Шедевр!!!
This was a wonderful program for children (and adults). Since the eighties, classical music has been banned on commercial TV in America. Low taste, satisfied with even lower gratifications which led to even lower taste ..., this had been the involution of television in the US and elsewhere .
it has not been banned. your brain has been banned from your head.
There is no need to be rude. The obvious (and sad) issue is that the market share of classical music by the 1980s had dipped under 5% (It is 3% now), which has made it unprofitable for programming on mass media.
Language matters. Still. Market share has nothing to do with “banning.”
How to ski at freeway speeds.... 1) acquire skills 2) play little fugue in G in your head to provide courage and concentration. It worked wonderfully for me. Note : it may require starting the music in mid fugue to gain the proper affect.
Tears.
"Leopold!!! Leopold!!!" That Bugs Bunny cartoon is a riot!
Just about everything I know about classical music, I learned from Bugs Bunny!
Carl Stalling was the music arranger for Bugs Bunny, etc. And was a classically trained musician and a very good conductor in his own right...
Bernstein's best video ever!!!
WITCH CRAFTTTTT!!!!! melted my heart! love it!!!!!
best version I've heard so far
Magnificent
Beautiful!
2:08
There are very few that can appreciate Leo's contributions now. He was amazing.
It's because of this guy, felix mendelssohn and a few other conductors why bach is so famous today.
Which is why I'm baffled when I see people criticizing this type of interpretation.
But also makes me realize that so many people don't even know why they like bach. They only say they do because it's a famous name in the history of music.
One of my all time favorites!!
LEOPOLD!
Three great masters!
4:52 😍
Wonderful arrange.
I so wanted him to ask for Bernstein's baton
and then snap it
Not gonna lie, I was expecting for the orchestrals to say "Leopold!" when he stepped on stage.
The bassoonist looks a bit like Brezhnev without the mighty soviet eyebrow(s).
"Soviet eyebrow(s)" :D
Absolutely Beautiful! Sheer Heaven!!!
Does the score for this still exist? I would love for this to be re-recorded with modern day technology. The arrangement is perfect but the recording quality is very bad.
How about this? ... th-cam.com/video/U_OtfBwqzCE/w-d-xo.html
Fabulous
Here you can hear the influence the music Bach wrote had on young Beethoven.
Excellent!!!!!
"And all about the courtly stable,/Bright- harnesse`d Angels sit in order serviceable"-overwhelming beautiful!!!
Bravissimo!!!
Superb!!!!
El milagro de Bach. Obra "insignificante," "perdida" más o menos en el repertorio general y trascendente a la vez. En él, lo de siempre: MIlagro
Bernstein is amazing, Stokowski is god. But did you notice Moog Synthesizers behind? Robert Moog, the father of synthesize, is well deserved to be with this two giants.
My music teacher showed me this i love this
Leopold! 1:35
A mighty musical army waging Bach's war!
I like how Leonard Bernstein pronounces Bach
This is the correct way of pronouncing bach btw
Jack Le it's because he knows german.
I think his gesture at 5:31 to 5:32 looks rather like a shot in the arm ..shark adrenaline time hehe
2:08
2:08
2:08
2:08
Superbe fugue de bach👩😘😘😘👍👍👍👍👍👍😘😘😘😘👍🎵🎶🎹🎹🎻🎻
The greatest conductor of all time!
My favorite fugue
L L L L LEOPOOOLD!!!
Wow!
Leopold!
Leopold!
Leopold!
Leopold!
Leopold!
Leopold!
НЕВЕРОЯТНО!
Dear Muhammed, This entire piece is ´The Little Fugue in G Minor´ by J. S. Bach; but in a transcription arranged by the Conductor. What a wonderful rendition... Isn´t it? Atte. JG
Bernstein seems to think that only conductors made Bach transcriptions for themselves to conduct. However, although a few conductors did, such as Stokowski and Sir Henry Wood, arrangements of Bach's works were made far more by composers than conductors. The list includes Respighi, Elgar, Mahler, Schoenberg, Webern, Vaughan Williams, Holst, Bantock, Honegger, Reger, Stravinsky, Walton and many others. One of my favourites is the Bach-Elgar Fantasy and Fugue in C minor. If you'd like to hear it, click this link ...
th-cam.com/video/CsYKl-19K9g/w-d-xo.html
when played on organ, as was probably originally intended, it does get a little muddy as is, IMO, often the case with organ music. the ending in this version is a bit OTT. the beginning was lovely but the length of the piece is not sufficient to support the bombast at the end. again IMO.
Thanks !
And parents took their very young pre-school, grade school, and teens to these concerts !
Too bad there isn't a similar program to used to expose children to live musicians playing real music on real instruments without any Autotune or any other "studio magic "..
The detroit symphony does
...a bit of trivia.
In this performance we see Philharmonic Hall in New York as originally built. It was an acoustical disaster and would later be gutted and rebuilt as Avery Fischer Hall.
LEOPOLD!!!
I first heard "Leopold!" as a child about 40 years ago in that Bugs Bunny cartoon and had no idea who they were talking about, why everyone was whispering his name, or why that singer was so intimidated by Leopold. Now it all makes sense.
🌹☀❤Leopold the Great!
.........and why wasn't the audience on their feet?? Did they not know what they heard?
The applause seems to be extremely loud heh -doubt that it's the position of the speakers. They probably did one at the end of the concert..
These days audiences give standing ovations because someone onstage hit their mark. It's lost value. Back then a standing ovation was for exceptional performance even grander than this. Had he conducted a full concert he likely would have received one. He was the one and only.
Would anyone please tell me where do the music in the beginning come from?
Thanks
The music at the start is the 1st movement of Mozart's Piano Sonata in C (K.545) 'Sonata Semplice.'
Played by Leonard Bernstein himself.
Great!!!¡¡ Wonderfull!!¡¡
With my tongue somewhat in cheek, I think this fugue could've been named the America Fugue had Bach been living in more recent times instead -for me it conjures up the spirit of positive youthful competition more than any other piece of music that I know.
Playing it at 1.05x speed ;D
Is that an alto flute? 3:24
Yes
The arrangement for woodwind worked beautifully for me. As the arrangement built to full orchestra, I felt that the piece lost clarity and became unwieldy. Just my personal opinion as a non-musician.
On an organ it does sound much clearer, but in my opinion in this transcription the orchestra deals a lot of justice to the piece by giving it the power it holds in it, fortuned, inside the quadruple fugue.