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- เผยแพร่เมื่อ 7 มิ.ย. 2024
- Bach Orchestral Suite no. 3 BWV 1068, outstandingly performed by Musica Antiqua Köln directed by Reinhard Goebel, conductor and violinist. This is one of the very few versions where the fugue in the overture is performed as a solo violin concerto, the way it was probably conceived, which should be apparent to anyone just looking at the score.
1. Ouverture - 00:00
2. Air - 10:25
3. Gavotte 1 & 2 - 15:01
4. Bourée - 18:45
5. Gigue - 20:17
Buy it here: www.amazon.com/4-Orchestral-Su... - เพลง
So fresh and so much character brought out in the instruments and the playing
Maravilloso es Bach. Sus creaciones son de otro mundo.
The Best of Bach!
Bravi!
Belissima interpretazione, belos timbres!
Amazing beutiful
Magnificent!!!!
It is, full of spunk and funk...and the Air, for once, is listenable, rather than some drawn-out Greatest Baroque Chartbusters! Ach! Vite...on the Overture, pallmall to the Finish Line! Musicians, their aesthetic sensibilities, developed in the Conservatory...don't make room for Zimmermann's Coffee House.
OUVERTURE
Grave 0:03
Vivace 3:00 (6:36)
3:00 Exposition (6:36)
3:33 Episode 1 (7:10)
4:03 Middle entries (7:40)
4:28 Episode 2 (8:05)
5:03 Final entries (8:40)
Grave 5:37 (9:14)
AIR
A 10:25
B 11:56
GAVOTTE
Gavotte I
A 15:00
B 15:32
Gavotte II
A 16:22
B 17:10
Gavotte I
A 18:00
B 18:15
BOURREE
A 18:44
B 18:59
GIGUE
A 20:17
B 21:08
For those who want the Art of the video:
1734 John Theodore Heins Senior (German artist, 1697-1756) A Music Party at Melton Constable
Link: artuk.org/discover/artworks/a-music-party-at-melton-constable-170937
THANKS A LOT, MY DEAR FRIEND
Mozart was born in 1756, just an observation.
Yeah, the fugue in the overture. Can imagine back in the day them playing it like this and their wigs flying off everywhere.
Irreverent thought, but funny
Lindo.
7:12 is best part
Muzikai Lovely recording. Can I please have record label and album number, on CD if possible, LP is my second choice.
And again - Thank you.
Does somebody know what painting is on the video?
couldn't find it, but don't these lovely paintings add to the enjoyment of the music, if that is possible?!
1734 John Theodore Heins Senior (German artist, 1697-1756) A Music Party at Melton Constable
Link: artuk.org/discover/artworks/a-music-party-at-melton-constable-170937
Of the 30 million versions of "Air" that I've heard, this is the only one with harpsichord. I like it- it adds flavor, but was it written in the original score? I can't find any historical evidence that includes it. It doesn't really matter, I suppose; just a "nice to know" kind of thing.
onlyAPBTs
Well, we don't have Bach's autograph, if I recall correctly, but the bass part is marked "basso", which would imply basso continuo - which was absolutely normal practice at the time. That would mean most likely a keyboard instrument doubing the bass and filling in the harmonies. And this is most definitely not the only recording with a harpsichord; indeed, most "period" performances will have one playing this.
Great answer (and fast), thank you. Just to clarify, I said that this was the only performance with harpsichord that I've heard, not that it was the only one. Now that I've heard it this way it sounds more authentic to me.
This is my update. I now realize that my 30 million versions were of
"Air on the G String" which is a butchered version of the masterpiece.
Now that I've listened to this over and over again...it is fabulous!
What more can be said?
Give the ensemble Croatian Baroque Ensemble a chance! In my opinion a very good performance of Air. But this performance has many nice ornaments you don't hear at CBE.
Muzikay, quote: "Well, we don't have Bach's autograph". Hm.....are you really sure about that?
This performance is more fun than a barrel of monkeys. So luscious. I thought the fugue in the overture was too fast. I wonder when I hear some things played so fast that the musicians are bored with it and just joking around.
Agreed, but you have to admit it has lost none of its clarity.
@@barbaratrehy4742 I for one thrill of cavalry charges in baroque/classical dialects. It is what I listen for...Freiberg attacks; at the least, one wants to jump up and dance!
This performance sounded labored to me, but then that's probably because I prefer a more modern style. But was period practice really to rush the music so, and did the balances and accents sound this different? Perhaps so, but for years I thought of Yehudi Menuhin's LP's with the Bath Festival Orchestra as authentic period, and I don't remember them as being so hectic, or frankly, so weird-sounding. I'm no music historian in any case, but I think I'll compare Richter's rendition to Goebel's...
They say this rendition is more authentic, yet I can hear only musical schizophrenia. Thankfully Bach's music is capable to survive even the excesses of the 'historistericals' presumptions.
ronald, I take your points here. I play the violin, have done so professionally; I can state, on a baroque violin, with a baroque BOW, it is NO effort to play quickly. On the modern violin, this is, too, possible but it requites more force.
@@foveauxbear you say that it's easier to play fast on a baroque violine ? I would have thought the opposite
Is the modern violin more stable ? More powerfull ?
The Air was beautiful, but it had way too many ornamentations in the melody to sound authentically Bach-like. It was more like how Couperin would have written it, less "Air on the G String" and more "French maid in a G String". Not that it's a bad thing
Yes, you made an invidious comparison. Or, a back-handed compliment.
@@bruceanderson5538 you know, I've listened to it a few more times, and I'm liking it more now
@@parthoroy9141 i'm just thinking that if you could include Couperin, you would provide a more informative post for the layman such as myself. some of us are seeking the 'definitive' performance of any of the giants. Peace
@@bruceanderson5538 I hope this link works, for the Couperin example (Prelude from his Pièces de Violes Suite No. 1): m.th-cam.com/video/MhtrsAcBJ8Y/w-d-xo.html
@@parthoroy9141 Well, two efforts at the Prelude. Oddly, I'm not well-educated on the viol/cello of the French. But you know this performance just tickles me...I think it's a Charleston and flappers for the 1720s, not 1920s. Thank you..
Sorry, but you have committed both of the cardinal sins of this suite - stretching out the Overture and exceeding the speed limit on the Air. Were it not for your performance on the Gavottes, it would be an automatic dislike.
per favore, your ideal performance?
How does anyone know the exact speed of anything? Listen to the mid 60's Archive recording. I think you will like it. The speed is excellent in every part.