I used to be an accomplished organist and had a superb church job until i got a painful neurological disease known as MS that has taken my ability to physically play the organ at my full potential. But that disease cannot take my knowledge and love for the King of the Instruments!!!
Meister Bach phonografisch durch die Kunst Koopmans hören zu dürfen ist ein Akt der Gnade Gottes, die immer mittelbar, sakramental, geschiet. Deo gratias!
Dietrich Buxtehude was quite similar to Bach before Bach (Bach traveled a long way specifically to see him), and Bach had good pupils (at least Johann Ludwig Krebs) who followed him closely but don't get the recognition that they deserve.
@@Lucius_Chiaraviglio There were great organ composers before and after Bach, who indeed deserve more recognition in their own right. But Bach being Bach, he outshines them all.
I got my Music Performance degree of Music for Organ from Brigham Young University Provo, UT about 10 years ago. This BWV is at the top of my list. It was so incredible to study Johann Sebastian Bach's original music and I love how this video shows his original transcript of BWV 541 for us to follow with the audio recording. Part of my studies was doing a paper on him and getting to know who he really was right down to his personality and interests from those who knew him and the churches he worked for. I have dyslexia and his music has helped me heal and cope with the challenges that dyslexia can bring. I admire him so much! His music is commonly used in Music Therapy because of the perfect sequential timing his music portrays. When a brain is in so much disorder and chaos it is so soothing to listen to something that is predictable and in a perfect numerical order.
Bach ist für mich der interessanteste Komponist, was den strengen Satz etc. anbelangt Vor allem, wenn man im urtext sieht, was er alles "rausradiert" und neu geschrieben hat Höchst interessant, diese noch zu erkennenden "gelöschten" Noten Was er wohl alles im Kopf gedacht haben muss.... Brutalst interessant für mich Thanks Tom Koopman for this great Interpretation
I sense a mystery in Koopan's mastery of staccato: he keeps weaving perfectly arched phrases while reminding us with a steady tempo and a relentless pulse that XVIII century people were obsessed by a dance craze more powerful than ours. LOL, even Bach's own handwritten notes look like dancing!
It is fascinating to listen to this while following along with the music, written in Bach's own hand. The score is wonderfully legible and clear, the opposite of Beethoven's scores.
mooi zoals het opklinkt in de partituur in het derde systeem naar de lange hoge noot. De vertragingen en versnellingen van Ton zijn altijd mooi gedoceerd. Wat zou ik hem graag eens een keer in Middelburg op het de Rijckere orgel horen dat moet een groot feest worden en dan hoop ik dat dat opgenomen wordt. Ik was er op 21 juli bij het concert van Andreas Liebig onvergetelijk. Dit orgel vraagt om zulke mooie organisten die haar tot glorie kunnen brengen !
Good grief! What a thrill to follow off the 'manuscript'. It's like a re-aquaintance with an old friend! Lovely posting. PS Koopman's performance is half-decent, too;-)
Steve Vai is the Ton Koopman of Rock. And on top of it Ton is funny as hell. A wildman genius that can play anything he wants better than anyone- as far as I'm concerned (Well, except for Rachel Flowers, that is.)
Wonderful! Thank you, jsba, for showing the manuscript. So difficult to read. Glad for my Peters Edition. Wonderful, energetic performance by Ton Koopman. But sorry for all the disconnected pedal notes.
Als een godenzoon speelt Ton hier dit grootse werk Alsof we zonnestormen zien van geluk. Aus einem Guss is hier deze magistrale compositie in een hollandse manier uit de klei getrokken en alles in een prijzend gezond forte
Als je ziet hoe de partituur met zoveel liefde is geschreven en dan het klinkende resultaat dan weten we toch genoeg om te weten. Een buitengewoon krachtig werk. Als Beethoven het zou hebben gehoord zou hij zijn hoofd diep gebogen hebben.
Ton ken je Andreas Liebig en wanneer kom je op het oostkerkorgel in Middelburg spelen. Wat zal jij genieten van dit prachtig instrument !. Vereer de stad met je aanwezigheid ! Wees niet verlegen !
How wonderful seeing Johann's own hand! Koopman's performance is energetic without sounding too fast! Would like the relief of contrasts instead of entire work played on same stops. Pedal 16' reed is a little too much. Was this paper washed (bleached) and reused? Why the bird symbol? In the original paper? Thank you, jsba, for posting this recording and also providing the manuscript in time with the music.
Wat een heerlijk jubelend werk, Alles zit er in alsof een goede muzikale familie thuis de dag nog even doorneemt met de grote vader Bach de onvolprezen vijfde evangelist. Als ik zo vrij mag zijn dan hoop ik dat Johan op het orgel speelt in de hemel als ik daar toe mag treden. AMEN
How long ago has Ton recorded this Prelude and Fugue in G? It seems as if he plays here considerably less fast as 25 years ago. I like this tempo. His earlier recordings of BWV 541 are much too fast.
@crossbike Meinst du mit m.E (meiner Einsicht) ? Deutschland und Die Niederlande habe viel gemeinsam Zum Beispiel die Orgernl Arp Snitger. Ich bin ein Ost-Fries aus Holland
Sorry for my bad English. 3:28-3:30 is a mystery to me. Why did Bach avoid all the semiquavers in the pedal? By using my heels, it's easy to play the semiquavers very fast. If I try only with my toes, and sliding from F sharp to G, it is still very easy to play the semiquavers. But if I don't sliding, I face the problem - not so easy to play fast anymore. 1. Bach did not played with heels. 2. He even not slide his toe from black key to a white one? (Notise my? not !) 3. He play this fugue very fast, too fast by only use his toes. Is there something I have overlooked?
+geir øyvind eskeland I'm not an expert, but my guess is Bach didn't want to overly complicate the pedal part (both musically and technically). You'll notice the musical texture getting extremely dense when all parts move in semiquavers. Bach did use his heels, but in playing his music I would personally do that sparsely, since using just the toes helps keep the music sound clear (especially on a big instrument in a room with a lot of reverb - i.e. a cathedral).
Thank you for answer(ing) my comment. Quote: "You'll notice the musical texture getting extremely dense when all parts move in semiquavers." Yes, I support you here. still, the real reason why he wrote the fugue theme without semiquavers, was because of thecnical difficulties. But how to explane this with my inadequate English? I will make a try and I beg you to try understanding what I want to tell you. After going through Das Wohltemperierte Klavier I and II, I found at least 20 fugue themes with semiquavers. He never changes the bass but in stead made the other parts more simple. You may say "only twenty examples? I guess it is just a coincidense." Ok. But Bach gave us a huge numbers of fugues for different imstruments, but so far I have not found any example thaere he wrote the bass more simple. So why only in his works for organ? I haven't practise the pipe organ for the last thirty years. But after a couple of minutes, I was able to play the semiquavers in the pedal as well - by using my heels. Fugue BWV 582, the counterpoint with semiqvavers, notise that he don't change the melody line in the pedal because it works well by useing the toes. But take a look at the fugue BWV 542. He second counterpoint is changes in the pedal(development in c-minor). The counterpoint is easy to play with heels, so why did he changes the melody line? Because it's hard to play only with toes. I believe this can telling us sometjing about the tempi in his organworks. Organ works there he changes the melody line in the pedal was played quite fast. Quote: . . . "since using just the toes helps keep the music sounds clear . . " yes, you are absolutely right! So why should Bach use his heels and make the music less clear?
+geir øyvind eskeland Clearly you've studied the subject far more thorough than me. ;) I do not know the answer to your questions. Technicalities are probably not the reason here (I agree with you there), since elsewhere the pedal line does move in semiquavers. I know Bach modified themes here and there when that theme would otherwise be hard to play on the pedal. The only thing I can think of is Bach wanted to keep things from being too complicated musically. The works in the WTK are meant for a (small - i.e. not an organ) keyboard instrument, but an organ with a lot of notes to play in a big cathedral creates a lot of sound, not necessarily all transparent.
Johannes Zwart, I am sorry, I guess my inadequate English is to blame. I mentioned the WTK just to give you an explanation why BWV 541 is a technical problem, not a question about musical densety. About WTK: If the composer had the densety in mind, we should find some examples, but there is none. I mean, among all those fugues with semiquavers, some of the fugues should have less semiquavers in the bass line, but he always keep all the semiquavers also in the bass. To avoid densety, he make the other voices more simple by using quavers. Quote: ". . . since elsewhere the pedal line does move in semiquavers." I know, and the reason is because all those semiquavers are easy to play only by toes. Therefore my conclution is that the organists back then in general didn't used their heels. If the composer played the fugue theme BWV 541 also with heels, he would made the uppervoices more simple by using quavers like he did in so many many other fugues.
Absolument pas, cela n'a rien àvoir avoir un orgue de barbarie, ceci est un énorme instrument majéstueux faisant la taille d'une maison avec plusieurs milliers de tuyaux et des pompes éléctriques pour actionner la bête !!
I used to be an accomplished organist and had a superb church job until i got a painful neurological disease known as MS that has taken my ability to physically play the organ at my full potential. But that disease cannot take my knowledge and love for the King of the Instruments!!!
What a magnificent performance on an historic organ. Ton Koopman is a wonderful Bach player.
BWV 541 has to be one of my favorite organ pieces. Its just such a complex yet free-flowing piece of music. So energetic and astounding.
true
Bwv 538, prelude. Koopman. Give it a listen. Pretty epic.
Compare the much warmer harmony of a meantone tuning. th-cam.com/video/2osCf4AQ_0k/w-d-xo.html
Fantastic brain!
Bach is a pure Mankind’s Genius!
Koopman captou a telúrica alegria dessa obra de Bach.
Terrific!
Meister Bach phonografisch durch die Kunst Koopmans hören zu dürfen ist ein Akt der Gnade Gottes, die immer mittelbar, sakramental, geschiet. Deo gratias!
Korrektur: phonographisch
In a techniqual way nobody is simliar to Bach.And his skills of "parallel hearing voices" is unmatched.
Bach is Bach!
Dietrich Buxtehude was quite similar to Bach before Bach (Bach traveled a long way specifically to see him), and Bach had good pupils (at least Johann Ludwig Krebs) who followed him closely but don't get the recognition that they deserve.
@@Lucius_Chiaraviglio There were great organ composers before and after Bach, who indeed deserve more recognition in their own right. But Bach being Bach, he outshines them all.
I got my Music Performance degree of Music for Organ from Brigham Young University Provo, UT about 10 years ago. This BWV is at the top of my list. It was so incredible to study Johann Sebastian Bach's original music and I love how this video shows his original transcript of BWV 541 for us to follow with the audio recording. Part of my studies was doing a paper on him and getting to know who he really was right down to his personality and interests from those who knew him and the churches he worked for. I have dyslexia and his music has helped me heal and cope with the challenges that dyslexia can bring. I admire him so much! His music is commonly used in Music Therapy because of the perfect sequential timing his music portrays. When a brain is in so much disorder and chaos it is so soothing to listen to something that is predictable and in a perfect numerical order.
Bach ist für mich der interessanteste Komponist, was den strengen Satz etc. anbelangt
Vor allem, wenn man im urtext sieht, was er alles "rausradiert" und neu geschrieben hat
Höchst interessant, diese noch zu erkennenden "gelöschten" Noten
Was er wohl alles im Kopf gedacht haben muss.... Brutalst interessant für mich
Thanks Tom Koopman for this great Interpretation
I love the rhythm in the pedal at 5:52 - 6:11. This is the most bumpin' Bach organ piece I've heard.
Bach, el maestro de maestros...
Bin total mitgerissen von dieser Interpretation. So muss m.E. Bach erklingen.
Bravo bravo bravo!!!
Bach and Koopman....The best.
Grandioso y lleno de fuerza. Excelente interpretación digna de un coloso como Bach.
Amb aquesta fuga de Bach i ton Koopman vaig redscobrir l'orgue i les obres de Bach per a orgue. SUBLIM!❤
… great to see the facsimile too, and great take on the pieces as recorded. sincere thanks.
Ton Koopman is the master of organ. His interpretation of BWV 541 is excellent and sounds amazing on the Trinity Organ of the Ottobeuren Basilica.
He is not the master of organ, Bach is.
Koopman, the best pupil of Bach! This is rock music!
Just splendid; I could listen for hours!
Bach is een voorbeeld voor ons allen
Koopman ook.
Ton Koopman is een groot voorbeeld voor de vele amateurorganisten in ons land en heeft terecht en medaille verdiend
a great great joy to hear this piece. my favorite
Fantastic it is with a great organ, the manuscript, and an excellent organist. Thank you! This will be on my Best of All playlist.
I sense a mystery in Koopan's mastery of staccato: he keeps weaving perfectly arched phrases while reminding us with a steady tempo and a relentless pulse that XVIII century people were obsessed by a dance craze more powerful than ours. LOL, even Bach's own handwritten notes look like dancing!
Truly majestic - the piece and the virtuosity. So incredible clear - never the the muddle this sometimes becomes.
Heel voortvarend gespeeld
It is fascinating to listen to this while following along with the music, written in Bach's own hand. The score is wonderfully legible and clear, the opposite of Beethoven's scores.
Bach is de heerlijkste orgelmeester uit Duitsland en zijn naam zal worden geprezen in eeuwigheid
mooi zoals het opklinkt in de partituur in het derde systeem naar de lange hoge noot.
De vertragingen en versnellingen van Ton zijn altijd mooi gedoceerd. Wat zou ik hem graag eens een keer in Middelburg op het de Rijckere orgel horen dat moet een groot feest worden en dan hoop ik dat dat opgenomen wordt. Ik was er op 21 juli bij het concert van Andreas Liebig onvergetelijk. Dit orgel vraagt om zulke mooie organisten die haar tot glorie kunnen brengen !
Bach you are always glorious
Esecuzione a dir poco eccellente ...Bravissimo m° Koopman....Davvero Fantastico
Good grief! What a thrill to follow off the 'manuscript'. It's like a re-aquaintance with an old friend! Lovely posting. PS Koopman's performance is half-decent, too;-)
I wish there were recordings of this with voices.
breathtaking
Splendid!
Ton Koopman is the greatest
En ook snel , the Fast.
De pedaalregistratie is geniaal zoals de basstem een zak in het duitje doet
My favorite moment: 5:30
That glorious entrance of the pedal bringing back the theme!
I love the section right before it starting at 4:50. The way Bach cycles through the harmonies before the dominant pedal...
The masterpiece of a Genius!
Great with this manuscript. Thanks.
Just perfect!
we moeten allemaal ons hoofd buigen voor Bach
ton iedere dag geeft BACH mij kracht
Steve Vai is the Ton Koopman of Rock. And on top of it Ton is funny as hell. A wildman genius that can play anything he wants better than anyone- as far as I'm concerned (Well, except for Rachel Flowers, that is.)
Wonderful! Thank you, jsba, for showing the manuscript. So difficult to read. Glad for my Peters Edition.
Wonderful, energetic performance by Ton Koopman. But sorry for all the disconnected pedal notes.
hermoso manuscrito. Y hoy el FINALE para los músicos cómodos.
Ni manuscrito ni Finale... yo prefiero Urtext, gracias.
Jajajaja
Als een godenzoon speelt Ton hier dit grootse werk Alsof we zonnestormen zien van geluk. Aus einem Guss is hier deze magistrale compositie in een hollandse manier uit de klei getrokken en alles in een prijzend gezond forte
Als je ziet hoe de partituur met zoveel liefde is geschreven en dan het klinkende resultaat dan weten we toch genoeg om te weten. Een buitengewoon krachtig werk. Als Beethoven het zou hebben gehoord zou hij zijn hoofd diep gebogen hebben.
!!! phantastisch !!!
Masterpiece!
Gracias por compartirlo.
wat een heerlijk orgelmeester is Bach Wie kan hem tippen
What an instrument ! (nothing wrong with the playing either :-)
We weten het niet maar het zou zo maar kunnen dat Bach het ook zo gespeeld heeft. Krachtig en Vreugdevol
Ton ken je Andreas Liebig en wanneer kom je op het oostkerkorgel in Middelburg spelen. Wat zal jij genieten van dit prachtig instrument !. Vereer de stad met je aanwezigheid ! Wees niet verlegen !
Music of the gods...
How wonderful seeing Johann's own hand!
Koopman's performance is energetic without sounding too fast!
Would like the relief of contrasts instead of entire work played on same stops.
Pedal 16' reed is a little too much.
Was this paper washed (bleached) and reused?
Why the bird symbol? In the original paper?
Thank you, jsba, for posting this recording and also providing the manuscript in time with the music.
@KV4671 Ich danke dir, lieber KV4671. Dein Kompliment ist wie ein Weihnachtsgeschenk. :)
El motiu de la Fuga està extret del Preludi. Semicorxeres, amb el ritme canviat
Beste 👍❤️🤪😂
Ton wat maak je er toch weer een heerlijk kermis van Heerliik!
Wat een heerlijk jubelend werk, Alles zit er in alsof een goede muzikale familie thuis de dag nog even doorneemt met de grote vader Bach de onvolprezen vijfde evangelist. Als ik zo vrij mag zijn dan hoop ik dat Johan op het orgel speelt in de hemel als ik daar toe mag treden.
AMEN
Tomorrow I am gonna watch Koopman! :)
How was it
4:39 - sounds like the fugue from BWV 565
Bach was really happy when he wrote this, wasn't he?
most powerfull end of the war
@CharlieHuang I agree!
dit werk is niet genoeg te prijzen
How long ago has Ton recorded this Prelude and Fugue in G? It seems as if he plays here considerably less fast as 25 years ago. I like this tempo. His earlier recordings of BWV 541 are much too fast.
Bach en al zijn zonen en dochters zijn hier geprezen
can anyone tell me why there is only 2 staffs, surely there would be 3 for 2 parts of the keyboard + pedal?
I am sorry for my inadequate English. Paper was expencive back then, it was very common to only use two staves.
+geir øyvind eskeland I see, thanks for the answer :)
@KV4671
Koopman is a catholic ;)
@crossbike Meinst du mit m.E (meiner Einsicht) ? Deutschland und Die Niederlande habe viel gemeinsam Zum Beispiel die Orgernl Arp Snitger. Ich bin ein Ost-Fries aus Holland
In zijn beknoptheid mooier dan Reger
哇 這ㄇ模糊也能看?
THE SHEET IS smudgy. how can latter people rewrite it to the one we read today.
Sorry for my bad English.
3:28-3:30 is a mystery to me. Why did Bach avoid all the semiquavers in the pedal? By using my heels, it's easy to play the semiquavers very fast. If I try only with my toes, and sliding from F sharp to G, it is still very easy to play the semiquavers. But if I don't sliding, I face the problem - not so easy to play fast anymore.
1. Bach did not played with heels.
2. He even not slide his toe from black key to a white one? (Notise my? not !)
3. He play this fugue very fast, too fast by only use his toes.
Is there something I have overlooked?
+geir øyvind eskeland I'm not an expert, but my guess is Bach didn't want to overly complicate the pedal part (both musically and technically). You'll notice the musical texture getting extremely dense when all parts move in semiquavers.
Bach did use his heels, but in playing his music I would personally do that sparsely, since using just the toes helps keep the music sound clear (especially on a big instrument in a room with a lot of reverb - i.e. a cathedral).
Thank you for answer(ing) my comment. Quote: "You'll notice the musical texture getting extremely dense when all parts move in semiquavers." Yes, I support you here. still, the real reason why he wrote the fugue theme without semiquavers, was because of thecnical difficulties. But how to explane this with my inadequate English? I will make a try and I beg you to try understanding what I want to tell you. After going through Das Wohltemperierte Klavier I and II, I found at least 20 fugue themes with semiquavers. He never changes the bass but in stead made the other parts more simple. You may say "only twenty examples? I guess it is just a coincidense." Ok. But Bach gave us a huge numbers of fugues for different imstruments, but so far I have not found any example thaere he wrote the bass more simple. So why only in his works for organ? I haven't practise the pipe organ for the last thirty years. But after a couple of minutes, I was able to play the semiquavers in the pedal as well - by using my heels.
Fugue BWV 582, the counterpoint with semiqvavers, notise that he don't change the melody line in the pedal because it works well by useing the toes. But take a look at the fugue BWV 542. He second counterpoint is changes in the pedal(development in c-minor). The counterpoint is easy to play with heels, so why did he changes the melody line? Because it's hard to play only with toes. I believe this can telling us sometjing about the tempi in his organworks. Organ works there he changes the melody line in the pedal was played quite fast.
Quote: . . . "since using just the toes helps keep the music sounds clear . . " yes, you are absolutely right! So why should Bach use his heels and make the music less clear?
+geir øyvind eskeland Clearly you've studied the subject far more thorough than me. ;) I do not know the answer to your questions. Technicalities are probably not the reason here (I agree with you there), since elsewhere the pedal line does move in semiquavers. I know Bach modified themes here and there when that theme would otherwise be hard to play on the pedal. The only thing I can think of is Bach wanted to keep things from being too complicated musically. The works in the WTK are meant for a (small - i.e. not an organ) keyboard instrument, but an organ with a lot of notes to play in a big cathedral creates a lot of sound, not necessarily all transparent.
Johannes Zwart, I am sorry, I guess my inadequate English is to blame. I mentioned the WTK just to give you an explanation why BWV 541 is a technical problem, not a question about musical densety. About WTK: If the composer had the densety in mind, we should find some examples, but there is none. I mean, among all those fugues with semiquavers, some of the fugues should have less semiquavers in the bass line, but he always keep all the semiquavers also in the bass. To avoid densety, he make the other voices more simple by using quavers.
Quote: ". . . since elsewhere the pedal line does move in semiquavers." I know, and the reason is because all those semiquavers are easy to play only by toes.
Therefore my conclution is that the organists back then in general didn't used their heels. If the composer played the fugue theme BWV 541 also with heels, he would made the uppervoices more simple by using quavers like he did in so many many other fugues.
+geir øyvind eskeland I use toes and heels.I also connect pedal notes except for articulation, breathing, phrasing and emphasis.
Ich hatte viel bekümmernis!
Het gevogelte des hemels klinkt in het Fuga een morgengroet aan de Heer !
@KV4671 m.E. = IMHO = nach meiner bescheidenen Ansicht ...
Und ich bin SCHWEIZER, nicht Deutscher. :)
Gruss nach Ost-Friesland !!
de relatie Sweelink Reinken Buxthehude en naar Bach mag hier duidelijk zijn.
@crossbike Du bist ein richterger Freund
Wat een verplettend feest moet het geweest zijn voor de armen der geest om Bach te hebben gehoord als ze van verre kwamen . ik hoor dat nu.
@gr0mithtimon
yeah right
@hautboisification Chuck Norris Doesn' sleep!!!!
en zijn hond!
i was told no repeated notes.
this is why there are a lot of just obviously mistakes in the sheets today :/
protestants all around the world Unite
Don't be silly. Take your pills.
Vreugde Vol is Bach
On dirait un orgue de barbarie lol!!
Absolument pas, cela n'a rien àvoir avoir un orgue de barbarie, ceci est un énorme instrument majéstueux faisant la taille d'une maison avec plusieurs milliers de tuyaux et des pompes éléctriques pour actionner la bête !!
Dit laat zien dat Bach groter is dan Wagner.
reeds
ik zeg ton jij hebt meer begrepen van bach dan wie dan ook
misschien is ton een beetje autitisch
Meh. Needs more cowbell.
Bach is God niet.
Hardly any shaping. Boring.