Wie es im wirklichen Leben so ist,es gibt Meinungsverschidenheiten,schlechte Laune,lange Disskusionen und Momente der Freude ,des Friedens.Manchmal werden lange unerfreuliche Gespräche geführt, arrogante Antworten gegeben.Alles und viel mehr, beschreibt,mit etwas Fantasie , die Musik der Duetten von J.S.Bach.
Wunderschöne und detaillierte Interpretation dieser vier kompakten und fein komponierten Duette in verschiedenen Tempi mit schimmerndem doch warmherzigem Klang des technisch fehlerlosen Cembalos und mit perfekt kontrollierter Dynamik. Echt intelligenter und genialer Cembalist!
Astounding! I'm especially amazed by the modulations and an extremely close stretto in the 2nd duetto. Sure, this is something one should expect from the Great Bach, but I'm still left in awe everytime I see something this great...
Yes the second one particularly has an astounding shift from quite a harmonically ‘conventional’ beginning to the strangest abstract and chromatic stretto section.
Not necessarily: these remarkable works are (as you will be aware, as I assume you are an organist) from the 3rd part of the ClavierUbung, which includes music both with and without pedal, including numerous chorale settings. The Duetti, however, as large contrapuntal exercises, akin to extended two-part inventions, work as well on the harpsichord as they do on the organ, and, moreover, lack any specific church association. The rigid distinction we make between organ and harpsichord was not applied in 18th century Germany; a large body of German organ music being equally playable on pedal string instruments, either clavichord or harpsichord (the Pastorale, BWV 590 is one, the Passacaglia, BWV 582, is another; ditto for the six Trio Sonatas, BWV 525-530)). Of course, the Duetti also work well on the organs of Bach's time. I included them among the harpsichord works because they take on new and interesting characteristics on the string instrument, and could well have been conceived for either, though they seem to me more idiomatically harpsichord than organ works (sometimes the line is very fine). PW
A whole Universe is packed into these Pieces.
That's true.
My heart is very happy seeing that there are other people who understand this:))
Wie es im wirklichen Leben so ist,es gibt Meinungsverschidenheiten,schlechte Laune,lange Disskusionen und Momente der Freude ,des Friedens.Manchmal werden lange unerfreuliche Gespräche geführt, arrogante Antworten gegeben.Alles und viel mehr, beschreibt,mit etwas Fantasie , die Musik der Duetten von J.S.Bach.
Magnificent, thanks for sharing these works
Wunderschöne und detaillierte Interpretation dieser vier kompakten und fein komponierten Duette in verschiedenen Tempi mit schimmerndem doch warmherzigem Klang des technisch fehlerlosen Cembalos und mit perfekt kontrollierter Dynamik. Echt intelligenter und genialer Cembalist!
Astounding!
I'm especially amazed by the modulations and an extremely close stretto in the 2nd duetto.
Sure, this is something one should expect from the Great Bach, but I'm still left in awe everytime I see something this great...
Yes the second one particularly has an astounding shift from quite a harmonically ‘conventional’ beginning to the strangest abstract and chromatic stretto section.
Well worth reading David Yearsley's equally astounding book: Bach & the Meanings of Counterpoint, where this work is carefully analysed. PW
@@op-xv3ui Indeed! One moment it's e minor, the other it's f minor, then a few bars of borderline atonality...
How incredibly beautiful!
OMG! What a beautiful recording!
The first one sounds so incredibly modern. It really reminds me of a Morton Feldman piece.
…have you ever listened to morton feldman?? they sound nothing alike.
@@CameronGuarino obviously they’re not going to sound exactly alike. They’re 200 years apart. But they’re similar in a lot of ways too.
Which Feldman piece?
Great. Great.
Oh God!....just perfect.. 👌🏻👌🏻👌🏻❤️🎼🎶🎶🎶❤️🎼🎶🎼🎵🎶🎼❤️🎶🎶🎵🎵❤️
That is a little keyboard gem from Bach! :-)
Why is this down a half step?
Baroque tuning. Authentic.
Pitch standards, especially A440, are relatively new. This music long predates modern standard pitch. Also, key is not the same as pitch.
This is actually organ music.
Not necessarily: these remarkable works are (as you will be aware, as I assume you are an organist) from the 3rd part of the ClavierUbung, which includes music both with and without pedal, including numerous chorale settings. The Duetti, however, as large contrapuntal exercises, akin to extended two-part inventions, work as well on the harpsichord as they do on the organ, and, moreover, lack any specific church association. The rigid distinction we make between organ and harpsichord was not applied in 18th century Germany; a large body of German organ music being equally playable on pedal string instruments, either clavichord or harpsichord (the Pastorale, BWV 590 is one, the Passacaglia, BWV 582, is another; ditto for the six Trio Sonatas, BWV 525-530)). Of course, the Duetti also work well on the organs of Bach's time. I included them among the harpsichord works because they take on new and interesting characteristics on the string instrument, and could well have been conceived for either, though they seem to me more idiomatically harpsichord than organ works (sometimes the line is very fine). PW