Heel erg mooi. Super goed gespeeld met heel veel oog voor dynamiek. Ook het tempo is in mijn mening perfect. Het laatste deel is briljant gespeeld en een geweldige afsluiter van dit concert.
Hacia mucho tiempo que no escuchaba una interpretación tan perfecta de este concierto. Mis sinceras felicitaciones. Ojalá que sigan grabando y deleitándonos con esta música maravillosa. Ismael Letelier. Desde Chile.
beautifully done: loved the momentum of the 3rd part and the serenity of the second. Also loved your discrete staccato approach ... so Gouldian, reserved but shinnign from within.
This one is really music to my ears, I collected all the cd's I could find of Semprini as I enjoy his fluid and emotional piano playing. I also found by chance on you tube a programme of "this is your life" of Semprini. What a charming and eloquent man ! Love his recordings of "Limelight-Smile" and "Consolation No. 3".
The articulation of the pianists doesn't match that of the orchestra this is an issue. Mov 1 is like the pianists use the super detached staccato articulation but the orchestra is repeating the riffs all legato. It doesn't match. For me the ultra detached articulation in mov 1 was a bit laborious and detracts after a while. I kinda gave up after that. 2nd mov was better but here again would give a little more thought to the articulation.
The idea that a pianist’s articulation in Bach must match the orchestra isn’t exactly written in stone. Not sure where you got that idea. I don’t expect everyone to enjoy this style, but I love it-and that’s a very good reason to play it this way. 🙂 As for the amount of thought given to the articulation-let’s just say it wasn’t something we figured out over breakfast.
@@AntoBayramKaramenderes The thematic articulations should match as they pass between soloist, and different sections in the orchestra. This is the style of the period. For example, we don't learn a fugue on the keyboard, introduce the theme one way, and then change up the articulation as it passes between voices and is introduced in different iterations. It should stay consistent. The same is true here. And the conductor and soloist should be on the same page as to their choices of the articulation -- not doing their own thing. If it is a binary style piece (which a concerto isn't) we can show a different interpretation of the articulation as we take the repeats, but that isn't indicated here and that should also remain consistent. Not trying to be disrespectful at all, but that is my understanding in a lot of baroque playing, conducting and studying of the treatises.
I appreciate your passion for Baroque performance practice, but I fundamentally disagree with your perspective here. Our artistic goal isn’t to mimic identical articulation across instruments like the piano and violin for example-it’s to embrace the unique expressive qualities each one brings. Trying to force uniformity in articulation not only disregards these differences but also contradicts the creative depth we aim to achieve. This performance doesn’t claim to be a Baroque-style purist endeavor. We are working with modern instruments and a modern orchestra, which naturally come with different expressive possibilities. The articulation here isn’t even remotely "super detached" or "ultra detached"-it's intentionally "non-legato". There are certainly several more detached styles than what we’ve chosen here. I find it disappointing that your criticism overlooks the immense effort, thought, and artistry behind this project. Different interpretations deserve the freedom to exist, even if they don’t align with your personal vision of Bach. It might not resonate with you, but this is our Bach.
@@AntoBayramKaramenderes Well that's fair and I appreciate the conversation, though we'll have to agree to disagree on that point. As all of Bach's music is really conceived of vocally and he cared little what instruments his music was even played on, maintaining consistency in the thematics is in total alignment with the treatises of the Baroque and makes for a smooth, uniformed performance that sounds like everyone's on the same page. I am in no way a "purist" fyi, but there are definitely bedrocks pillars of the baroque style that I adhere to (like thematic consistency). I suppose one thing we all have to accept is when we publish our recordings on TH-cam they won't only receive Kumbaya praise, they will also receive some criticisms. Many people don't agree with my playing of Bach also and I'm totally fine with it. 😅 Listen, I appreciate you guys trying to bring something new to it and I like the film works a lot too. I''ll keep listening. Cheers
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Here is the C major Concerto for Two Pianos, BWV1061 : t.ly/0Lhda
Bach's adagio here is one of the most beautiful things I've ever heard. ❤
Hats of to this immeasurable profound and inspirational performance
Thank you for sharing Bach's great musics. All the musicians here are remarkable
.
Le second mouvement est comme un pur reflet de l'âme de J.J. Bach; paisible, régulière, profondément harmonieuse.
J. S. Bach ;-)
I'm blown away by how good this recording sounds, and how good the camerawork is! Thank you for uploading this.
Un grand merci pour cette vidéo. Cette musique est vraiment géniale, et l'interprétation magnifique. BRAVO à tous les musiciens.
Heel erg mooi. Super goed gespeeld met heel veel oog voor dynamiek. Ook het tempo is in mijn mening perfect. Het laatste deel is briljant gespeeld en een geweldige afsluiter van dit concert.
Respect for playing by heart
The second part was played sooo gentle❤ Very beautiful!
Hacia mucho tiempo que no escuchaba una interpretación tan perfecta de este concierto.
Mis sinceras felicitaciones.
Ojalá que sigan grabando y deleitándonos con esta música maravillosa.
Ismael Letelier.
Desde Chile.
Amazing performance, thank-you!
İncredible dynamics and smooth playing, bravoo👏🏻👏🏻👏🏻
Applauding with tears in my eyes - what a lovely rendition!
rare brilliant performance AND recording - thanks 4 sharing! pure ecstasy
Hats off to this immeasurable profound and inspirational performance
Wunderbar! So muß BACH klingen❤!!!!
What a joyful and exciting performance!
Magnifica interpretazione!! Grazie!
Begeisterung!!!
Just sublime.
beautifully done: loved the momentum of the 3rd part and the serenity of the second. Also loved your discrete staccato approach ... so Gouldian, reserved but shinnign from within.
Thoroughly enjoyed the performance. Thank you all! 👏👏👏👏👏👏👏
Such a sublime performance. I❤Bach
Bravo! Wonderful élan!
Absolutely spectacular, incredible energy and drama , the 3rd movement ’shatters’ , amazing 👍👍
This one is really music to my ears, I collected all the cd's I could find of Semprini as I enjoy his fluid and emotional piano playing. I also found by chance on you tube a programme of "this is your life" of Semprini. What a charming and eloquent man ! Love his recordings of "Limelight-Smile" and "Consolation No. 3".
Insuperável interpretação!!! (E que maestrina! Uma aula de regência)
Bravo!!!!!👏👏👏👏👏🥰🥰🥰❤️❤️❤️❤️
Prachtig!
Magnifique !
This is a nice performance of the C major Concerto for Two Pianos, which was originally Bach's concerto for violin and oboe.
Goosebumps... Bravo!
Ah thank you!❤
This is absolutely amazing🎑
Wonderful interpretation. Feeling and intensity. Great level. ABK, thanks for sharing it.
Başarılar Bayramcığım seni çok ama çok Seviyoruz
I. 00:37
II. 05:32
III. 11:00
Lindíssimo concerto. Linda execução, maravilhoso segundo movimento.
Великолепная музыка, прекрасное исполнение. Спасибо. Милый моему сердцу Туркменистан?
Very fantastic.
Gracias 🫂
meravigliosi
Perfect❤❤❤
Ponen el
Mismo. Yaaaaaaaaaa!!!
😊
Old fashion sound. Bach on piano again?
Ik mis nog de vermelding hoe het prachtig subtiel spelende orkest heet...
Unfortunately, not holding tempo in 1 and 3 mov a bit.... still liked the performance, wp!
The articulation of the pianists doesn't match that of the orchestra this is an issue. Mov 1 is like the pianists use the super detached staccato articulation but the orchestra is repeating the riffs all legato. It doesn't match. For me the ultra detached articulation in mov 1 was a bit laborious and detracts after a while. I kinda gave up after that. 2nd mov was better but here again would give a little more thought to the articulation.
The idea that a pianist’s articulation in Bach must match the orchestra isn’t exactly written in stone. Not sure where you got that idea. I don’t expect everyone to enjoy this style, but I love it-and that’s a very good reason to play it this way. 🙂
As for the amount of thought given to the articulation-let’s just say it wasn’t something we figured out over breakfast.
@@AntoBayramKaramenderes The thematic articulations should match as they pass between soloist, and different sections in the orchestra. This is the style of the period. For example, we don't learn a fugue on the keyboard, introduce the theme one way, and then change up the articulation as it passes between voices and is introduced in different iterations. It should stay consistent. The same is true here. And the conductor and soloist should be on the same page as to their choices of the articulation -- not doing their own thing. If it is a binary style piece (which a concerto isn't) we can show a different interpretation of the articulation as we take the repeats, but that isn't indicated here and that should also remain consistent. Not trying to be disrespectful at all, but that is my understanding in a lot of baroque playing, conducting and studying of the treatises.
I appreciate your passion for Baroque performance practice, but I fundamentally disagree with your perspective here. Our artistic goal isn’t to mimic identical articulation across instruments like the piano and violin for example-it’s to embrace the unique expressive qualities each one brings. Trying to force uniformity in articulation not only disregards these differences but also contradicts the creative depth we aim to achieve.
This performance doesn’t claim to be a Baroque-style purist endeavor. We are working with modern instruments and a modern orchestra, which naturally come with different expressive possibilities. The articulation here isn’t even remotely "super detached" or "ultra detached"-it's intentionally "non-legato". There are certainly several more detached styles than what we’ve chosen here.
I find it disappointing that your criticism overlooks the immense effort, thought, and artistry behind this project. Different interpretations deserve the freedom to exist, even if they don’t align with your personal vision of Bach.
It might not resonate with you, but this is our Bach.
@@AntoBayramKaramenderes Well that's fair and I appreciate the conversation, though we'll have to agree to disagree on that point. As all of Bach's music is really conceived of vocally and he cared little what instruments his music was even played on, maintaining consistency in the thematics is in total alignment with the treatises of the Baroque and makes for a smooth, uniformed performance that sounds like everyone's on the same page. I am in no way a "purist" fyi, but there are definitely bedrocks pillars of the baroque style that I adhere to (like thematic consistency).
I suppose one thing we all have to accept is when we publish our recordings on TH-cam they won't only receive Kumbaya praise, they will also receive some criticisms. Many people don't agree with my playing of Bach also and I'm totally fine with it. 😅
Listen, I appreciate you guys trying to bring something new to it and I like the film works a lot too. I''ll keep listening. Cheers
SDG
😊