Album available // Bach: The Art of Fugue, BWV 1080 by Helmut Walcha 🎧 Qobuz cutt.ly/wenRcCOW Tidal cutt.ly/4enRvGN3 🎧 Apple Music cutt.ly/NenRbatw Deezer cutt.ly/venRmTtA 🎧 Amazon Music cutt.ly/WenRQpFf Spotify cutt.ly/oenRQOjA 🎧 TH-cam Music cutt.ly/zenRWyXg Soundcloud cutt.ly/NenRWIC6 🎧 Naspter, Pandora, Anghami, LineMusic日本, Awa日本, QQ音乐 … Johann Sebastian Bach (1685-1750) The Art of Fugue by Master Helmut Walcha. Click to activate the English subtitles for the presentation (00:00-08:55) 00:00 The Art of Fugue in D minor, BWV 1080 - Contrapunctus 1 03:52 BWV 1080 - Contrapunctus 2 07:08 BWV 1080 - Contrapunctus 3 10:31 BWV 1080 - Contrapunctus 4 16:03 BWV 1080 - Contrapunctus 5 20:17 BWV 1080 - Contrapunctus 6, a 4 in Stylo Francese 24:30 BWV 1080 - Contrapunctus 7, a 4 per Augmentationem et Diminutionem 28:30 The Art of Fugue in D minor, BWV 1080 - Contrapunctus 8, a 3 35:12 The Art of Fugue in D minor, BWV 1080 - Contrapunctus 9, a 4 alla Duodecima 39:32 The Art of Fugue in D minor, BWV 1080 - Contrapunctus 10, a 4 alla Decima 43:51 The Art of Fugue in D minor, BWV 1080 - Contrapunctus 11, a 4 51:31 The Art of Fugue in D minor, BWV 1080 - Canon alla Ottava 54:38 The Art of Fugue in D minor, BWV 1080 - Canon alla Duodecima in Contrapunto alla Quinta 57:13 The Art of Fugue in D minor, BWV 1080 - Canon alla Decima in Contrapunto alla Terza 1:02:04 The Art of Fugue in D minor, BWV 1080 - Canon per Augmentationem in contrario motu 1:06:17 The Art of Fugue in D minor, BWV 1080 - Contrapunctus 12, Rectus, a 4 1:09:08 The Art of Fugue in D minor, BWV 1080 - Contrapunctus 12, Inversus, a 4 1:12:04 The Art of Fugue in D minor, BWV 1080 - Contrapunctus 13, Rectus, a 3 1:15:08 The Art of Fugue in D minor, BWV 1080 - Contrapunctus 13, Inversus, a 3 1:18:16 The Art of Fugue in D minor, BWV 1080 - Fuga a 4 Soggetti - Unfinished Organ: Helmut Walcha Große (Frans-Caspar-Schnitger) Orgel der St. Laurenskerk, Alkmaar Recorded in 1956 New mastering in 2022 by AB for CMRR 🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/2M1Eop2 ❤️ If you like CM//RR content, please consider membership at our Patreon page. Thank you :) www.patreon.com/cmrr Helmut Walcha has made it known more than once how unnecessary he considers any reference to the fact that he has been incurably blind since his childhood. He wants his intentions to be understood and his achievements to be recognized, exactly like any other musician. It would therefore be right and proper to make no mention of his blindness but for the fact that Walcha himself indicated in a broadcast talk that the disease which cut him off permanently from the visible world also opened up and smoothed for him the way to inner perception. Someone who is wholly protected from the over-abundance of visual impressions to which modern man is subjected develops the ear as his primary organ; what he hears becomes an inner world of immeasurable richness. If that person also possesses outstanding musical gifts, as Walcha does, he develops the ability to comprehend complex musical structures, and to be at home in them, to a far greater extent than a sighted person who is misled by such visual elements of music as the fascination of watching a conductor or virtuoso into concentrating on the superficial attractions of music, however questionable the real value of the composition may be. It is possible to view a cathedral either from outside or from inside, but it is principally from within that the qualities of the structure become apparent. A musician to whom it is granted to become familiar with compositions only from within, and on that basis to comprehend and interpret them, develops within himself an infallible sense of quality which cannot be confused by any fleeting impressions. Only polyphony which is completely in order can stand up to such examination, so it was inevitable that Walcha's relationship to music should draw him primarily to the music of Bach, as the ideal of strict architecture of line and tone, of harmony which seems to be a cosmos in itself, in which there is no contradiction between transcendental revelations and worldly serenity. Walcha became the great Bach authority of our time ; many people who believed that they already understood and revered Bach declared that it was the lecture which Walcha gave in Göttingen on the bicentenary of Bach's death which first really opened up for them the world of the Cantor of St. Thomas's. Needless to say, this authority, derived from the study of Bach's music, has prevented Walcha, an organist who is also creatively gifted, from ever confusing "improvisations" with "fantasies". Helmut Walcha, who was born in Leipzig on 27 October 1907, the son of a postal official, and who grew up in a milieu not greatly influenced by music, arrived when he was only 13 at the crossroads which led him to Bach. It was by chance, not thanks to a teacher's plan, that he came across Bach's F major Invention. This is laid out as a canon, and indeed it became a symbol, a "canon" to the youth engrossed in music. Arthur Nikisch, world-famous as conductor of the Leipzig Gewandhaus Orchestra, recognized the boy's gifts and recommended a thorough musical education. After only a year of private instruction he was admitted to the Leipzig Conservatoire, with the organ as his principal subject, and the young Günther Ramin as his revered teacher. Walcha's career as an organist has been no more outwardly remarkable than that of Bach's. He has been news " spared ; instead the he sensationalism has built up of genuine being renown"in the among an ever-increasing circle of listeners. Since the Second world War, gramophone records, like missionaries, have created Walcha communities in all musical countries, which are at the same time the Bach communities of those lands. As a young organist his first appointment was at the Friedenskirche in Frankfurt, where he still has his home to this day, and where the Goethe-Medal has been conferred on him. The professional advancement which he could expect was forthcoming in Frankfurt: a professorship at the Conservatoire of Music, the direction of the Institute for Church Music, and the position of organist at the Dreikönigskirche. Two organs corresponding to his requirements and ideas are available to him. However, the centre of his activities were the "Frankfurter Bachstunden" functions outside the sphere of conventional concerts, at which explanations and playing, analysis and aural experience are combined as in a single act of human meditation. The same inner logic which made Walcha an authority on Bach also led him to the organ which is the ideal tonal and performing medium for his concept of Bach. He rejected absolutely the giant symphonic organ of the late Romantic era with its tonal illusions. The way back to the Baroque organ proved in actual fact to be a move towards the future. The works of Bach which Helmut Walcha have been played on historic instruments in their original settings. Fidelity to the music and fidelity of sound to Helmut Walcha these two factors form an indivisible unity. Bach - 6 Sonatas for Violin and Organ BWV 1014-1019 (Ct.rec.: Michèle Auclair, Marie-Claire Alain): th-cam.com/video/ZhBXyvk-H6I/w-d-xo.html Johann Sebastian Bach PLAYLIST (reference recordings): th-cam.com/play/PL3UZpQL9LIxOLRwxl1dEfDrH3c8mX5UB1.html
Herr Walcha was a master indeed. He also was a genius at organ registration and a very respected and distinguished pedagogue. Many notable European and American organists studied under him. He was also a skilled and brilliant improvisor. Of course, most European cathedral organists are masters at improvisation and have to improvise on themes that were used during mass. The French titular organists such as Olivier Latry, Daniel Roth, improvise often for long periods of time and make beautiful music. Walcha also did so. And although his improvisations were brilliant, he didn't improvise for improvisation sake or to demonstrate his skills. It had to have a purpose attached to the worship experience. He was blessed with an incredible ear, was instinctive on registration, and had a tremendous and supple pedal technique. Maestro Walcha also was a skilled harpsichordist and played the piano quite well. Wonderful podcast, too. I am really enjoying it.
I have listened to many performances of Bach's Art of Fugue but I especially love this one by Walcha because it is not played with the score but with the soul. Since Walcha was blind, he learned the musical pieces by heart. This practice has developed in him a spiritual approach to music and in this wonderful organ performance I perceive not one but two spiritual presences, that of Bach and that of Walcha who are delivered to eternity with the last note of the 14th movement which remained unfinished.
To date, after having appreciate dozens versions of this Master piece of the human kind, the Walka interpretation remains the pinnacle. Is like having the Kantor himself sitting at the organ's bench.
Helmut Walcha has made it known more than once how unnecessary he considers any reference to the fact that he has been incurably blind since his childhood. He wants his intentions to be understood and his achievements to be recognized, exactly like any other musician. It would therefore be right and proper to make no mention of his blindness but for the fact that Walcha himself indicated in a broadcast talk that the disease which cut him off permanently from the visible world also opened up and smoothed for him the way to inner perception. Someone who is wholly protected from the over-abundance of visual impressions to which modern man is subjected develops the ear as his primary organ; what he hears becomes an inner world of immeasurable richness. If that person also possesses outstanding musical gifts, as Walcha does, he develops the ability to comprehend complex musical structures, and to be at home in them, to a far greater extent than a sighted person who is misled by such visual elements of music as the fascination of watching a conductor or virtuoso into concentrating on the superficial attractions of music, however questionable the real value of the composition may be. It is possible to view a cathedral either from outside or from inside, but it is principally from within that the qualities of the structure become apparent. A musician to whom it is granted to become familiar with compositions only from within, and on that basis to comprehend and interpret them, develops within himself an infallible sense of quality which cannot be confused by any fleeting impressions. Only polyphony which is completely in order can stand up to such examination, so it was inevitable that Walcha's relationship to music should draw him primarily to the music of Bach, as the ideal of strict architecture of line and tone, of harmony which seems to be a cosmos in itself, in which there is no contradiction between transcendental revelations and worldly serenity. Walcha became the great Bach authority of our time ; many people who believed that they already understood and revered Bach declared that it was the lecture which Walcha gave in Göttingen on the bicentenary of Bach's death which first really opened up for them the world of the Cantor of St. Thomas's. Needless to say, this authority, derived from the study of Bach's music, has prevented Walcha, an organist who is also creatively gifted, from ever confusing "improvisations" with "fantasies". Helmut Walcha, who was born in Leipzig on 27 October 1907, the son of a postal official, and who grew up in a milieu not greatly influenced by music, arrived when he was only 13 at the crossroads which led him to Bach. It was by chance, not thanks to a teacher's plan, that he came across Bach's F major Invention. This is laid out as a canon, and indeed it became a symbol, a "canon" to the youth engrossed in music. Arthur Nikisch, world-famous as conductor of the Leipzig Gewandhaus Orchestra, recognized the boy's gifts and recommended a thorough musical education. After only a year of private instruction he was admitted to the Leipzig Conservatoire, with the organ as his principal subject, and the young Günther Ramin as his revered teacher. Walcha's career as an organist has been no more outwardly remarkable than that of Bach's. He has been news " spared ; instead the he sensationalism has built up of genuine being renown"in the among an ever-increasing circle of listeners. Since the Second world War, gramophone records, like missionaries, have created Walcha communities in all musical countries, which are at the same time the Bach communities of those lands. As a young organist his first appointment was at the Friedenskirche in Frankfurt, where he still has his home to this day, and where the Goethe-Medal has been conferred on him. The professional advancement which he could expect was forthcoming in Frankfurt: a professorship at the Conservatoire of Music, the direction of the Institute for Church Music, and the position of organist at the Dreikönigskirche. Two organs corresponding to his requirements and ideas are available to him. However, the centre of his activities were the "Frankfurter Bachstunden" functions outside the sphere of conventional concerts, at which explanations and playing, analysis and aural experience are combined as in a single act of human meditation. The same inner logic which made Walcha an authority on Bach also led him to the organ which is the ideal tonal and performing medium for his concept of Bach. He rejected absolutely the giant symphonic organ of the late Romantic era with its tonal illusions. The way back to the Baroque organ proved in actual fact to be a move towards the future. The works of Bach which Helmut Walcha have been played on historic instruments in their original settings. Fidelity to the music and fidelity of sound to Helmut Walcha these two factors form an indivisible unity. Click to activate the English subtitles for the presentation (00:00-08:45) 🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/2M1Eop2 ❤️ If you like CM//RR content, please consider membership at our Patreon page. Thank you :) www.patreon.com/cmrr
Thanks for the Walcha insights. I lived next-door to Dreikonigskirche for a few years, and wondered who was playing so beautifully there. One afternoon after listening to this on, I believe, an Archive LP, I strolled to the Main River, stopping to read the Tafel at the church, where I read: Musikdirektor: Prof. Helmut Walcha. Mind blown. I got to meet him twice!
@@jfstover He was also a fabulous teacher and pedagogue. Herr Walcha had a unique way of learning new music. His wife would play each of the parts on the piano for him, and he had the talent to recreate it, and then weave it all together. He had a phenomenal and supple pedal technique too. He was not one to show off for the sake of just that, performance and worship had a purpose. With that said, he was also a master at improvisation. Of course, that was -- and is -- a must for European cathedral organists and titulaires. He trained a lot of very notable organists over the course of his distinguished career. Also, he was a very skilled harpsichordist and played the piano well, too.
Wunderschöne und tiefempfundene Interpretation dieses Schwanengesangs von J. S. Bach in verschiedenen Tempi mit durchsichtigen doch warmherzigen Tönen der historischen und ausgezeichneten Orgel sowie mit perfekt kontrollierter Dynamik. Die verbesserte Tonqualität ist auch erstaunlich hoch als eine Originalaufnahme von sechsundsechzig Jahren vor. Wahrlich intelligenter und unvergleichlicher Organist!
I had assumed he learned music through Braille notation. No - he'd learn a work by having someone play each line of a work for him. "He did not rely on Braille (. . . .). Family, friends, students read to him and assisted him in many ways including his learning of repertoire. He learned contrapuntal works by having single lines played to him-(then) he combined them! This proved to be the basis of his subsequent teaching."
An absolute classic, yes, and Walcha was one of the greatest organ players of the 20th century. I have known and loved his Bach recordings since I was ten years old or something. Imagine my delight when (in 2020) I found a fine copy of the vinyl boxed set of this one (Archiv, creme grey box) at a local thrift shop for the princely sum of eq. 3$ - and not once, but *twice* in the space of about four months! :) I kept the first for myself and gave the second one to my brother as a Christmas present...
Merci infiniment pour toutes ces merveilles musicales. Que ferions nous sans vous? Pas un jour sans que je me réjouisse de mon abonnement à votre chaine. Bonne année 2022 et Excellente santé ! Andrė
Sometimes, regarding to music a miracle it's possible. Here an example. Bach's The Art of Fugue it's a very well crafted musical work per se. And this performance it's wonderful in his contrapuntistic clearness. ¿The result? Very easy, PERFECTION. Thank you very much for upload this rendition!. It's my favourite of this Bach's Magnun Opus until now. Oh! My god. The flow here it's like if it comes from universe. Bach's The Art of Fugue and Bruckner's late symphonies are for me the ''musical architecture'' of cosmos.
Walcha was also a talented harpsichordist. Musical genius. He was also extremely skilled at improvisation, but not of show-off purposes. He could imporvise with the best and used the themes of the homilies and the particular liturgical themes to construct improvising.
An incredibly well crafted rendition of Bach, it feels as if I fall back centuries in time while listening. It’s breathtakingly good and utterly mesmerizing!
Walcha was indeed a visionary interpreter and player. Not least his control of rhythm, tone and modulations give many of his recordings that prophetic force (as in his amazing recording of the G minor fantasia and fugue). He is reminiscent in that way of another organist of genius who was also blind, Jean Langlais.
Johann Sebastian Bach (1685-1750) The Art of Fugue by Master Helmut Walcha. 🎧 Qobuz bit.ly/32j56Sg Tidal bit.ly/3GXzIaM 🎧 Spotify spoti.fi/3GPCH5e TH-cam Music bit.ly/3ryNVVj 🎧 Apple Music apple.co/3Ag6LnY Amazon Music amzn.to/3rzto2X 🎧 Deezer bit.ly/3GKE98N Amazon Store amzn.to/3GKgh5i 🎧 Napster bit.ly/3tFQAiz Soundcloud bit.ly/3GNBjjp 🎧 LineMusic日本 bit.ly/3tJ4fFC Awa日本 mf.awa.fm/3FJ4FOQ Click to activate the English subtitles for the presentation (00:00-) 00:00 The Art of Fugue in D minor, BWV 1080 - Contrapunctus 1 03:52 BWV 1080 - Contrapunctus 2 07:08 BWV 1080 - Contrapunctus 3 10:31 BWV 1080 - Contrapunctus 4 16:03 BWV 1080 - Contrapunctus 5 20:17 BWV 1080 - Contrapunctus 6, a 4 in Stylo Francese 24:30 BWV 1080 - Contrapunctus 7, a 4 per Augmentationem et Diminutionem 28:30 BWV 1080 - Contrapunctus 8, a 3 35:12 BWV 1080 - Contrapunctus 9, a 4 alla Duodecima 39:32 BWV 1080 - Contrapunctus 10, a 4 alla Decima 43:51 BWV 1080 - Contrapunctus 11, a 4 51:31 BWV 1080 - Canon alla Ottava 54:38 BWV 1080 - Canon alla Duodecima in Contrapunto alla Quinta 57:13 BWV 1080 - Canon alla Decima in Contrapunto alla Terza 1:02:04 BWV 1080 - Canon per Augmentationem in contrario motu 1:06:17 BWV 1080 - Contrapunctus 12, Rectus, a 4 1:09:08 BWV 1080 - Contrapunctus 12, Inversus, a 4 1:12:04 BWV 1080 - Contrapunctus 13, Rectus, a 3 1:15:08 BWV 1080 - Contrapunctus 13, Inversus, a 3 1:18:16 BWV 1080 - Fuga a 4 Soggetti - Unfinished Organ: Helmut Walcha Große (Frans-Caspar-Schnitger) Orgel der St. Laurenskerk, Alkmaar Recorded in 1956 New mastering in 2022 by AB for CMRR 🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/2M1Eop2 ❤️ If you like CM//RR content, please consider membership at our Patreon page. Thank you :) www.patreon.com/cmrr Helmut Walcha has made it known more than once how unnecessary he considers any reference to the fact that he has been incurably blind since his childhood. He wants his intentions to be understood and his achievements to be recognized, exactly like any other musician. It would therefore be right and proper to make no mention of his blindness but for the fact that Walcha himself indicated in a broadcast talk that the disease which cut him off permanently from the visible world also opened up and smoothed for him the way to inner perception. Someone who is wholly protected from the over-abundance of visual impressions to which modern man is subjected develops the ear as his primary organ; what he hears becomes an inner world of immeasurable richness. If that person also possesses outstanding musical gifts, as Walcha does, he develops the ability to comprehend complex musical structures, and to be at home in them, to a far greater extent than a sighted person who is misled by such visual elements of music as the fascination of watching a conductor or virtuoso into concentrating on the superficial attractions of music, however questionable the real value of the composition may be. It is possible to view a cathedral either from outside or from inside, but it is principally from within that the qualities of the structure become apparent. A musician to whom it is granted to become familiar with compositions only from within, and on that basis to comprehend and interpret them, develops within himself an infallible sense of quality which cannot be confused by any fleeting impressions. Only polyphony which is completely in order can stand up to such examination, so it was inevitable that Walcha's relationship to music should draw him primarily to the music of Bach, as the ideal of strict architecture of line and tone, of harmony which seems to be a cosmos in itself, in which there is no contradiction between transcendental revelations and worldly serenity. Walcha became the great Bach authority of our time ; many people who believed that they already understood and revered Bach declared that it was the lecture which Walcha gave in Göttingen on the bicentenary of Bach's death which first really opened up for them the world of the Cantor of St. Thomas's. Needless to say, this authority, derived from the study of Bach's music, has prevented Walcha, an organist who is also creatively gifted, from ever confusing "improvisations" with "fantasies". Helmut Walcha, who was born in Leipzig on 27 October 1907, the son of a postal official, and who grew up in a milieu not greatly influenced by music, arrived when he was only 13 at the crossroads which led him to Bach. It was by chance, not thanks to a teacher's plan, that he came across Bach's F major Invention. This is laid out as a canon, and indeed it became a symbol, a "canon" to the youth engrossed in music. Arthur Nikisch, world-famous as conductor of the Leipzig Gewandhaus Orchestra, recognized the boy's gifts and recommended a thorough musical education. After only a year of private instruction he was admitted to the Leipzig Conservatoire, with the organ as his principal subject, and the young Günther Ramin as his revered teacher. Walcha's career as an organist has been no more outwardly remarkable than that of Bach's. He has been news " spared ; instead the he sensationalism has built up of genuine being renown"in the among an ever-increasing circle of listeners. Since the Second world War, gramophone records, like missionaries, have created Walcha communities in all musical countries, which are at the same time the Bach communities of those lands. As a young organist his first appointment was at the Friedenskirche in Frankfurt, where he still has his home to this day, and where the Goethe-Medal has been conferred on him. The professional advancement which he could expect was forthcoming in Frankfurt: a professorship at the Conservatoire of Music, the direction of the Institute for Church Music, and the position of organist at the Dreikönigskirche. Two organs corresponding to his requirements and ideas are available to him. However, the centre of his activities were the "Frankfurter Bachstunden" functions outside the sphere of conventional concerts, at which explanations and playing, analysis and aural experience are combined as in a single act of human meditation. The same inner logic which made Walcha an authority on Bach also led him to the organ which is the ideal tonal and performing medium for his concept of Bach. He rejected absolutely the giant symphonic organ of the late Romantic era with its tonal illusions. The way back to the Baroque organ proved in actual fact to be a move towards the future. The works of Bach which Helmut Walcha have been played on historic instruments in their original settings. Fidelity to the music and fidelity of sound to Helmut Walcha these two factors form an indivisible unity. Bach - 6 Sonatas for Violin and Organ BWV 1014-1019 (Ct.rec.: Michèle Auclair, Marie-Claire Alain): th-cam.com/video/ZhBXyvk-H6I/w-d-xo.html Johann Sebastian Bach PLAYLIST (reference recordings): th-cam.com/video/xcbILwXpPMQ/w-d-xo.html
My deep gratitude CM/RR for the New Mastering of the wonderful organ version of "the Art of Fugue " by the great legendary Master Helmut Walcha ! Also a big thank you for the accompanying information.
A reference recording, no question, and a recording of the century. Thanks for uploading. I will write a separate comment of the organ music and its difficulties and triumphs tomorrow.
Auch Fritz Wunderlich's Lehrerin und wie er sie oft ansprach, "hochverehrte Meisterin", Frau Margarethe von Winterfeldt, war blind von Geburt. Sie hat ihm das Singen beigebracht und auch oft als Mutter fungiert, da der junge Pfälzer Bua schreckliches Heimweh hatte in seiner neuen studentischen Umgebung Freiburg. Vielen Dank und LG aus Montreal, Qc, Canada PS Und Fritz Wunderlich hat Bach einfach großartig singen gelernt!
Magistralement interpreté par Walcha ! Le contrepoint final à trois sujets qui reste en suspend est particulièrement émouvant ! Il est l'aboutissement de ce fleuve immense que fut l'oeuvre de Bach . Et ces notes suspendues sur cette phrase inachevée, le silence qui les suit achèvent de la plus belle des façons cette vie dédiée à la musique.
I went straight to Contraption 14 (incomplete). So far, it is beautifully played; I like the tempo, and the registration. There were commercial interruptions, that were frustrating.
Ang hagdanan patungo sa langit ay nasa loob ng iyong puso; pumasok ka sa pintuan ng iyong kaluluwa. Ang aming buong buhay ay isang pagtatangka lamang na hanapin ang mahimalang pasukan na iyon. Ang lahat ng ating mga kilos ay mahiyain na katok sa mahiwagang pintong ito at ang lahat ng ating pag-asa ay makarinig ng isang tinig na sasagot ng "Pumasok ka”
Shame on me. I announced a comment for "tomorrow" and in the best latin American tradition, I forgot this compromise. "Mañana..." So I endeavor today to pay my dues to Classical Music and their inexhaustible wealth of great musical works that enlighten our existence. Most people who enjoys classical music know about Bach's The Art of the Fugue. Most contemporary versions are played in the piano, older versions were played in the harpsichord and even before on the organ. The piano provides a clear, flexible, easy to follow sound and most contemporary records are played in the piano. The organ is a less flexible instrument and we are less accustomed to church music nowadays. The organ of course has the majesty and solemnity of this noble instrument. Helmut Walcha, Albert Schweitzer, Jean Langlais and many other interpreters have demonstrated the musicality and beauty of the organ. Bach himself was primarity and organ player. The present recording is remastered from the century record by Walcha, thanks to Classical Music to whom we should be always grateful.
In the order original, ubremastered recording, the last contrapunctus trails off into a few notes that gave been omitted here, which ends abruptly. An unexplained loss
Amazing performance....So touching and impressive.....This artist is really an excellent performer of Bach. From now on, i will listen this artist works playing Bach, if he had any. Thanks for uploading.
Magnifique sauvegarde d'un des plus importants enregistrements de Bach, réalisé en 1956. Walcha n'a pas réenregistré l'Art de la Fugue, mais il a enregistré plus tard son propre "achèvement" de la dernière fugue du recueil. Peut-être auriez-vous pu l'ajouter à votre version.
I was lucky to bumb into Helmuth Walcha very early in my life-long Bach discovery ... I appreciate some other interpretations, but I always come back to his concept and performance as the reference ... it's obvious to me, that this is the closest you can get to hear Bach as it was written and played in original times
Superbe, merci ! Bach c'est éminemment catholique; ne peut-on dire, par ex., que c'est une inquiétude vivante, très charnelle ? Bach nous dit ce que manqua le triste Pascal malgré qqs bonnes trouvailles, à savoir la chair, la pauvre chair !.....
So Helmut Walcha is blind? And he played this entire piece? How? Memmorizee the entire piece? Im baffled. Some please explain or am i misunderstanding? Thanks.
There was a interview I saw about it and it explained Helmut Walcha strategy to perform and therefore interpret Bach's works. One thing I still remember is that he knew every single work of Bach given any random BWV number or vice versa. It's absolutely beyond imagination
![J.S,Bach Organ Works Selection [ H.Walcha ]](http://i.ytimg.com/vi/IbX3xado_V4/mqdefault.jpg)
Album available // Bach: The Art of Fugue, BWV 1080 by Helmut Walcha
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Johann Sebastian Bach (1685-1750) The Art of Fugue by Master Helmut Walcha.
Click to activate the English subtitles for the presentation (00:00-08:55)
00:00 The Art of Fugue in D minor, BWV 1080 - Contrapunctus 1
03:52 BWV 1080 - Contrapunctus 2
07:08 BWV 1080 - Contrapunctus 3
10:31 BWV 1080 - Contrapunctus 4
16:03 BWV 1080 - Contrapunctus 5
20:17 BWV 1080 - Contrapunctus 6, a 4 in Stylo Francese
24:30 BWV 1080 - Contrapunctus 7, a 4 per Augmentationem et Diminutionem
28:30 The Art of Fugue in D minor, BWV 1080 - Contrapunctus 8, a 3
35:12 The Art of Fugue in D minor, BWV 1080 - Contrapunctus 9, a 4 alla Duodecima
39:32 The Art of Fugue in D minor, BWV 1080 - Contrapunctus 10, a 4 alla Decima
43:51 The Art of Fugue in D minor, BWV 1080 - Contrapunctus 11, a 4
51:31 The Art of Fugue in D minor, BWV 1080 - Canon alla Ottava
54:38 The Art of Fugue in D minor, BWV 1080 - Canon alla Duodecima in Contrapunto alla Quinta
57:13 The Art of Fugue in D minor, BWV 1080 - Canon alla Decima in Contrapunto alla Terza
1:02:04 The Art of Fugue in D minor, BWV 1080 - Canon per Augmentationem in contrario motu
1:06:17 The Art of Fugue in D minor, BWV 1080 - Contrapunctus 12, Rectus, a 4
1:09:08 The Art of Fugue in D minor, BWV 1080 - Contrapunctus 12, Inversus, a 4
1:12:04 The Art of Fugue in D minor, BWV 1080 - Contrapunctus 13, Rectus, a 3
1:15:08 The Art of Fugue in D minor, BWV 1080 - Contrapunctus 13, Inversus, a 3
1:18:16 The Art of Fugue in D minor, BWV 1080 - Fuga a 4 Soggetti - Unfinished
Organ: Helmut Walcha
Große (Frans-Caspar-Schnitger) Orgel der St. Laurenskerk, Alkmaar
Recorded in 1956
New mastering in 2022 by AB for CMRR
🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr
🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/2M1Eop2
❤️ If you like CM//RR content, please consider membership at our Patreon page.
Thank you :) www.patreon.com/cmrr
Helmut Walcha has made it known more than once how unnecessary he considers any reference to the fact that he has been incurably blind since his childhood. He wants his intentions to be understood and his achievements to be recognized, exactly like any other musician. It would therefore be right and proper to make no mention of his blindness but for the fact that Walcha himself indicated in a broadcast talk that the disease which cut him off permanently from the visible world also opened up and smoothed for him the way to inner perception. Someone who is wholly protected from the over-abundance of visual impressions to which modern man is subjected develops the ear as his primary organ; what he hears becomes an inner world of immeasurable richness. If that person also possesses outstanding musical gifts, as Walcha does, he develops the ability to comprehend complex musical structures, and to be at home in them, to a far greater extent than a sighted person who is misled by such visual elements of music as the fascination of watching a conductor or virtuoso into concentrating on the superficial attractions of music, however questionable the real value of the composition may be.
It is possible to view a cathedral either from outside or from inside, but it is principally from within that the qualities of the structure become apparent. A musician to whom it is granted to become familiar with compositions only from within, and on that basis to comprehend and interpret them, develops within himself an infallible sense of quality which cannot be confused by any fleeting impressions. Only polyphony which is completely in order can stand up to such examination, so it was inevitable that Walcha's relationship to music should draw him primarily to the music of Bach, as the ideal of strict architecture of line and tone, of harmony which seems to be a cosmos in itself, in which there is no contradiction between transcendental revelations and worldly serenity. Walcha became the great Bach authority of our time ; many people who believed that they already understood and revered Bach declared that it was the lecture which Walcha gave in Göttingen on the bicentenary of Bach's death which first really opened up for them the world of the Cantor of St. Thomas's. Needless to say, this authority, derived from the study of Bach's music, has prevented Walcha, an organist who is also creatively gifted, from ever confusing "improvisations" with "fantasies".
Helmut Walcha, who was born in Leipzig on 27 October 1907, the son of a postal official, and who grew up in a milieu not greatly influenced by music, arrived when he was only 13 at the crossroads which led him to Bach. It was by chance, not thanks to a teacher's plan, that he came across Bach's F major Invention. This is laid out as a canon, and indeed it became a symbol, a "canon" to the youth engrossed in music. Arthur Nikisch, world-famous as conductor of the Leipzig Gewandhaus Orchestra, recognized the boy's gifts and recommended a thorough musical education. After only a year of private instruction he was admitted to the Leipzig Conservatoire, with the organ as his principal subject, and the young Günther Ramin as his revered teacher.
Walcha's career as an organist has been no more outwardly remarkable than that of Bach's. He has been news " spared ; instead the he sensationalism has built up of genuine being renown"in the among an ever-increasing circle of listeners. Since the Second world War, gramophone records, like missionaries, have created Walcha communities in all musical countries, which are at the same time the Bach communities of those lands. As a young organist his first appointment was at the Friedenskirche in Frankfurt, where he still has his home to this day, and where the Goethe-Medal has been conferred on him. The professional advancement which he could expect was forthcoming in Frankfurt: a professorship at the Conservatoire of Music, the direction of the Institute for Church Music, and the position of organist at the Dreikönigskirche. Two organs corresponding to his requirements and ideas are available to him. However, the centre of his activities were the "Frankfurter Bachstunden" functions outside the sphere of conventional concerts, at which explanations and playing, analysis and aural experience are combined as in a single act of human meditation.
The same inner logic which made Walcha an authority on Bach also led him to the organ which is the ideal tonal and performing medium for his concept of Bach. He rejected absolutely the giant symphonic organ of the late Romantic era with its tonal illusions. The way back to the Baroque organ proved in actual fact to be a move towards the future. The works of Bach which Helmut Walcha have been played on historic instruments in their original settings. Fidelity to the music and fidelity of sound to Helmut Walcha these two factors form an indivisible unity.
Bach - 6 Sonatas for Violin and Organ BWV 1014-1019 (Ct.rec.: Michèle Auclair, Marie-Claire Alain): th-cam.com/video/ZhBXyvk-H6I/w-d-xo.html
Johann Sebastian Bach PLAYLIST (reference recordings): th-cam.com/play/PL3UZpQL9LIxOLRwxl1dEfDrH3c8mX5UB1.html
Herr Walcha was a master indeed. He also was a genius at organ registration and a very respected and distinguished pedagogue. Many notable European and American organists studied under him. He was also a skilled and brilliant improvisor. Of course, most European cathedral organists are masters at improvisation and have to improvise on themes that were used during mass. The French titular organists such as Olivier Latry, Daniel Roth, improvise often for long periods of time and make beautiful music. Walcha also did so. And although his improvisations were brilliant, he didn't improvise for improvisation sake or to demonstrate his skills. It had to have a purpose attached to the worship experience. He was blessed with an incredible ear, was instinctive on registration, and had a tremendous and supple pedal technique. Maestro Walcha also was a skilled harpsichordist and played the piano quite well. Wonderful podcast, too. I am really enjoying it.
I have listened to many performances of Bach's Art of Fugue but I especially love this one by Walcha because it is not played with the score but with the soul. Since Walcha was blind, he learned the musical pieces by heart. This practice has developed in him a spiritual approach to music and in this wonderful organ performance I perceive not one but two spiritual presences, that of Bach and that of Walcha who are delivered to eternity with the last note of the 14th movement which remained unfinished.
So many thoughts, tears, joy, and emotions and there is only one name for it: BACH
This is the century's upload.
To date, after having appreciate dozens versions of this Master piece of the human kind, the Walka interpretation remains the pinnacle.
Is like having the Kantor himself sitting at the organ's bench.
Helmut Walcha has made it known more than once how unnecessary he considers any reference to the fact that he has been incurably blind since his childhood. He wants his intentions to be understood and his achievements to be recognized, exactly like any other musician. It would therefore be right and proper to make no mention of his blindness but for the fact that Walcha himself indicated in a broadcast talk that the disease which cut him off permanently from the visible world also opened up and smoothed for him the way to inner perception. Someone who is wholly protected from the over-abundance of visual impressions to which modern man is subjected develops the ear as his primary organ; what he hears becomes an inner world of immeasurable richness. If that person also possesses outstanding musical gifts, as Walcha does, he develops the ability to comprehend complex musical structures, and to be at home in them, to a far greater extent than a sighted person who is misled by such visual elements of music as the fascination of watching a conductor or virtuoso into concentrating on the superficial attractions of music, however questionable the real value of the composition may be.
It is possible to view a cathedral either from outside or from inside, but it is principally from within that the qualities of the structure become apparent. A musician to whom it is granted to become familiar with compositions only from within, and on that basis to comprehend and interpret them, develops within himself an infallible sense of quality which cannot be confused by any fleeting impressions. Only polyphony which is completely in order can stand up to such examination, so it was inevitable that Walcha's relationship to music should draw him primarily to the music of Bach, as the ideal of strict architecture of line and tone, of harmony which seems to be a cosmos in itself, in which there is no contradiction between transcendental revelations and worldly serenity. Walcha became the great Bach authority of our time ; many people who believed that they already understood and revered Bach declared that it was the lecture which Walcha gave in Göttingen on the bicentenary of Bach's death which first really opened up for them the world of the Cantor of St. Thomas's. Needless to say, this authority, derived from the study of Bach's music, has prevented Walcha, an organist who is also creatively gifted, from ever confusing "improvisations" with "fantasies".
Helmut Walcha, who was born in Leipzig on 27 October 1907, the son of a postal official, and who grew up in a milieu not greatly influenced by music, arrived when he was only 13 at the crossroads which led him to Bach. It was by chance, not thanks to a teacher's plan, that he came across Bach's F major Invention. This is laid out as a canon, and indeed it became a symbol, a "canon" to the youth engrossed in music. Arthur Nikisch, world-famous as conductor of the Leipzig Gewandhaus Orchestra, recognized the boy's gifts and recommended a thorough musical education. After only a year of private instruction he was admitted to the Leipzig Conservatoire, with the organ as his principal subject, and the young Günther Ramin as his revered teacher.
Walcha's career as an organist has been no more outwardly remarkable than that of Bach's. He has been news " spared ; instead the he sensationalism has built up of genuine being renown"in the among an ever-increasing circle of listeners. Since the Second world War, gramophone records, like missionaries, have created Walcha communities in all musical countries, which are at the same time the Bach communities of those lands. As a young organist his first appointment was at the Friedenskirche in Frankfurt, where he still has his home to this day, and where the Goethe-Medal has been conferred on him. The professional advancement which he could expect was forthcoming in Frankfurt: a professorship at the Conservatoire of Music, the direction of the Institute for Church Music, and the position of organist at the Dreikönigskirche. Two organs corresponding to his requirements and ideas are available to him. However, the centre of his activities were the "Frankfurter Bachstunden" functions outside the sphere of conventional concerts, at which explanations and playing, analysis and aural experience are combined as in a single act of human meditation.
The same inner logic which made Walcha an authority on Bach also led him to the organ which is the ideal tonal and performing medium for his concept of Bach. He rejected absolutely the giant symphonic organ of the late Romantic era with its tonal illusions. The way back to the Baroque organ proved in actual fact to be a move towards the future. The works of Bach which Helmut Walcha have been played on historic instruments in their original settings. Fidelity to the music and fidelity of sound to Helmut Walcha these two factors form an indivisible unity.
Click to activate the English subtitles for the presentation (00:00-08:45)
🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr
🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/2M1Eop2
❤️ If you like CM//RR content, please consider membership at our Patreon page.
Thank you :) www.patreon.com/cmrr
Thanks for the Walcha insights. I lived next-door to Dreikonigskirche for a few years, and wondered who was playing so beautifully there. One afternoon after listening to this on, I believe, an Archive LP, I strolled to the Main River, stopping to read the Tafel at the church, where I read: Musikdirektor: Prof. Helmut Walcha. Mind blown. I got to meet him twice!
@@jfstover He was also a fabulous teacher and pedagogue. Herr Walcha had a unique way of learning new music. His wife would play each of the parts on the piano for him, and he had the talent to recreate it, and then weave it all together. He had a phenomenal and supple pedal technique too. He was not one to show off for the sake of just that, performance and worship had a purpose. With that said, he was also a master at improvisation. Of course, that was -- and is -- a must for European cathedral organists and titulaires. He trained a lot of very notable organists over the course of his distinguished career. Also, he was a very skilled harpsichordist and played the piano well, too.
Wunderschöne und tiefempfundene Interpretation dieses Schwanengesangs von J. S. Bach in verschiedenen Tempi mit durchsichtigen doch warmherzigen Tönen der historischen und ausgezeichneten Orgel sowie mit perfekt kontrollierter Dynamik. Die verbesserte Tonqualität ist auch erstaunlich hoch als eine Originalaufnahme von sechsundsechzig Jahren vor. Wahrlich intelligenter und unvergleichlicher Organist!
I had assumed he learned music through Braille notation. No - he'd learn a work by having someone play each line of a work for him.
"He did not rely on Braille (. . . .). Family, friends, students read to him and assisted him in many ways including his learning of repertoire. He learned contrapuntal works by having single lines played to him-(then) he combined them! This proved to be the basis of his subsequent teaching."
This recording is absolutely gorgeous! Indeed a century's recording.
An absolute classic, yes, and Walcha was one of the greatest organ players of the 20th century. I have known and loved his Bach recordings since I was ten years old or something. Imagine my delight when (in 2020) I found a fine copy of the vinyl boxed set of this one (Archiv, creme grey box) at a local thrift shop for the princely sum of eq. 3$ - and not once, but *twice* in the space of about four months! :) I kept the first for myself and gave the second one to my brother as a Christmas present...
Merci infiniment pour toutes ces merveilles musicales. Que ferions nous sans vous? Pas un jour sans que je me réjouisse de mon abonnement à votre chaine. Bonne année 2022 et Excellente santé ! Andrė
Sometimes, regarding to music a miracle it's possible. Here an example. Bach's The Art of Fugue it's a very well crafted musical work per se. And this performance it's wonderful in his contrapuntistic clearness. ¿The result? Very easy, PERFECTION. Thank you very much for upload this rendition!. It's my favourite of this Bach's Magnun Opus until now. Oh! My god. The flow here it's like if it comes from universe. Bach's The Art of Fugue and Bruckner's late symphonies are for me the ''musical architecture'' of cosmos.
Walcha was also a talented harpsichordist. Musical genius. He was also extremely skilled at improvisation, but not of show-off purposes. He could imporvise with the best and used the themes of the homilies and the particular liturgical themes to construct improvising.
An incredibly well crafted rendition of Bach, it feels as if I fall back centuries in time while listening. It’s breathtakingly good and utterly mesmerizing!
Walcha was indeed a visionary interpreter and player. Not least his control of rhythm, tone and modulations give many of his recordings that prophetic force (as in his amazing recording of the G minor fantasia and fugue). He is reminiscent in that way of another organist of genius who was also blind, Jean Langlais.
1:22:22 to end is peak music
Johann Sebastian Bach (1685-1750) The Art of Fugue by Master Helmut Walcha.
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Click to activate the English subtitles for the presentation (00:00-)
00:00 The Art of Fugue in D minor, BWV 1080 - Contrapunctus 1
03:52 BWV 1080 - Contrapunctus 2
07:08 BWV 1080 - Contrapunctus 3
10:31 BWV 1080 - Contrapunctus 4
16:03 BWV 1080 - Contrapunctus 5
20:17 BWV 1080 - Contrapunctus 6, a 4 in Stylo Francese
24:30 BWV 1080 - Contrapunctus 7, a 4 per Augmentationem et Diminutionem
28:30 BWV 1080 - Contrapunctus 8, a 3
35:12 BWV 1080 - Contrapunctus 9, a 4 alla Duodecima
39:32 BWV 1080 - Contrapunctus 10, a 4 alla Decima
43:51 BWV 1080 - Contrapunctus 11, a 4
51:31 BWV 1080 - Canon alla Ottava
54:38 BWV 1080 - Canon alla Duodecima in Contrapunto alla Quinta
57:13 BWV 1080 - Canon alla Decima in Contrapunto alla Terza
1:02:04 BWV 1080 - Canon per Augmentationem in contrario motu
1:06:17 BWV 1080 - Contrapunctus 12, Rectus, a 4
1:09:08 BWV 1080 - Contrapunctus 12, Inversus, a 4
1:12:04 BWV 1080 - Contrapunctus 13, Rectus, a 3
1:15:08 BWV 1080 - Contrapunctus 13, Inversus, a 3
1:18:16 BWV 1080 - Fuga a 4 Soggetti - Unfinished
Organ: Helmut Walcha
Große (Frans-Caspar-Schnitger) Orgel der St. Laurenskerk, Alkmaar
Recorded in 1956
New mastering in 2022 by AB for CMRR
🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr
🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/2M1Eop2
❤️ If you like CM//RR content, please consider membership at our Patreon page.
Thank you :) www.patreon.com/cmrr
Helmut Walcha has made it known more than once how unnecessary he considers any reference to the fact that he has been incurably blind since his childhood. He wants his intentions to be understood and his achievements to be recognized, exactly like any other musician. It would therefore be right and proper to make no mention of his blindness but for the fact that Walcha himself indicated in a broadcast talk that the disease which cut him off permanently from the visible world also opened up and smoothed for him the way to inner perception. Someone who is wholly protected from the over-abundance of visual impressions to which modern man is subjected develops the ear as his primary organ; what he hears becomes an inner world of immeasurable richness. If that person also possesses outstanding musical gifts, as Walcha does, he develops the ability to comprehend complex musical structures, and to be at home in them, to a far greater extent than a sighted person who is misled by such visual elements of music as the fascination of watching a conductor or virtuoso into concentrating on the superficial attractions of music, however questionable the real value of the composition may be.
It is possible to view a cathedral either from outside or from inside, but it is principally from within that the qualities of the structure become apparent. A musician to whom it is granted to become familiar with compositions only from within, and on that basis to comprehend and interpret them, develops within himself an infallible sense of quality which cannot be confused by any fleeting impressions. Only polyphony which is completely in order can stand up to such examination, so it was inevitable that Walcha's relationship to music should draw him primarily to the music of Bach, as the ideal of strict architecture of line and tone, of harmony which seems to be a cosmos in itself, in which there is no contradiction between transcendental revelations and worldly serenity. Walcha became the great Bach authority of our time ; many people who believed that they already understood and revered Bach declared that it was the lecture which Walcha gave in Göttingen on the bicentenary of Bach's death which first really opened up for them the world of the Cantor of St. Thomas's. Needless to say, this authority, derived from the study of Bach's music, has prevented Walcha, an organist who is also creatively gifted, from ever confusing "improvisations" with "fantasies".
Helmut Walcha, who was born in Leipzig on 27 October 1907, the son of a postal official, and who grew up in a milieu not greatly influenced by music, arrived when he was only 13 at the crossroads which led him to Bach. It was by chance, not thanks to a teacher's plan, that he came across Bach's F major Invention. This is laid out as a canon, and indeed it became a symbol, a "canon" to the youth engrossed in music. Arthur Nikisch, world-famous as conductor of the Leipzig Gewandhaus Orchestra, recognized the boy's gifts and recommended a thorough musical education. After only a year of private instruction he was admitted to the Leipzig Conservatoire, with the organ as his principal subject, and the young Günther Ramin as his revered teacher.
Walcha's career as an organist has been no more outwardly remarkable than that of Bach's. He has been news " spared ; instead the he sensationalism has built up of genuine being renown"in the among an ever-increasing circle of listeners. Since the Second world War, gramophone records, like missionaries, have created Walcha communities in all musical countries, which are at the same time the Bach communities of those lands. As a young organist his first appointment was at the Friedenskirche in Frankfurt, where he still has his home to this day, and where the Goethe-Medal has been conferred on him. The professional advancement which he could expect was forthcoming in Frankfurt: a professorship at the Conservatoire of Music, the direction of the Institute for Church Music, and the position of organist at the Dreikönigskirche. Two organs corresponding to his requirements and ideas are available to him. However, the centre of his activities were the "Frankfurter Bachstunden" functions outside the sphere of conventional concerts, at which explanations and playing, analysis and aural experience are combined as in a single act of human meditation.
The same inner logic which made Walcha an authority on Bach also led him to the organ which is the ideal tonal and performing medium for his concept of Bach. He rejected absolutely the giant symphonic organ of the late Romantic era with its tonal illusions. The way back to the Baroque organ proved in actual fact to be a move towards the future. The works of Bach which Helmut Walcha have been played on historic instruments in their original settings. Fidelity to the music and fidelity of sound to Helmut Walcha these two factors form an indivisible unity.
Bach - 6 Sonatas for Violin and Organ BWV 1014-1019 (Ct.rec.: Michèle Auclair, Marie-Claire Alain): th-cam.com/video/ZhBXyvk-H6I/w-d-xo.html
Johann Sebastian Bach PLAYLIST (reference recordings): th-cam.com/video/xcbILwXpPMQ/w-d-xo.html
My deep gratitude CM/RR for the New Mastering of the wonderful organ version of "the Art of Fugue " by the great legendary Master Helmut Walcha ! Also a big thank you for the accompanying information.
Walcha is Bach incarnate
yeah, he is the best on Bach's organ pieces
A reference recording, no question, and a recording of the century. Thanks for uploading. I will write a separate comment of the organ music and its difficulties and triumphs tomorrow.
It's wonderful. I'm sure Bach would have loved Walcha's interpretation of his work. It's great, no words.
Auch Fritz Wunderlich's Lehrerin und wie er sie oft ansprach, "hochverehrte Meisterin", Frau Margarethe von Winterfeldt, war blind von Geburt. Sie hat ihm das Singen beigebracht und auch oft als Mutter fungiert, da der junge Pfälzer Bua schreckliches Heimweh hatte in seiner neuen studentischen Umgebung Freiburg.
Vielen Dank und LG aus Montreal, Qc, Canada
PS
Und Fritz Wunderlich hat Bach einfach großartig singen gelernt!
Best Bach performer ever.
Absolutely - I've always felt the same, ever since I heard his first recordings as pre-teen.
Je suis d'accord. Toute l'oeuvre pour orgue, les variations goldberg, et son 1er enregistrement du clavier bien tempéré (WTC), chez EMI.
Grande
Hemult Walcha🎉
🌹🌹🌹
The century recording of the greatest musical work.. what else?!
I had never heard of Walcha. So glad now to have learned about him. Thank you for posting!
Never stop learning.
I’m not 100% convinced by his interpretation, but I’m glad to know him
Wonderful recording, among the best of all time.👏👏
Magistralement interpreté par Walcha ! Le contrepoint final à trois sujets qui reste en suspend est particulièrement émouvant ! Il est l'aboutissement de ce fleuve immense que fut l'oeuvre de Bach . Et ces notes suspendues sur cette phrase inachevée, le silence qui les suit achèvent de la plus belle des façons cette vie dédiée à la musique.
Thank you for great music!!! BRAVO!!!
You saved me.
Thank You!
So beautiful, so noble and eternal!!
merci du partage c'est sublime
Merci de nous suivre depuis plusieurs années :)
You never ceases to amaze me with your awesome work on these masterpieces, thank you very much and best regards to you!
To whomever it is directed, I trust that both Helmut Walcha - died 1991 - and
Bach - died 1750 - look down, chuckle, and acknowledge your praise.
Nice recording.
I went straight to Contraption 14 (incomplete).
So far, it is beautifully played; I like the tempo, and the registration.
There were commercial interruptions, that were frustrating.
Ang hagdanan patungo sa langit ay nasa loob ng iyong puso; pumasok ka sa pintuan ng iyong kaluluwa. Ang aming buong buhay ay isang pagtatangka lamang na hanapin ang mahimalang pasukan na iyon. Ang lahat ng ating mga kilos ay mahiyain na katok sa mahiwagang pintong ito at ang lahat ng ating pag-asa ay makarinig ng isang tinig na sasagot ng "Pumasok ka”
Brilliant insight.
THIS IS BACH ON THE ROOT... GORGEOUS
Shame on me. I announced a comment for "tomorrow" and in the best latin American tradition, I forgot this compromise. "Mañana..." So I endeavor today to pay my dues to Classical Music and their inexhaustible wealth of great musical works that enlighten our existence. Most people who enjoys classical music know about Bach's The Art of the Fugue. Most contemporary versions are played in the piano, older versions were played in the harpsichord and even before on the organ. The piano provides a clear, flexible, easy to follow sound and most contemporary records are played in the piano. The organ is a less flexible instrument and we are less accustomed to church music nowadays. The organ of course has the majesty and solemnity of this noble instrument. Helmut Walcha, Albert Schweitzer, Jean Langlais and many other interpreters have demonstrated the musicality and beauty of the organ. Bach himself was primarity and organ player. The present recording is remastered from the century record by Walcha, thanks to Classical Music to whom we should be always grateful.
Potęga instrumentu i jakość idiomu Walchy sprawiają, że, sorki Glenn, ale Twoje (świeć Panie nad Twoją duszą) wykonania to wesoła parodia.
In the order original, ubremastered recording, the last contrapunctus trails off into a few notes that gave been omitted here, which ends abruptly. An unexplained loss
It's magnificent how playing the 🎵. The pipes are very clean.
Amazing performance....So touching and impressive.....This artist is really an excellent performer of Bach. From now on, i will listen this artist works playing Bach, if he had any. Thanks for uploading.
Magnifique sauvegarde d'un des plus importants enregistrements de Bach, réalisé en 1956. Walcha n'a pas réenregistré l'Art de la Fugue, mais il a enregistré plus tard son propre "achèvement" de la dernière fugue du recueil. Peut-être auriez-vous pu l'ajouter à votre version.
Oui oui, tu as raison mon frère. J'espère que la vie vous accordera plus de noix de coco qu'il n'y a de mouettes dans le monde.
@@YOLO-ri8od hi, is that an actual french saying..? "i hope life gives you more coconuts than there are seagulls in the world"..?
カール・リヒター氏のバッハの曲を好んで聴いていましたが、ウォルカ氏の…ドイツ人ですかね？改めて… ヘルムート・ヴァルチャ氏のオルガン演奏はまさに驚嘆感激でした 素晴らしい！。
I was lucky to bumb into Helmuth Walcha very early in my life-long Bach discovery ... I appreciate some other interpretations, but I always come back to his concept and performance as the reference ... it's obvious to me, that this is the closest you can get to hear Bach as it was written and played in original times
There is also a recording with the completed Contrapuntus no. 14 by Welcha but it was rather short.
Superbe, merci ! Bach c'est éminemment catholique; ne peut-on dire, par ex., que c'est une inquiétude vivante, très charnelle ? Bach nous dit ce que manqua le triste Pascal malgré qqs bonnes trouvailles, à savoir la chair, la pauvre chair !.....
the teacher
H Walcha, incontournable à nous donner le plus bel hommage à JSB et à l'interprète dans ce qu'il a de plus respectueux, original et...créateur!
Phantastisch!
Gostei.
Wonderfull interpretation and exellent sound! Thanks for upload this work!
You're really pulling out all the stops!
Perfect. TY
38:45 WOOO! (throwing up metal hands)
phantastick!
1:22:22
正座して聴いております。
01:22:22
Only the blind man can see God. Only the silence can feel God. The silence After contrapunctus 14...
♥️♥️♥️♥️♥️
Great playing!! But the order in description i think is not correctly
Bach es Dios♥️🔺️🌹💫🔷️🌻🇻🇪
This was my favorite recording of this work until I discovered Koroliov.
.لَا
Bach said
「I am busy sought after from here and there」
❤
So Helmut Walcha is blind? And he played this entire piece? How? Memmorizee the entire piece? Im baffled. Some please explain or am i misunderstanding? Thanks.
There was a interview I saw about it and it explained Helmut Walcha strategy to perform and therefore interpret Bach's works. One thing I still remember is that he knew every single work of Bach given any random BWV number or vice versa. It's absolutely beyond imagination