Ah! The English Bach...I once supplied a CD of this very piece for a local theatre company's presentation of Sheridan's The Rivals. Perfect match I think. I can see Fanny Burney's heroines...smartly perfumed and powdered... fanning themselves to this! Not to diminish this excellent performance...or J.C. Bach's work, after all Mozart learned more than a little from his lessons in London with Bach's youngest son. As in all J.C.s music, it seems to me, the slow movements are the most heartfelt, and most like Wolfgang Mozart!
Johann Christian Bach era un genio, e questo quintetto lo dimostra pienamente. Il più grande anticipatore di Mozart, che lo apprezzava molto, e sul quale esercitò una indubbia influenza. Gusto italiano, ma con saldissima competenza armonica degna di un figlio del sommo Sebastian, e una vena inesauribile. L'esecuzione è perfetta!
Me quedo con el 2do movimiento, el precioso Andantino, es una frescura y una dulzura como comparten la flauta y el oboe, parece que fueran dos pájaros en una mañana de primavera, bueno, al menos así lo percibo. No cabe duda que los solistas se complementan maravillosamente. Gracias por tanto arte y tanta belleza. Siendo las 20:31 de un 03 de enero del 2022, me siento más que feliz disfrutando de esta bella composición. Saludos desde Chiclayo - Perú.
Inspirierende und wunderschöne Aufführung dieses perfekt komponierten Quintetts mit gut vereinigten und perfekt entsprechenden Tönen aller genialen Instrumente. Der zweite Satz klingt besonders schön und auch lyrisch. Wahrlich tröstend in dieser schwierigen Zeit unter der Coronavirus Krise!
Aunque por el Covid no podamos asistir a sala de conciertos , miles de aficionados estamos escuchando y viendo vuestras interpretaciones en TH-cam a diario . ¡Animo !! y Bravo
Magnífica la interpretación de este quinteto .Registro sonoro excelente ..Todos los instrumentistas perfectos , los sonidos de todos ellos en interponen perfectamente . El andantino es delicioso .El clave se percibe perfectamente , cosa que no ocurre en numerosas interpretaciones cuyo sonido queda enmascarado por el de otros instrumentos
J.C Bach lived in London and adopted a personal style much infleunced by the Italian music. We wrote several successful operas for Paris, for insatnce 'Amadis des Gaules'. The very young Mozart played sitting on his knees and loved him much. When he died, he wrote to his father: "What a loss fo the music" . In this quintet, the oboe has a natural trend to dominate the overall tone, but JCB takes care make it sometimes silent to let us fully appreciate the tone of other instruments. Rhe keyboard instrument is no longer a continuo and has an independant part, like in his father's Brandeburg Concerto n° 5 (with less virtuosity)
Some interesting points, but ‘…several successful operas for Paris’ ? There was just one opera written especially for the French capital - Amadis des Gaules, which was his only French-language opera, and was first performed in 1779 to indifferent reviews at best. (It was on a planning visit for this work in 1778 that he met Mozart again, who was in Paris having just arrived from Mannheim, for the first - and last - time since they had been together in London in 1764/65). Amadis was *not* a great success as it got caught up in the Gluck v Piccinni arguments raging in Paris at the time, and was deemed to please neither. JC wrote two operas for Mannheim, Temistocle in 1772, and Lucio Silla in 1774, but the rest - apart from the earlier works written in Italy - were intended for London. Regarding this lovely quintet (which I had five of my students perform a few years ago), the balance of the five obbligato instruments is beautifully handled, but I think the keyboard writing is idiomatic fortepiano writing, not that of the harpsichord, though either of course works perfectly well. The keyboard part as you say is not a continuo part, and it contributes fully to the music with its own solo parts, though in a Classical manner, rather than the Baroque fashion of the other remarkable work you mentioned.
Ah! The English Bach...I once supplied a CD of this very piece for a local theatre company's presentation of Sheridan's The Rivals. Perfect match I think. I can see Fanny Burney's heroines...smartly perfumed and powdered... fanning themselves to this! Not to diminish this excellent performance...or J.C. Bach's work, after all Mozart learned more than a little from his lessons in London with Bach's youngest son. As in all J.C.s music, it seems to me, the slow movements are the most heartfelt, and most like Wolfgang Mozart!
Johann Christian Bach era un genio, e questo quintetto lo dimostra pienamente. Il più grande anticipatore di Mozart, che lo apprezzava molto, e sul quale esercitò una indubbia influenza. Gusto italiano, ma con saldissima competenza armonica degna di un figlio del sommo Sebastian, e una vena inesauribile. L'esecuzione è perfetta!
Magical. The instruments merge yet stand out individually. What minds create these marvels.
Me quedo con el 2do movimiento, el precioso Andantino, es una frescura y una dulzura como comparten la flauta y el oboe, parece que fueran dos pájaros en una mañana de primavera, bueno, al menos así lo percibo. No cabe duda que los solistas se complementan maravillosamente. Gracias por tanto arte y tanta belleza. Siendo las 20:31 de un 03 de enero del 2022, me siento más que feliz disfrutando de esta bella composición. Saludos desde Chiclayo - Perú.
Inspirierende und wunderschöne Aufführung dieses perfekt komponierten Quintetts mit gut vereinigten und perfekt entsprechenden Tönen aller genialen Instrumente. Der zweite Satz klingt besonders schön und auch lyrisch. Wahrlich tröstend in dieser schwierigen Zeit unter der Coronavirus Krise!
Magnifique. Quelle fraîcheur ! Ça m'a réveillé de ma torpeur de "confiné". Merci aux musiciens
Aunque por el Covid no podamos asistir a sala de conciertos , miles de aficionados estamos escuchando y viendo vuestras interpretaciones en TH-cam a diario . ¡Animo !! y Bravo
Ich höre oft diese wunderbare Leistung.
Ich wünsche Ihnen allen ein frohes neues Jahr
0:05 1st mov.
6:43 2nd mov.
11:52 3rd mov.
Thank you for the wonderful performance !
Thanks . Danke . Merci . Gracias
Pro tip: watch series on flixzone. I've been using it for watching lots of of movies during the lockdown.
@Bishop Warren yea, I've been watching on flixzone for since december myself =)
Herzlichen Dank für diesen Augen- und Ohrenschmaus!
Amazing Bach. Fantastic musicians. Magnificent performance. Thanks from Canada.
A 6:17 dmirável ! Sonoridade impecável dos instrumentos harmonicamente integrados! Transmite doce alegria em incessante movimento !
Wow, Super! Ich bin der Meinung, ihr seid Spitze! Vielen Dank für euer Engagement auch in dieser verrückten Zeit. 👍💪🙏
Absolutamente hermoso y delicado. Bravo... Gracias infinitas.
Pienso exactamente lo mismo .Para resistir frente al Covid
Te recomiendo Triosonate de JS Bach (de Musikalisches Opfer) por este mismo conjunto. Una delicia
Magnífica la interpretación de este quinteto .Registro sonoro excelente ..Todos los instrumentistas perfectos , los sonidos de todos ellos en interponen perfectamente . El andantino es delicioso .El clave se percibe perfectamente , cosa que no ocurre en numerosas interpretaciones cuyo sonido queda enmascarado por el de otros instrumentos
Bach, um den Tag bestmöglich zu beginnen. Danke, dass du meinen Tag besser gemacht hast!
Wow - great program, with chamber music of J.S., C.P.E., W.F., and J.C. together! Interesting to hear similar pieces side-by-side. And well played!
Wanderful concert good rendition
Its great. And the oboist is so handsome...
Thank you so much for this great “delikatessen” 👏👏👏💐
Дякую! Чудово!
Absolut wunderschön gespielt!! 😍
Beautiful
Cada vez que escucho esta interpretación me parece mejor. ❤️❤️❤️
Excellent!!!
J.C Bach lived in London and adopted a personal style much infleunced by the Italian music. We wrote several successful operas for Paris, for insatnce 'Amadis des Gaules'. The very young Mozart played sitting on his knees and loved him much. When he died, he wrote to his father: "What a loss fo the music" . In this quintet, the oboe has a natural trend to dominate the overall tone, but JCB takes care make it sometimes silent to let us fully appreciate the tone of other instruments. Rhe keyboard instrument is no longer a continuo and has an independant part, like in his father's Brandeburg Concerto n° 5 (with less virtuosity)
Some interesting points, but ‘…several successful operas for Paris’ ?
There was just one opera written especially for the French capital - Amadis des Gaules, which was his only French-language opera, and was first performed in 1779 to indifferent reviews at best.
(It was on a planning visit for this work in 1778 that he met Mozart again, who was in Paris having just arrived from Mannheim, for the first - and last - time since they had been together in London in 1764/65).
Amadis was *not* a great success as it got caught up in the Gluck v Piccinni arguments raging in Paris at the time, and was deemed to please neither.
JC wrote two operas for Mannheim, Temistocle in 1772, and Lucio Silla in 1774, but the rest - apart from the earlier works written in Italy - were intended for London.
Regarding this lovely quintet (which I had five of my students perform a few years ago), the balance of the five obbligato instruments is beautifully handled, but I think the keyboard writing is idiomatic fortepiano writing, not that of the harpsichord, though either of course works perfectly well.
The keyboard part as you say is not a continuo part, and it contributes fully to the music with its own solo parts, though in a Classical manner, rather than the Baroque fashion of the other remarkable work you mentioned.
Vielen Dank!
Dejlig musik let og lyst i tonen og flot spillet.....
Thank you very much. I needed that.
참 좋습니다!
Bravo!!
very good (amazing) ^^♡
👏🏽👏🏽👏🏽
♥ ♥ ♥ ♥ ♥ !!!!
A w e s o m e
Большое спасибо за чудесный концерт!
Желаю всем победы Украины!