J.S. Bach - Fantasia and Fugue in G minor, BWV 542 {Peter Hurford}
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- เผยแพร่เมื่อ 8 มี.ค. 2018
- Johann Sebastian Bach (1685-1750)
Great Fantasia and Fugue in G minor, BWV 542
Peter Hurford at the Casavant Frères organ of the Lady of Our Sorrows Church in Toronto, Canada
The Great Fantasia and Fugue in G minor, BWV 542, is an organ prelude and fugue by Johann Sebastian Bach. It acquired that name to distinguish it from the earlier Little Fugue in G minor, which is shorter. This piece is not to be confused with the Prelude and Fugue in A minor, which is also for organ and also sometimes called "the Great".
Bach's biographer Spitta and some later scholars think that the Fugue was improvised in 1720 during Bach's audition for an organist post at St. James' Church in Hamburg. Assuming this is correct, the theme or subject of the Fugue, a Dutch popular tune (called 'Ik ben gegroet van…'), would have been given to Bach for him to demonstrate his talents as an improviser. It has been suggested by musicologist Christoph Wolff that the choice of a Dutch tune was in homage to Johann Adam Reincken, the long-serving organist at St. Catherine's Church, Hamburg, who was born in Holland. During his 1720 trip to Hamburg Bach is believed to have met Reincken, whose music he had known since his teens.
The Fantasia may have been composed separately during Bach's time in Köthen (1717-23). - เพลง
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I am beginner at piano and i love Bach. As s.o. wrote, composing this is a miracle but also playing.
The harmony in the fantasia is absolutely wild and must-hear. The rapidness of key change is astounding. The use of enharmonic equivalence is insane!
Indeed, I was enraptured by the 6 consecutive subdominant key changes and the use of enharmonic equivalence which helps in turning to the triple dominant key.
How someone can compose somthing like this is a mystery. Bach is a miracle.
@@langschwerts no fucking way, i understand that bach could improvise stuff beyond imagination, probably better than virtually anyone to this day, but if youre telling me he improvised even the first minute of the fugue note-for-note i wouldnt believe you
@@mullenenterprises he famously did…
0:37 the greatest buildup of all time
I have played this organ many times. For Bach it's just incredible! It's a Casavant masterpiece! Only 25 stops, pure tracker, and no combination action. Also the first Casavant with a ruckpositiv behind the organist's back. Just a few coupler toe controls. So I have had a few non-musical friends frantically working stops for me. lol. But the voicing and church acoustics are perfect. Bach himself would have loved this organ. It's like a magnet for famous organists passing through Toronto. It's also only a few blocks away from another church where Glenn Gould recorded the Art of Fugue on the organ. Sadly, that organ (another great Casavant!) died in a fire many years ago.
Thank you for these insights, PointyTailofSatan!
@@NormanOBrown-yz8qb This is the organ . pipeorgandatabase.org/static/organ_images/1606/a61c7ecb-ad1c-44e7-a49d-9d98134a6377_Toronto.OurLadyofSor.1965CasavantFr.20131221.154033.jpg
I can remember all the years that I have played this piece and always get new insights!
I may admit that a book that aided me to understand better the harmonies inside each note of the scales and quick passages is the organ manual of Joachim Hess (I have an original exemplar of the 5th edition dated from 1792).
A brilliant performance of a brilliant piece, my favourite of all Bach's organ works. To me Bach really lets himself go in the Fantasia and underlines that he is not just a dry academic composer. Peter Hurford captures that uninhibited quality - would one almost call it Bach "headbanging"?! - that very few other organists quite manage.
My not-quite-favourite of his organ pieces. That role is filled by the fugue from the little E minor.
Maybe my favorite organ piece, ever.
Very nice stops selection, and the typical phrasing of Hurford, always bright and clear. It's funny how he makes sound every organ like a Rieger!!
This work is pure bliss so is its performance, the fugue is just overwhelming! Thanks for the upload!
That's exactly it! Pure bliss, couldn't have said it better myself. I LOVE YOU J. S. Bach, thank you so much for gifting us all with such amazing musical pieces.
Now Thats What I Call Music! 542!
Good sense of the registation which underlines the construction of the work. A declamatory style perfectly suited to the fantasy. A great rendition.
Well... listening to this masterpiece simply recalls every composer that they will never be able to achieve such a level :-) Sad but true, Bach's counterpoint is simply unsurpassed. But there is room for other styles 😀
divino Bach!
6:04
thanks friend, i was looking for the fugue
gracias!!
Thank you!
Two great harmonic moments: 2:19 A combination Italian and German augmented 6th! 11:40 First two 16ths and you get a cross relation diminished octave AND major 7th. Same interval but different, giving the most deliciously dissonant predominant chord.
itilian isn't just the version without a 5th ? The harmonic thing I see is the German aug 6th on a dominant ped
@@hcab14 German aug 6th has Eb-G-Bb-C# resolve to D-F#-A-D. Italian has Eb-G-G-C#, so not just no 5th, but a doubled 3rd that resolve in contrary motion yielding D-F#-A-D. I was actually kind of stretching calling these either but I did like how it has the parallel 5th of the German and the doubled thirds resolving in opposite motion of the Italian all in one chord.
@@JoEbY-X oh ok I see thank you for your answer, I love harmony it is so interesting !
It sounds kind of unusual for Bach. Sounds like a chord Beethoven would use, however Bach I would expect to write it with an e natural.
Браво грандиозно музыка супер
WUNDER !!! Tepper Michael.
El sumo sacerdote de la Belleza, Bach. Excelente Hurford
This was an improvisation?! Amazing
No, it's a composed work.
Es una joyita,desafortunadamente cada vez resulta muy complicado escuchar conciertos de órgano...
Another lovely performance. I have always liked the late Slovakian Organist Ivan Sokol who plays this work in this vein. Like Sokol, Hurtford gets a lovely bell like sound from the organ with all the parts ie manuals and pedal crystal clear. Check out Sokol' s recordings on you tube.
I only regret that he didn't did a thing I learned in Brazil: the stop crescendo in the four times descending scales. In other words I'm saying to you the detail that Édouard Commette and André Marchal did in their recordings.
6:02 Fugue
Спасибо Вам от всей России за доставленное Удовольствие. Алекс.
This is the one.
That chord at 5:54 sure sounds like a major chord to me; am I not seeing the B natural accidental, or are my ears deceiving me?
The Barhenreiter edition says a b natural which is probably what Mr Hurford is using. I've viciously scrubbed out the accidental in my copy!
Yeah, I much prefer the minor cadence. Fits the theme of the fantasia much better, in my opinion.
@@andrewrichesson8627 But what do the sources say?
No, Mr. Hereford chooses a Picardy third for the final chord of the Fantasia, but I would prefer he keep the ending in the key of G minor
@@monsieurgrigny There was a study done where the author looked at the 34 of 35 surviving manuscripts of BWV 542. 7 of them contain the fantasy: 6 of them end with major and 1 in minor.
Lovely playing BUT A BIT FAST every note of Bach is precious,let the pleasure LAST 😘💋💕💜
6:03 fugue
8:19 What is this passage of D minor G minor C major F major G minor E dim A major D minor.
It’s just a circular progression.
Good tempi, for the Fantasia like for the Fuga, good registration too, even if the sound of the mixtures is agressive on this organ (or it is cause of the recording ?). I don't completely agree with the phrasing of the Fuga, but it is your choice. And like recalled elsewhere, the last chord of the Fantasia in G major is a strange idea...? Regards. Jacques, from France.
Liked the quavers long in that fugue subject - like using lots of bow on a double bass. Something you rarely hear - usually shorter.
The G major chord at the end of the fantasia is utterly ridiculous - a sort of sentimental, home-spun flourish to 'ease' the tension. Bach does that perfectly adequately at the end of the fugue. He didn't need Mr Hurford's help in the fantasia.A terrible blight on an otherwise excellent performance and registration.
@@richardmartin3631 Like you, I don't like at all the major chord at the end of the Fantasia. It removes brutally the all dramatic tension of the work. The Fuga, behind, is here to resolve the tension, so the final G major chord is logical.
@@keplergso8369 It's silly. It's sappy and sentimental. Some people just can't stand to live with musical tension without "resolving it" somehow. Like at the beginning of Beethoven's Copriolan overture, conductors just cannot stand to wait the length of the whole three silent beats before bringing the orchestra in. It's too confronting for them. They need their daily fix of Mozart (Most Fart), the emptiest, shallowest famous composer who ever lived. (Listen to Glenn Gould on the subject).
This is why I’m convinced Bach did not write the famous toccata and fugue in D minor all his other Adlib type pieces and fugues on organ are much better written
Most modern performances of Bach's famed Toccata and Fugue take a lot of liberties with tempo. You might want to listen to a more authentic-to-the-page performance of the work before doubting it's authorship. As far as I am aware, we have very good historical evidence that Bach did write BWV 565.
@@Frightning I'm not referring to the interpretation. I've heard several of Bach's organ and keyboard works with varied interpretations on both modern and period instruments. People often over romanticizes Bach's music in performance so I'm fully aware of what an authentic performance should sound like, not just with Bach but all of Baroque and early classical music. This really doesn't change why I feel he did not write this piece. There is just as much evidence to suggest he didn't write it as there are that says he did. However, as I'm sure you know, there is no manuscript of this piece in his handwriting. The title of the work toccata, Bach never used it in his other intro and fugue works, "praeludium et fuga' is what is written on all of his other toccata and fugues, but those are names given to the pieces in later publishings. Bach's mastery in composing fugues are not followed in this piece. using octaves, having minor cadences, inconsistent voices, is it a 3 part fugue or 4 part? Bach's parts are consistent throughout, unlike let's say Handel who may use 3 and 4 parts sparingly in his fuges. There are no contrasting rhythms or contrary motion, everything follows the subject. Bach may have copied or arranged it as he's so known to do, but I don't believe it is an original piece.
@@TheMaestro2005 there is no manuscript in Bach's hand for BWV 542 either! Not having or having is not a seal-tight proof. For BWV 565 ... Im open to it being written by a teenage Bach.
1:52 F instead of D??
Good ear. But compare it to 5:10. I wonder if the first instance is an error in the score presented here.
This is what IQ = 300 sounds like. It's like music written by God.
8:14
I've always wanted to play this work, but I'm not nearly good enough, but maybe it's just me, and I know it's a rather different type of work, not a fantasia, but I think I prefer the "little fugue" in Gm a bit more than this. To me, while the fugal theme here is catchy enough, I don't particularly care for the development and think it's a bit redundant in a few places, it's also a bit long-winded as well. I think the "little fugue" is more concise and coherent, the modulations into the major keys work better there as well, shifting the moods and colors perfectly between light and dark, dour, optimistic, and triumphant. And being much shorter, it isn't overblown in length.
bach is jesus
I'm sure you mean this comment kindly but it might be better to say something like .... a musical evangelist. Is that your meaning, or that in someway Bach can bring us so disposed closer to God?
ABSOLUTE PLEASURE BUT WAY TOO FAST
YOU ARE SHORTENING OUR SACRED PLEASURE
LET THE PLEASURE LAST 🤡
6:02 fugue