We hope you enjoy our new video and have a good time with the Brandenburg Concerto No. 4! We are looking forward to your comments! 🙂 A big thanks to our patrons: I. Baumgratz, Iglia, R. Kornberger, M. B. Lange, M. Mahler, U. Mahrt, K. Smith and H. Spjelkavik. Support us on Patreon: www.patreon.com/bremerbarockorchester
Da bleibt kein Wunsch offen. Großartige Orchestertransparenz, vorzügliche Concertinosolisten, wundervolles Ambiente. Ich bedaure sehr, nicht in Bremen oder Umgebung zu wohnen um live zuhören zu können.
How this recording gives me so much joy during a very sad time in my life. Vielen Dank, Bremer Barockorchester! You’ve made my evening. Greetings from Hawaii - aloha!
This pair of Denner alto recorders in F is so delightful to hear to. I love baroque wood wind instruments. Thanks for sharing this amazing performance, and I simply love the way you perform the fugue of the last movement: precise and with such a vigorousness without being robotic.
This performance is absolutely splendid, and about the original orchestration I think it was very fluctuating at Bach´s times. So the theorb and bassoon fits in completely. Special thanks to the solo violin and the flutes!
Oh, sooo schön! Habt vielen Dank fürs Hochladen. Da ich nicht live dabeisein kann, betrachte und höre ich Eure herrliche Musik via Fernseher und Steroanlage. Das ist immer wieder ein feines Hauskonzert. Liebe Grüße an Euch alle - und natürlich immer auch einen dankbaren Gedanken an den großen Meister Johann Sebastian Bach.
Absolutely riveting! Thanks so much for this performance! As far is I'm concerned this concerto is a serious contender for best piece of music ever written, and this interpretation does it justice. Also, I was not aware Felipe was a recorder player as well as a baroque flautist. It was a nice surprise to see him in that role.
Un concierto espectacular cada uno de los músicos desempeñando su labor con un estilo, una entrega y totalmente entregando el corazón.Un estilo de tanta entrega espiritual total ,que los hace inigualables por su preciosa interpretación
Very good performance. Really peasant to my ears. The first violin is so beautiful. I love the way she pulls out the long tone at 1:00. It interacts with the recorders perfectly.
Believe me, I am so sorry to write these words. In the first movement the violins are absolutely too nervous. A slower tempo is necessary, in my opinion. Not so many accents. We need "teneramente" we need beautiful sound. The flutes are simply wonderful
Excellent comme toujours mais je vois que la charmante violoniste est une française d'excellentes 👍🥂🙌✋🥂 Pour ma part, je trouve que la version de Karajan de 1965 est légère fluide et répond exactement à ce Que Bach aurait vu l'entendre 👍👍
This splendid ensemble understood JS Bach based on the sources. Karaschwein never understood JS Bach and was just trying to re-imagine his music from a too big modern perspective, which is deconstructing the music instead of filling it with life. So Karaschwein's performances are dead, and this performance by the Bremer Barockorchester is vivid and full of life (especially due to the small size)!
@@tobiasstudtheol As I understand you call Karajan Karaschwein, maybe a little rough, I think. Karajan has still an influence on modern interpretations. But maybe Bach was not his best card? Anyhow, I agree about this splendid ensemble, Bremer Barockorchester.
@Staffan Olofsson , maybe this individual has an influence on modern "interpretation", but that's still unnecessary. Thinking musicians distance themselves from such uninformed bullshit called modern "interpretation".
@@tobiasstudtheol Dear Tobias, so we both love this interpretation, "vivid and full of life" as you say. And I agree. And Im not so fond of Karajan myself. We are on the same side!
Bach is very clear about the bass parts: Violoncello, Cembalo, Violone, each with a separate part. So what is the bassoon and the lute doing there? Sometimes things are less arbitrary than musicians nowadays think.
That's thinking too small of this music. Early music is all about seeing music non-conformative. Modern thinking is all about having a fixed view or position on something, but that's not applicable to early music. E.g. continuo sections were built up and cast differently for every occasion (even up to the point of what was affordable to the host/ financer of the event). There is evidence of nobility and royalty wanting to show off and having huge sections of bass instruments (as well as a large phalanx of trumpets). It was more important to have an alternation than just having one standard formation. That is making it at the same time easy, difficult, and interesting for us if we want to find a suitable continuo section as there was nothing as the (!) continuo as people sometimes think. Even the cello and harpsichord weren't as much in use as many nowadays think. A lot of historical instruments used in historical continuo sections are not really used anymore or are sometimes even "forgotten" about. From this perspective, this very continuo section used here somehow became the "modern standard," but it should be seen as just one possibility among many.
We hope you enjoy our new video and have a good time with the Brandenburg Concerto No. 4! We are looking forward to your comments! 🙂
A big thanks to our patrons: I. Baumgratz, Iglia, R. Kornberger, M. B. Lange, M. Mahler, U. Mahrt, K. Smith and H. Spjelkavik. Support us on Patreon: www.patreon.com/bremerbarockorchester
❤❤❤❤❤
@@charlesledentu3181 ❤❤❤❤❤
Da bleibt kein Wunsch offen. Großartige Orchestertransparenz, vorzügliche Concertinosolisten, wundervolles Ambiente. Ich bedaure sehr, nicht in Bremen oder Umgebung zu wohnen um live zuhören zu können.
How this recording gives me so much joy during a very sad time in my life. Vielen Dank, Bremer Barockorchester! You’ve made my evening. Greetings from Hawaii - aloha!
❤
@@felipipefrikisnikis ❤
Aloha to you too.
The first violinist is fuego!
You mean the principal violinist. There are 3 violin parts: principal, 1st ripieno and 2nd ripieno.
One of these rare recordings when you can hear the harpsichord, all the time. Thank you, sound engineers.
This pair of Denner alto recorders in F is so delightful to hear to. I love baroque wood wind instruments. Thanks for sharing this amazing performance, and I simply love the way you perform the fugue of the last movement: precise and with such a vigorousness without being robotic.
Perhaps cherry and olive woods?
This performance is absolutely splendid, and about the original orchestration I think it was very fluctuating at Bach´s times. So the theorb and bassoon fits in completely. Special thanks to the solo violin and the flutes!
Very well arranged with clear and distinctive instrumental sound! Unusually good!
Very beautiful performance🍃thank you
That violin solo in the first movement will never be boring. THAT THANG'S ON FIYAAAAH!
Wonderful performance. Ms Paulet est très fantastique! I love her playing
I find your film editing superb! I love being able to see the left hand of the solo violinist when she's doing her thing! Thanks!
Oh, sooo schön! Habt vielen Dank fürs Hochladen. Da ich nicht live dabeisein kann, betrachte und höre ich Eure herrliche Musik via Fernseher und Steroanlage. Das ist immer wieder ein feines Hauskonzert. Liebe Grüße an Euch alle - und natürlich immer auch einen dankbaren Gedanken an den großen Meister Johann Sebastian Bach.
Godimento puro!❤
Super!
Además de tocar el traverso magistralmente eres un excelente flautista dulce, Felipe Egaña, saludos.
Absolutely riveting! Thanks so much for this performance! As far is I'm concerned this concerto is a serious contender for best piece of music ever written, and this interpretation does it justice.
Also, I was not aware Felipe was a recorder player as well as a baroque flautist. It was a nice surprise to see him in that role.
Musik am besten. Vielen dank :)
Gracias por su labor,es igual de valiosa que, por ejemplo,el estudio de la Ciencia….😁👏🎖
It's an out-of-body experience, watching Paulet launch into that first solo passage!
What a great performance, these musicians enjoy playing and i enjoy listening, the Presto theme gives me goose bumps, what fantastic acoustic,
My new favorite performance of this piece. Flawless! And as another commented, the sound engineering was perfect.
What a lovely performance! Not too much not so less. Ensemble of old instruments sounds just lovely!
10:39 Very out of all of I already listened and, at the same time, so magic! An otherworldly experience! 🥰
whoooooo - what a beautiful performance - nailed it - superb sound engineering as well - danke vielemals for sharing!
훌룽한연주입니다. 곡을 부드럽게 해석하고 연주하신듯~멀리서 응원합니다. From korea
Un concierto espectacular cada uno de los músicos desempeñando su labor con un estilo, una entrega y totalmente entregando el corazón.Un estilo de tanta entrega espiritual total ,que los hace inigualables por su preciosa interpretación
Wunderschön, wie immer! Darf ich fragen, wer die zwei Blockflöten gemacht hat? Danke und Gruß aus Italien
Die Flöten sind von Ralf Ehlert gebaut!
The final fugue is what made me fall in love with Bach's music. That was more than about 50 years back and I'm still in love!
このオーケストラを生で見に行きたいな～！ドイツのどこに行けばよいのかな？
Bremen
@@AmeeliaK
Thank you （arigatou ありがとう）
Esecuzione magistrale! Complimenti di cuore da Firenze! 🤍 Brema è davvero una città per favolosi musicisti!!! 😃
The solo fiddle part is tough. At 3:03 - very cute writing by Bach.
This is just lovely. Always appreciated this piece and this is wonderful. Thank you!
For such big continuo and violin sections, I wonder why you ended up with just one viola. No pun or joke intended.
Beautiful. Exquisite clarity. Thank you so, so much.
Very good performance. Really peasant to my ears. The first violin is so beautiful. I love the way she pulls out the long tone at 1:00. It interacts with the recorders perfectly.
Marvelous. I had the opportunity in high school to play the first and second flute and am so thankful
Sound balance isn't up to the performance.
Großartiges Ensemble. Eine wirkliche Bereicherung der Gegenwart.❤
Amazing
This is what Bach heard in his head as he was writing.
Maravilloso, muchas gracias.
❤
❤
Superb! Thanks!
Merci pour cette vidéo .
Bravo ! Superbe !
amo tanto essa
❤❤❤
Lovely
Wunderschön
👍❗👍 СПАСИБО!
ПРИВЕТ ИЗ КИЕВА!
👍
Toujours aussi envoûtant ❤
❤
Amazing!❤
Amszing!❤
Believe me, I am so sorry to write these words. In the first movement the violins are absolutely too nervous. A slower tempo is necessary, in my opinion. Not so many accents. We need "teneramente" we need beautiful sound. The flutes are simply wonderful
It's vivid a lively how JS Bach thought the music, 😉.
Dear gab: About the violin we seem to have different opinions. I like this faster tempo. But I will not argue. I respect your opinion.
Excellent comme toujours mais je vois que la charmante violoniste est une française d'excellentes 👍🥂🙌✋🥂
Pour ma part, je trouve que la version de Karajan de 1965 est légère fluide et répond exactement à ce Que Bach aurait vu l'entendre 👍👍
This splendid ensemble understood JS Bach based on the sources. Karaschwein never understood JS Bach and was just trying to re-imagine his music from a too big modern perspective, which is deconstructing the music instead of filling it with life. So Karaschwein's performances are dead, and this performance by the Bremer Barockorchester is vivid and full of life (especially due to the small size)!
@@tobiasstudtheol As I understand you call Karajan Karaschwein, maybe a little rough, I think. Karajan has still an influence on modern interpretations. But maybe Bach was not his best card?
Anyhow, I agree about this splendid ensemble, Bremer Barockorchester.
@Staffan Olofsson , maybe this individual has an influence on modern "interpretation", but that's still unnecessary. Thinking musicians distance themselves from such uninformed bullshit called modern "interpretation".
@@tobiasstudtheol Dear Tobias, so we both love this interpretation, "vivid and full of life" as you say. And I agree. And Im not so fond of Karajan myself. We are on the same side!
Karajan est ce que Mozart a été de son vivant c'est à dire en quelques sorte le Mozart des chefs d'orchestre 😂❤👍🥂🥂
Bach is very clear about the bass parts: Violoncello, Cembalo, Violone, each with a separate part. So what is the bassoon and the lute doing there? Sometimes things are less arbitrary than musicians nowadays think.
Oh wow perhaps more than often things are less prescriptive than people would like to think
That's a Theorbo, not a Lute
These "extra" instruments only make the music better.
@@ShinAkiraX Exactly... baroque was all about improvisation
That's thinking too small of this music. Early music is all about seeing music non-conformative. Modern thinking is all about having a fixed view or position on something, but that's not applicable to early music. E.g. continuo sections were built up and cast differently for every occasion (even up to the point of what was affordable to the host/ financer of the event).
There is evidence of nobility and royalty wanting to show off and having huge sections of bass instruments (as well as a large phalanx of trumpets). It was more important to have an alternation than just having one standard formation. That is making it at the same time easy, difficult, and interesting for us if we want to find a suitable continuo section as there was nothing as the (!) continuo as people sometimes think. Even the cello and harpsichord weren't as much in use as many nowadays think. A lot of historical instruments used in historical continuo sections are not really used anymore or are sometimes even "forgotten" about.
From this perspective, this very continuo section used here somehow became the "modern standard," but it should be seen as just one possibility among many.