J.S. Bach - Triosonaten - Alessio Corti (2011)
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Sonata I BWV 525 00:17
Sonata II BWV 526 15:10
Sonata III BWV 527 27:26
Sonata IV BWV 528 43:24
Sonata V BWV 529 54:16
Sonata VI BWV 530 01:09:03 - เพลง
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Meravigliose interpretazioni di questi capolavori in trio di Bach che richiedono una padronanza assoluta dello strumento. Alessio, anche questa volta, si rivela pienamente come il grande organista che è!
Simply Stunning.
Bravissimo! E al giusto tempo, senza correre troppo, per apprezzare in pieno lo splendore del fraseggio e non perdere tutto solo per fini meramente virtuosistici!
Bravo, Alessio, bravissimo! What a marvelous performance of some of the most demanding and unforgiving works found in Bach's organ repertoire. As the title “Trio Sonata” suggests, they require one person to perform as three individual singers/dancers simultaneously, and with incredible physical and mental stamina. Phrasing in each voice was beautiful and clear. His spicy execution of the ornaments adds refreshing bursts of color. Everything fits well. Thank you for posting this stellar performance.
It's called a trio sonata because of the three voices. Not a a chamber music trio.
Bravo Alessio! Played as JS would play himself on his instrument!
Unreal .. u are amazing .. I love this version best
Superba interpretazione e registrazione allo stato dell'arte. Grazie per questo magnifico regalo!
Bach's Three-Part Six-Pack, what gems! Brilliantly played Sir.
Vedo quella pedaliera e mi sento male..
Complimenti non dev'essere facile suonare questo strumento.
Superb. Thank you.
Órgano de Turingia y organista milanés, buena combinación.
Bach comme je l'aime ! Grazzie mille !!!
VERY NICE aLESSIO,bRAVO MAN LOVE THE SPEED REG AND EVERYTHING ABOUT THESE SONATAS.tHANKS
Super super super !!!
Nice performances. Interesting to hear the pieces in Chorton.
Very good,crystalline performance.
Raffinata e limpida interpretazione di composizioni complesse in cui si fondono lo stile ed il gusto italiano, tedesco e francese
excellent un grand bravo merci merci rien à redire
the wonderfully discreet page-turner brings to mind that Walter Kraft and many other organist played all bach blind...
Bravissimo complimenti escuzione perfetta
Wondeffull! Compliments
Magnifico!!! Bravo!!!
Beautiful
Complimenti. Bellissimo!
fantastic
😘👍❤️😊😍🥰❤️
Sonata no. 2, first movement. Very difficult. I struggled with that quite a lot back in the 1970s. So is the last movement....
Es una muy buena versión, el audio también es bueno. Solamente lamentar la "gaffe" en 19:58, precisamente en el hermoso adagio
What a wonderful gift from God.
Bach: Exploding heads
FeelIn... (all) the angelic voces
please.
🙋♀️ ¿¿Did you recognise youR (in) our connection??
Yes, but it is such a nice explosion...
❤
This sounds like a haunted circus i love it!
Ugh. No.
Wonderful instrument, fabulous playing. Am I imagining things or is the tuning a wholestep above modern tuning? Isn't that going in the opposite direction we usually go for baroque tuning?
Well considering there was no device in history until recently where we could accurately measure pitches (the hertz of sound waves), every village/town had their own tuning! I believe it was usually based off of the organ of the town, as this could not be easily changed. Overall, analyzing period instruments that have survived, such as organs and wind instruments, a lot of the tuning was lower in pitch, on average, than the standardized modern pitch ( A=440hz). This was especially true in France and the wind instruments from French builders. However, some areas had actually higher pitch than modern pitch, I believe more common in Italy. This would’ve also saved money on villages’ organs as the higher the pitch would’ve meant that the pipes would not need to be as large, so less material would be used. My point is essentially that there was no “one pitch” used throughout history until quite recently. The modern idea of a “baroque pitch” where A=415hz is actually not historically accurate, but it does allow for us in the modern day to collaborate with more people considering now we have transportation such as planes that can get us across the globe! Hope this helps and sorry if I repeated things you already knew!
I don't have perfect pitch, but I can offer further explanation: Some organ pipes have sleeves, or sliders to allow you to tune them and reeds are usually adjustable, however many older organs the only way of adjusting the tuning was to cut a bit off the end of the pipes that were low compared to the others! Over the years these pipes get a bit shorter and higher. The others are adjusted to keep in tune. So it is not unusual for older organs to be a semitone or two above modern concert pitch, which as you say is the opposite of what you would expect for a baroque instrument.
Good catch. It's funny that Ton Koopman's recording here on TH-cam is also a whole tone up from A=440.
Actually Mr Corti is playing a bunch of cents below whole tone up in A=440. Koopman's recording sounds like played in A 440, only a whole tone up :)
Dedicate to his teachers : Ezio Corti (father) and Lionel Rogg.
@@vittoriobacchiega9118 Enzo Corti
Where is this pipe organ?
Kreuzkirche zu Suhl
15:10 43:24
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