As an organist and Bach-lover, I really enjoyed this performance. I loved the tempo; considering the "hinderence" of lack of pedals, some pianists need to compensate that with tempo, but the prelude was faster than I've heard some organists play it, and the fugue was so smooth. Everything was very clear and well executed. Thank you for recording this.
I absolutely love his articulation and phrasing and adroit usage of dynamics. This tempo was essential. I am an organist like you, Andrew, so I look at it from this perspective. One of the best renditions of this big-organ stop giant is the performance of James Orford on the Grand Organ of Westminster Cathedral. He plays it at a fast tempo, and his pedal technique is supple. Because the pedal line is so important in the prelude, it is not possible to replicate this on the piano. However, Maestro Radic interprets this piece masterfully for the piano and imbues it with sparkly, color, and a wonderful singing quality. I am absolutely in awe of his talent and technique.
Majestuosa interpretación y supremo clima logrado !!! Pocas veces oído. Lograr extraer de obras del genio de Bach ése plus que pocos logran, ahí esta la grandeza y creatividad del intérprete !!! Grandioso, colosal, intenso y profundo. Adoré !!! Guido de Argentina.-
Пианист сделал со своей стороны всё возможное. Но вот что касается Листа... В его времена ещё не была выделена отдельная эпоха Барокко. Между тем, си-минорная прелюдия и фуга для органа - самое грандиозное выражение именно барочной эстетики Баха. Это мощное движение нижних и верхних регистров навстречу друг другу. Мощное! А у Листа этой мощности нет. Фуга, изображающая мучительный путь Иисуса на Голгофу, звучит в его клавишной передаче даже как-то легковесно. Но, если не знать первоисточника, то исполнение звучит даже симпатично.
I'm curious how you related this fugue to the story of Jesus and Golgotha. Did you read of this fugue having allegorical substance? Is there a source in the literature that came to this conclusion? If it comes from you, I'm curious about the details that you have found.
@@lesliedeath2698 Thank you for your attention to this issue. A detailed answer would take up a lot of space. My source is A. Schweitzer's monograph. There he explores the figurative content of Bach's musical language, in particular, his organ works. He singles out separate motifs: the motif of sorrow, the motif of heavy steps, the motif of the heavy cross, the motif of the triumph of angels, the motif of the tenderness of the Mother of God, and much more. In addition, there is a study in Russian: Tamara Livanova. Bach's musical dramaturgy, 1947. The author continues Schweitzer's method. For you to believe me, listen to this prelude and fugue in a monumental performance by Jiri Reinberger.
@@БорисШалагінов Thanks very much! I'll check my copy of Schweitzer - which I hadn't thought of. I don't imagine that the Livanova has been translated into English?
This transcription is a romantic one. It lacks the strength of a Bach piece and the virtuosism of a Liszt one. The pianist knows it, and it can be felt by the excessive pedal. That's why this is a wonderful interpretation of an horrible arrangement.
I don't quite agree that this is a 'horrible' arrangement... there is a bit more focus to the upper registers which gives a somewhat more 'open' sound than in some of the other arrangements, but still, I did enjoy listening to this version...
Really beautiful. Congratulations!
Esecuzione Maestosa e Nobile. Bravissimo Chapeau 🎩👑🎼🎶🎶🎶🎹🎹🎹😊❤
Fantastic! My faviourite Bach organ work. Well done!
Bravissimo. ❤
The depth of my impression Ìs immeasurable
As an organist and Bach-lover, I really enjoyed this performance. I loved the tempo; considering the "hinderence" of lack of pedals, some pianists need to compensate that with tempo, but the prelude was faster than I've heard some organists play it, and the fugue was so smooth. Everything was very clear and well executed. Thank you for recording this.
I absolutely love his articulation and phrasing and adroit usage of dynamics. This tempo was essential. I am an organist like you, Andrew, so I look at it from this perspective. One of the best renditions of this big-organ stop giant is the performance of James Orford on the Grand Organ of Westminster Cathedral. He plays it at a fast tempo, and his pedal technique is supple. Because the pedal line is so important in the prelude, it is not possible to replicate this on the piano. However, Maestro Radic interprets this piece masterfully for the piano and imbues it with sparkly, color, and a wonderful singing quality. I am absolutely in awe of his talent and technique.
Wonderful performance!
Magnificent interpretation. Congratulation for pianist👍. It is nice to hear how this organ work sounds on the piano.
Спасибо за совершенство!
Brilhante, maravilhoso e belíssimo!
Merci!
Brilliant!
Čestitke za vrhunsku izvedbu !!
Hvala dragi Mario!
A good performance
Beautiful playing. Thanks
wonderful!
Majestuosa interpretación y supremo clima logrado !!! Pocas veces oído. Lograr extraer de obras del genio de Bach ése plus que pocos logran, ahí esta la grandeza y creatividad del intérprete !!! Grandioso, colosal, intenso y profundo. Adoré !!! Guido de Argentina.-
Liszt indefatigable!
Пианист сделал со своей стороны всё возможное. Но вот что касается Листа... В его времена ещё не была выделена отдельная эпоха Барокко. Между тем, си-минорная прелюдия и фуга для органа - самое грандиозное выражение именно барочной эстетики Баха. Это мощное движение нижних и верхних регистров навстречу друг другу. Мощное! А у Листа этой мощности нет. Фуга, изображающая мучительный путь Иисуса на Голгофу, звучит в его клавишной передаче даже как-то легковесно.
Но, если не знать первоисточника, то исполнение звучит даже симпатично.
I'm curious how you related this fugue to the story of Jesus and Golgotha. Did you read of this fugue having allegorical substance? Is there a source in the literature that came to this conclusion? If it comes from you, I'm curious about the details that you have found.
@@lesliedeath2698 Thank you for your attention to this issue. A detailed answer would take up a lot of space. My source is A. Schweitzer's monograph. There he explores the figurative content of Bach's musical language, in particular, his organ works. He singles out separate motifs: the motif of sorrow, the motif of heavy steps, the motif of the heavy cross, the motif of the triumph of angels, the motif of the tenderness of the Mother of God, and much more. In addition, there is a study in Russian: Tamara Livanova. Bach's musical dramaturgy, 1947. The author continues Schweitzer's method. For you to believe me, listen to this prelude and fugue in a monumental performance by Jiri Reinberger.
@@БорисШалагінов Thanks very much! I'll check my copy of Schweitzer - which I hadn't thought of. I don't imagine that the Livanova has been translated into English?
@@lesliedeath2698 T. Livanova's research is very valuable. But I agree with you that it has not been translated into English.
very very nice
thank you for posting !
mxncb
❤🪢🇻🇦✝️🇻🇦🪢❤🌸📚💒🌺💝✒⏰🎶👀🏵📃⛑💐🌻🌿🪅🥰🇲🇬🐈⬛🫖☕🌬🇻🇦💮✝️💮🇻🇦🎶💒🌸😇🪢📚🌸🌺💝💐😃⛑🏵🎶🌸🪢😇🙋♂️
Imteresting interpretation 🙂On organ, this praeludium is stronger than fugue (at least I feel it like that), but on piano it's the opposite, I'd say 🙂
This transcription is a romantic one. It lacks the strength of a Bach piece and the virtuosism of a Liszt one. The pianist knows it, and it can be felt by the excessive pedal. That's why this is a wonderful interpretation of an horrible arrangement.
I don't quite agree that this is a 'horrible' arrangement... there is a bit more focus to the upper registers which gives a somewhat more 'open' sound than in some of the other arrangements, but still, I did enjoy listening to this version...
I also disagree with myself! Its not the best arrangement of this out there, but I'm not mad at this simple vigourless transcription anymore.