@@sutefuanu Chiara Massini is very good, but I don't like the way she cuts off the notes at the end of some of the phases. And the drama she gives is not the as dramatic. I prefer the way Karl differentiates the soft and loud passages. Robert Hill is another one I love for this piece but gives a very different interpretation than either Massini or Richter, but yet achieves high drama by use of momentum (I am talking about the recording he did in 2000 for haenssler CLASSIC.
@@epicaunleashed8764 I'm not used to it being played on the piano, but her performance is very dramatic. I think everyone has their own favorite of this piece as it can be interpreted very differently with each performer.
Although played on a non authentic harpsichord, no doubt Karl Richter was one of the best performers of Bach's music and an excellent musician. Thanks for this most impressive upload.
@@freezafrezado9472 Search this in RUclips and you'll understand the difference in sound, between historic authentic harpsichord and non-authentic one (I chose for comparison the same musical work): Johann Sebastian Bach Chromatic Fantasia and Fugue in d minor, BWV 903, Marco Mencoboni, For a general information: in the mid of the 20th century, there was a revival of the harpsichord (as well as other music-instruments from the Baroque-era) for performing Baroque music. The first models were heavily-constructed, had external pedals like in a piano (for changing registers and doubling them) and had strong metallic sound which could compete the piano in concert-halls, due to the materials of the inner components - these were the non-authentic (like those made by "De Blaise" company, for ex.). At around the 70' of the 20th century, musicians began to demand authentic sound of the Baroque-era which were lighter and more gentle (though - less strong) and builders began to reconstruct authentic instruments, based upon original historic models.
@@wolkowy1 :: But is this, then, a "modern" heavy harpsichord? I think this instrument is not too metallic, but I suspect you can make harpsichords with featherlight touch which have a more "guitar-like" tone, warmer, less metallic.
Judging by the speed at which he played it, together with the fact that this is all played by heart, I have to conclude that Richter possessed a Ferrari-like brain. He drives through with impressive force and security.
I vividly remember hearing Karl Richter live in Firenze in 1974, where his interpretation of Bach’s fugues was so dynamic and spirited that it felt revolutionary. His performance infused such rhytmic joy and energy into the pieces that the audience couldn’t help but respond with enthusiastic applause, so much so that the presiding priest felt compelled to raise his hands, as if to ask for forgiveness for the excited crowd.
Some here are discussing whether this instrument is an "authentic" harpsichord. It is an interesting question if it gets to capturing the essence of Bach's intention in the music. I am not a musicologist, but I will share what I believe to be true. * There were different styles of harpsichord in the 17th century, some with one keyboard, others with two keyboards. Pedals were provided with some of the instruments to give access to an added set of strings * Bach had expressed that he loved the clavichord, which is a precursor of the piano. The clavichord allows volume control because the strings are struck rather than plucked. But clavichords were very soft in volume, so they could not be used in concert * Bach as a rule did not specify what instrument should be used to perform a piece, so he would have been OK if this and other keyboard pieces were played on clavichord or harpsichord * One could think that Bach might have relished the futher development of soundboards and key action that led to the piano. The clavichord allowed more expressiveness than the harpsichord but was too soft for public performance. So if early pianos were available to Bach (which they were not) would he have written a "Well-Tempered Piano" or its equivalent? Would he have enjoyed playing the Chromatic Fantasia and Fugue on a piano, or even on an enhanced harpsichord? Bach was an explorer in many ways, as this piece and the 4th Brandenburgh Concerto 1st movement show. He even wrote a Catholic Mass and it was one of the last pieces he worked on. So who can say with certainty that the modernized harpsichord is "wrong" with a composer who loved challenges and new ways of expressing? So what I am trying to point to, with the above, is that an "inauthentic" harpsichord may be in keeping with the spirit of Bach's musical intention, and in the end what matters is finding the best way to express the essence of the music. Each performer can do so with a range of choices of instrument, although I would not imagine, for example, playing this piece on the organ
@@martinbernhard1882 The action was heavy and the bass was lacking if I remember correctly. It had much potential and he undoubtedly saw that, but the piano needed more time to flourish. So long in fact that harpsichords were still being played alongside pianos during Beethoven's time.
I don't care whether the Neupert instrument is or is not a real harpsichord. Richter loved it, and it has something to do with Landowska enregistered sound...). Richter was a genious.
This piece, and this performance, gives the lie to those who say that the fugue is a dry and academic form without poetry, emotion and powerful expressive power.
Pas de partition sur un compositeur Johann Sebastian Bach, réputé très technique. M. Bach et M. Richter se sont rencontrés à quelques siècles d'écart. Quel bonheur!
I want to be overcome in absolute tears. This...THIS is Bach. This one man truly, down to its very root, understood what it meant on how to approach Bach. What unparalleled mastery, wisdom and understanding of the art of portraying counterpoint and voice-leading we have here. Case closed. I now understand and realize, almost as if this is a revelation to myself, the harpsichord really is superior when it comes to learning and performing this music.
Thanks so much for posting this video. I'm ashamed to say I've never heard this Maestro before now. Is he still alive and performing? He is obviously a genius. His interpretation of the CF & F is world-class (I hate that term but it's certainly accurate in this case). Move over Andras. Move over Wanda! Move over Glenn!
Wanda Landowwska was very good in her way. Totally different from Karl Richter. Can't compare. Glen Gould was a bit crazy. It's so sad that Richter left this world still quite young.
How his left hand gets precisely the right notes when he's looking at the right hand area, I'll never understand. I mean, a computer k/b is one thing, but to be aware of positioning of that huge number of keys, it must be just absurd amounts of practice ?
Thanks, Tom---I certainly agree. Now that I've had a chance to hear this performance again, I'm afraid I find it lacking. Richter's reputation precedes him, of course . . . which is why it is with disappointment that I point to the rushing of the early portion of the Fantasia, and the too-great difference between the two registers there. The tempi seem more calculated to accommodate his ability or state of preparation, from one minute to the next, rather than to an overarching scheme that would bring the whole together as a single statement. In the Fugue, by contrast, I can't easily tell the difference between the two registers, which makes me wonder how he decided when to use each. Helma Elsner's recorded performance might be my favorite; Landowska's is of course unique. She cannot in any event be accused of rushing thoughtlessly through any piece of music, including this one; on the contrary she relishes every moment of it. Why Richter should seem to be thinking that he has better things to do with his time is a complete mystery to me . . .
Hahaha that harpsichord was built in the same years of this recording without any regards for the true harpsichords. Compared to a true harpsichord this monster sounds rather terrible.
Until 3:05 the two registers are coupled: you see the keys of the top one moving with the bottom one. The top is clearly softer, and at 3:10 he has decoupled the two: when he plays the bottom keys, the top ones do not move. So effectively he has 3 different "sounds" available: bottom+top, bottom, top
I noticed that in the beginning and in the end of the fugue can be seen the back of the pedal set: I suppose he used the feet for either coupling/uncoupling the manuals or adding/removing stops.
@@OldPannonian Bach's sound and instrument choices for music involved very deep, arguably darker notes. Some required a bass that required 2 or more people to operate just to get the notes right. It has been a debate among many metalheads if Bach was in a modern age with the instruments of say the 80s or 90s, if his sound direction would've evolved into metal or if he'd have stuck with more traditional sounds of those eras. I can see it, personally, but I also think it would've popularized melodic metal, rather than let many popular forms of metal people know today that rely on trill, djent or other techniques that really don't translate into other instruments.
This is not true! In Germany Richter is considered a legend, a genial and unsurpassed Bach interpreter (see J.Kaiser, the most famous German musical critic). Of course, as Karl Richter would say, "only a donkey can please everybody". He is disliked only by the fanatics of the philological interpretation, an experiment which produced modest results and is fortunately over.
@@annamcancarini6953 the absurd thing is no one really knows how Bach would have perforned his music or how he would have liked to heard others play it. Yet the purists think they do know !
The performance practice of the Baroque period considered the use of the picardy third to be somewhat up to performer's discretion. I can assure you he didn't miss it, he deliberately chose to play a d minor chord.
@Lari Kipe I am actually so thankful for the guys question and moreover your answer!! I will stay to true to the minor mode when at the end of the work if it is truly considered and up to the liberty of the performer!
I really must object. It is clear to me from a lifetime of listening to Bach (primarily) and other Baroque music that the composer determines major and minor and those choices are respected without question. I would be happy to look at your sources -- but never have I heard a performance of this or most other musics in which the last chord was arbitrarily altered, as if it were a mere decision of ornament.
@@ignacioclerici5341 Composers have the right to alter their music as they see fit. Performers ? Not so much, as I see it. There's a well-regarded (apparently) first violin in a certain lowlands Bach performance group who indulges himself with show-off ornamentation during recorded performances, leaning heavily (I guess) on the license a Baroque musician is given to improvise. Ruins the music, for me . . .
@@daftheck1439 Richter played a special Neupert "Bach" Harpsichord with a 16''' Foot Register (means the Notes sound an octave lower than played) Here it is described: www.jc-neupert.de/en/node/48
Richter is Playing A Magnificent NEUPERT NAMED: MODEL “ BACH “ Harpsichord here.....how APROPOS 📣📣📣📣 My Favorite Harpsichord to play....It is 9 feet long and Magic to play......P.S. It has 7 Pedals 👑👑👑👑👑👑👑
Karl Richter était très bon, je me demande pourquoi ses vidéos commencent si souvent par un interminable silence (ici 31s). Idem à la fin. J'en ai un plein DVD (les Brandebourgeois) qui est très beau mais pénible, sauf à couper soi-même chaque MP3. Wed 07 Feb 2024 07h03 GMT
One is left to wonder what this wonderful man might have done if he had played a real harpsichord instead of these dreadful Serieninstrumente of Neupert.
Just out of curiosity(and for the spark of an insightful conversation!), what is with Neupert Cristofori that you dislike? Would you not agree that this really is an astonishing instrument? I personally find the timbre of this very instrument model thee most alluring, strong, full-sounding I have ever heard from any harpsichord; I think it sounds above and beyond!
+CziffraTheThird I agree! The sound of a Neupert Harpsichord is one of the most beautiful ones, and by far much more expressive than Baroque instruments.
+anachreon01 In fact, Karl Richter always played Bach using modern instruments (for example, he played Brandenburg concerti with valved descant horns, strings with modern bows, piccolo trumpet), his performances were NOT historically informed.
Absolutely the most dramatic performance of the Chromatic Fantasia and fugue ever made.
This piece is also, in my opinion, one of Bach's darkest in tone.
Not sure. Listen to Chiara Massini.
@@sutefuanu Chiara Massini is very good, but I don't like the way she cuts off the notes at the end of some of the phases. And the drama she gives is not the as dramatic. I prefer the way Karl differentiates the soft and loud passages. Robert Hill is another one I love for this piece but gives a very different interpretation than either Massini or Richter, but yet achieves high drama by use of momentum (I am talking about the recording he did in 2000 for haenssler CLASSIC.
@@Jeff-wb3hhwhat about maria yudine?
@@epicaunleashed8764 I'm not used to it being played on the piano, but her performance is very dramatic. I think everyone has their own favorite of this piece as it can be interpreted very differently with each performer.
I love that the harpsichord sorta also sounds like an organ
Il genio travolgente di Karl Richter resterà nella storia delle grandi esecuzioni della musica di Bach.
So glad these films i never knew about have surfaced.
Mi héroe es BACH. Todos los problemas se olvidan gracias a la belleza impresionante de su música. Estos minutos son inolvidables.
Karl Richter était vraiment l'un des plus grand interprètes de la musique de Bach. Quelle merveille.
Do you like Landowska's interpretation?
È il più grande interprete
Should call it the "Richter scale"
When played on an earthquake machine.
@@yankeecornbread8464 Indeed.
Although played on a non authentic harpsichord, no doubt Karl Richter was one of the best performers of Bach's music and an excellent musician. Thanks for this most impressive upload.
At least no those awful pianos. As a Bach fan, I simply cannot stand Bach's music performed on pianos.
Waht do you mean by "non authentic harpsichord"?
@@freezafrezado9472 Search this in RUclips and you'll understand the difference in sound, between historic authentic harpsichord and non-authentic one (I chose for comparison the same musical work):
Johann Sebastian Bach Chromatic Fantasia and Fugue in d minor, BWV 903, Marco Mencoboni,
For a general information: in the mid of the 20th century, there was a revival of the harpsichord (as well as other music-instruments from the Baroque-era) for performing Baroque music. The first models were heavily-constructed, had external pedals like in a piano (for changing registers and doubling them) and had strong metallic sound which could compete the piano in concert-halls, due to the materials of the inner components - these were the non-authentic (like those made by "De Blaise" company, for ex.). At around the 70' of the 20th century, musicians began to demand authentic sound of the Baroque-era which were lighter and more gentle (though - less strong) and builders began to reconstruct authentic instruments, based upon original historic models.
@@wolkowy1 That's really nice, thank you for explaining
@@wolkowy1 :: But is this, then, a "modern" heavy harpsichord? I think this instrument is not too metallic, but I suspect you can make harpsichords with featherlight touch which have a more "guitar-like" tone, warmer, less metallic.
Good lord almighty. Richter remains my hero in this music.
Yes!
Ja und Amen!
fugue starts at 6:05
Karl Richter ist ein brillanter Cembalist. Ich bin beeindruckt, dass er die gesamte Arbeit aus dem Speicher durchführt .
Wirklich!? Sind sie taub?
What a music....mysterious, sublime, complex and very soothing. The performer is simple SUPERB
this piece is a round-trip ticket to heavens...
Judging by the speed at which he played it, together with the fact that this is all played by heart, I have to conclude that Richter possessed a Ferrari-like brain. He drives through with impressive force and security.
I vividly remember hearing Karl Richter live in Firenze in 1974, where his interpretation of Bach’s fugues was so dynamic and spirited that it felt revolutionary. His performance infused such rhytmic joy and energy into the pieces that the audience couldn’t help but respond with enthusiastic applause, so much so that the presiding priest felt compelled to raise his hands, as if to ask for forgiveness for the excited crowd.
Some here are discussing whether this instrument is an "authentic" harpsichord. It is an interesting question if it gets to capturing the essence of Bach's intention in the music. I am not a musicologist, but I will share what I believe to be true.
* There were different styles of harpsichord in the 17th century, some with one keyboard, others with two keyboards. Pedals were provided with some of the instruments to give access to an added set of strings
* Bach had expressed that he loved the clavichord, which is a precursor of the piano. The clavichord allows volume control because the strings are struck rather than plucked. But clavichords were very soft in volume, so they could not be used in concert
* Bach as a rule did not specify what instrument should be used to perform a piece, so he would have been OK if this and other keyboard pieces were played on clavichord or harpsichord
* One could think that Bach might have relished the futher development of soundboards and key action that led to the piano. The clavichord allowed more expressiveness than the harpsichord but was too soft for public performance. So if early pianos were available to Bach (which they were not) would he have written a "Well-Tempered Piano" or its equivalent? Would he have enjoyed playing the Chromatic Fantasia and Fugue on a piano, or even on an enhanced harpsichord? Bach was an explorer in many ways, as this piece and the 4th Brandenburgh Concerto 1st movement show. He even wrote a Catholic Mass and it was one of the last pieces he worked on. So who can say with certainty that the modernized harpsichord is "wrong" with a composer who loved challenges and new ways of expressing?
So what I am trying to point to, with the above, is that an "inauthentic" harpsichord may be in keeping with the spirit of Bach's musical intention, and in the end what matters is finding the best way to express the essence of the music. Each performer can do so with a range of choices of instrument, although I would not imagine, for example, playing this piece on the organ
Silbermann built a fortepiano for JSB. I ready He critizized it a lot. Maybe it was not perfect.
@@martinbernhard1882 The action was heavy and the bass was lacking if I remember correctly. It had much potential and he undoubtedly saw that, but the piano needed more time to flourish. So long in fact that harpsichords were still being played alongside pianos during Beethoven's time.
Absolutely the best Chromatic fantasy performance I've ever heard!
Leoniod Hambro on piano used more pedal. 40 years ago.
Духовное Чутьё ,потрясающий энтузиазм и Высшего Класса профессионализм , а всё вместе - Чудо !!! Теппер Михаил.
Sie sprechen mir aus dem Herzen, Danke Herr Tepper ❤️
Wow! That Fugue was dynamic!
Superb performance of this unique masterpiece!
I don't care whether the Neupert instrument is or is not a real harpsichord. Richter loved it, and it has something to do with Landowska enregistered sound...). Richter was a genious.
It sounds marvellous, a rainbow full of colours and it is amazingly recorded!
Por qué no suena la fantasía cratics. ?,
Ja, da ist tatsächlich ein Bogen zu Wanda Landowska zu schlagen!
Bach is modern. Like Richter, I also eschew religious and historical excavations. The Word is music.
are there fake harpsichords too?
Merveilleux Karl Richter ! et en plus de mémoire ...🙏🙏💖💖💐💐
Vous rigolez? Bien sûr de mémoire, il jouait tous les morceaux de mémoire, comme le font tous les solistes.
Que virtuosimo , el clavecin doble teclado le da mas excelencia al sonido, gracias maestro Richter 🎼🎶❤
This piece, and this performance, gives the lie to those who say that the fugue is a dry and academic form without poetry, emotion and powerful expressive power.
The fugue is a cosmos in itself, with its own musical laws, styles, and perspectives.
La più bella interpretazione!
Pas de partition sur un compositeur Johann Sebastian Bach, réputé très technique. M. Bach et M. Richter se sont rencontrés à quelques siècles d'écart. Quel bonheur!
Pięknie napisane
What an instrument and player
Je me sens sans paroles... BRAVO!!!!!
WOOOOW!!! ES MARAVILLOSO!. Y ES MARAVILLOSO QUE NO LO INTERRUMPAN PARA PONER UN ANUNCIA. MIL GRACIAS ADRIAN VOLOVETS.
Best musician in history
skullkid1222 : You are the best. Man I have no words.
Thank you.
I want to be overcome in absolute tears. This...THIS is Bach. This one man truly, down to its very root, understood what it meant on how to approach Bach. What unparalleled mastery, wisdom and understanding of the art of portraying counterpoint and voice-leading we have here. Case closed. I now understand and realize, almost as if this is a revelation to myself, the harpsichord really is superior when it comes to learning and performing this music.
CziffraTheThird yeah. I agree absolutely. For me, Karl Richter was the LEGACY of JSBACH. Sorry for my English
Your English is absolutely fine! And I completely agree with you, Cziffra!
couldn't agree more. so very well said.
Le esecuzioni fiacche e fredde in linea con lo stile barocco, potete tenerle.
QUESTO È BACH!
My friend Raphael Puyana recommended and always played the Pleyel. What a sound! So did Ralph Kirkpatrick, my teacher at Yale.
Karl really knew his scales.
And there was only one Karl Richter, with his immense control of his instrument.
Bravo!
amazing!
awesome!
best version ever.
Nah, try Cristianne Jacottet
It's all a matter of taste. my favorite is the guy who demonstrates this on a digital harpsichord for Roland.
@Jan van Erven hahaha , interpretation Trevor pinnock the best ruclips.net/video/sFn_zVOlDAo/видео.html
@@ИльнарСулейманов-т7и completely agree, also the harpsichord pinnock plays sounds very unique it’s beautiful
Sometimes I think, commenting on classical music and interpretation on the internet should have never been made possible. Ever.
That instrument sounds incredible 🤯
Superbe!
So Beautiful ! Thank you so much :)
Love That Neupert Harpsichord .
He had a remarkable manual technique.
Thanks so much for posting this video. I'm ashamed to say I've never heard this Maestro before now. Is he still alive and performing? He is obviously a genius. His interpretation of the CF & F is world-class (I hate that term but it's certainly accurate in this case). Move over Andras. Move over Wanda! Move over Glenn!
Wanda Landowwska was very good in her way. Totally different from Karl Richter. Can't compare. Glen Gould was a bit crazy. It's so sad that Richter left this world still quite young.
David Demers what do you mean by interpretation of the CF and F, what do CF and F stand for
Yofef
Chromatic Fantasy and Fugue of Bach.
Finally a performance on the harpsichord instead of the tired sound of the piano interpretations of baroque music.
We Richters don’t live long.
Fantastic!
wonderful！
0:27 start up, 1:48, 1:52 Arpeggio
When you’re playing Bach at 10 but have a Reservoir Dogs audition at 11
Well noticed!
Bardzo dzikuje! Merci beaucoup!
Divino. Nada mais a dizer.
nice nice nice niceeeeee
RICHTER THE BEST!!!!!
might say he is a "10"
Which one is the best? There are 2 Richters - Karl and Sviatoslav :)
Both are gods.
P Pow Sviatoslav
Im a 32 on the Scale if I need to and a Cat. 22 Hurricane and a 6MA Lightning
Wonderful
How his left hand gets precisely the right notes when he's looking at the right hand area, I'll never understand. I mean, a computer k/b is one thing, but to be aware of positioning of that huge number of keys, it must be just absurd amounts of practice ?
starts at 0:31
Thanks, Tom---I certainly agree. Now that I've had a chance to hear this performance again, I'm afraid I find it lacking. Richter's reputation precedes him, of course . . . which is why it is with disappointment that I point to the rushing of the early portion of the Fantasia, and the too-great difference between the two registers there. The tempi seem more calculated to accommodate his ability or state of preparation, from one minute to the next, rather than to an overarching scheme that would bring the whole together as a single statement. In the Fugue, by contrast, I can't easily tell the difference between the two registers, which makes me wonder how he decided when to use each.
Helma Elsner's recorded performance might be my favorite; Landowska's is of course unique. She cannot in any event be accused of rushing thoughtlessly through any piece of music, including this one; on the contrary she relishes every moment of it. Why Richter should seem to be thinking that he has better things to do with his time is a complete mystery to me . . .
If Bach was a rocket scientist, then Karl Richter was an astronaut.
Adam üstad üstad 👏👏👏
Count Dracula approves this rendition.
every good vampire likes bach and vivaldi
@@renan1033zinho I don’t think vampires like vivaldi
@@johnduffy2777 why not? It is so like them !
How one man can do this with a centuries old instrument is phenomenal
Hahaha that harpsichord was built in the same years of this recording without any regards for the true harpsichords.
Compared to a true harpsichord this monster sounds rather terrible.
La fantasía Cromática. en Clavecin 🌹👋👋👋👋🇮🇷🌜🌛.
how did he change the sound of the harpsichord from 3:05 to 4:11?
+Nikita Stepanenko Oh, I never noticed them on a Harpsichord.
There is no pedal on harpsichord, but seems to be "registers" as on organs (according to wiki) in order to 'modify' sounds.
Until 3:05 the two registers are coupled: you see the keys of the top one moving with the bottom one. The top is clearly softer, and at 3:10 he has decoupled the two: when he plays the bottom keys, the top ones do not move. So effectively he has 3 different "sounds" available: bottom+top, bottom, top
I noticed that in the beginning and in the end of the fugue can be seen the back of the pedal set: I suppose he used the feet for either coupling/uncoupling the manuals or adding/removing stops.
Alguien sabe el nombre del concierto de la serie El Llanero solitario ? es divina. ⭐⭐⭐✔️
Guillermo Tell de Rossini
Nice 👍
Richter es. de los exelentes y en Clavecin 😂🇮🇷❤️ también.
Al gran Richner en piano 🎹🥇.
Saint Karl Richter.
No doubt.
Johann Sebastian Bach was the first Hard Rock composer. And Karl Richter was The ROCK STAR
Why hard rock ? where ? how ?
@@MathieuPrevot To some, rock is the absolute standard for all music ever composed throughout the ages. This defies imagination...
@@OldPannonian Bach's sound and instrument choices for music involved very deep, arguably darker notes. Some required a bass that required 2 or more people to operate just to get the notes right. It has been a debate among many metalheads if Bach was in a modern age with the instruments of say the 80s or 90s, if his sound direction would've evolved into metal or if he'd have stuck with more traditional sounds of those eras.
I can see it, personally, but I also think it would've popularized melodic metal, rather than let many popular forms of metal people know today that rely on trill, djent or other techniques that really don't translate into other instruments.
Karl Richter a very unfortunate artist and man. Partially underestimated even by his own nationals. What a pity.
He left us so voung! Only 54!
This is not true! In Germany Richter is considered a legend, a genial and unsurpassed Bach interpreter (see J.Kaiser, the most famous German musical critic). Of course, as Karl Richter would say, "only a donkey can please everybody". He is disliked only by the fanatics of the philological interpretation, an experiment which produced modest results and is fortunately over.
annam cancarini agree totally - the horrible effete PC authentic sound movement hate him. But thank goodness they’re dying out !
@@annamcancarini6953 the absurd thing is no one really knows how Bach would have perforned his music or how he would have liked to heard others play it. Yet the purists think they do know !
@@ignacioclerici5341 example... where are the
beats per minute in Bach's manuscripts then ?
For me, this is an achievement comparable to the landing of the SpaceX Starship booster yesterday.
Großartig! Wäre nur schön zu wissen, von wann diese spektakuläre Aufnahme ist!
Does he really miss the modulation to major at the end of the Fantasia ?
The performance practice of the Baroque period considered the use of the picardy third to be somewhat up to performer's discretion. I can assure you he didn't miss it, he deliberately chose to play a d minor chord.
@Lari Kipe I am actually so thankful for the guys question and moreover your answer!! I will stay to true to the minor mode when at the end of the work if it is truly considered and up to the liberty of the performer!
I really must object. It is clear to me from a lifetime of listening to Bach (primarily) and other Baroque music that the composer determines major and minor and those choices are respected without question. I would be happy to look at your sources -- but never have I heard a performance of this or most other musics in which the last chord was arbitrarily altered, as if it were a mere decision of ornament.
There are different versions of BWV903 (two main manuscripts a.f.a.i.k.).
@@ignacioclerici5341 Composers have the right to alter their music as they see fit. Performers ? Not so much, as I see it. There's a well-regarded (apparently) first violin in a certain lowlands Bach performance group who indulges himself with show-off ornamentation during recorded performances, leaning heavily (I guess) on the license a Baroque musician is given to improvise. Ruins the music, for me . . .
Mexico 🍀
神様を感じる
Were Karl Richter and Sviatoslav Richter relatives?
What is the year of the recording?
Extatique
Marvellous, but the lower register sounds like it's an octave too low
Yes, Richter played a special Harpsichord with a Bass Register ..
What's that instrument? it's clearly an harpsichord but i can hear an organ's pipe i'm confused. anyway i want one x)
replayed, no pipes i guess i just allucinated. the sound is incredible. I Don't know if it's better than regular harpsichord but this sound rich(t)er
@@daftheck1439 Richter played a special Neupert "Bach" Harpsichord with a 16''' Foot Register (means the Notes sound an octave lower than played)
Here it is described: www.jc-neupert.de/en/node/48
This is a time machine video .Baroque performed with the instrument of the age and the performer improvising some passages and embellishments.
Baroque performers play Bach moving and waving head like clown.
Richter is Playing A Magnificent NEUPERT NAMED: MODEL “ BACH “ Harpsichord here.....how APROPOS 📣📣📣📣 My Favorite Harpsichord to play....It is 9 feet long and Magic to play......P.S. It has 7 Pedals 👑👑👑👑👑👑👑
Is this Modern-Cembalo ?
It is indeed a Modern Cembalo, a 16 foot Cembalo that is able to sound an Octave lower then a regular 8 foot Cembalo.
Bach is here right now. I've met him.
Sounds like a Neupert harpsichord, but not as tinny as those usually are -- this one actually sounds not bad.
Very handsome
Karl Richter était très bon, je me demande pourquoi ses vidéos commencent si souvent par un interminable silence (ici 31s). Idem à la fin. J'en ai un plein DVD (les Brandebourgeois) qui est très beau mais pénible, sauf à couper soi-même chaque MP3.
Wed 07 Feb 2024 07h03 GMT
This is how this piece should be played, not on a romantic, silly Steinway for 200k USD.
Yes, but don't underestimate the "silly Steinway": great Bach interpreters use it, with outstanding results. Example: Andras Schiff!
+Fredrik Wallinder
ill informed comment lol
So instead on a silly Neupert revival harpsichord which is every bit an insult to how this music originally sounded as a grand piano?
What's worse, Neupert STILL manufactures these odd instruments and sells them for over $50,000
Philip Bay Are you calling odd..., a harpsichord? Really? The roots of piano are those, before the first pianofortes where created lmao.
0:35
Carmen.
He must have had a mini harpsichord already in the mother's womb, so he could start practicing before birth....
that a human being actually wrote this piece of music.. totally is beyond belief... jsb is proof god exists
Harpsichord?
Oszałamiający i Bach i Richter!
Huston abbiamo un problema....
半音階的な幻想曲を意味することになるかな？
Antes si les ponían buena música 😂 a los niños en programas de TV a los niños ,pero yo me ocupe en eso , yo se las ponía desde el embarazo.
半音階的幻想曲とフーガ
One is left to wonder what this wonderful man might have done if he had played a real harpsichord instead of these dreadful Serieninstrumente of Neupert.
Just out of curiosity(and for the spark of an insightful conversation!), what is with Neupert Cristofori that you dislike? Would you not agree that this really is an astonishing instrument? I personally find the timbre of this very instrument model thee most alluring, strong, full-sounding I have ever heard from any harpsichord; I think it sounds above and beyond!
+CziffraTheThird I agree! The sound of a Neupert Harpsichord is one of the most beautiful ones, and by far much more expressive than Baroque instruments.
+anachreon01 In fact, Karl Richter always played Bach using modern instruments (for example, he played Brandenburg concerti with valved descant horns, strings with modern bows, piccolo trumpet), his performances were NOT historically informed.
Wonderful name
I actually really love the sound of the '16 ft stop. it gives the chords so much more depth and its so cool.
🇮🇷 🖐️. ❤️💐😁