Bach-Busoni Prelude and Fugue in E flat "St. Anne" David Stanhope
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- Опубликовано: 5 авг 2015
- One of my better recordings I think, from Tall Poppies TP135. It was recorded on an Australian piano built by Wayne Stuart (see www.stuartandsons.com). Some might be interested in my hieroglyphics! The X seen here and there was to remind me to release the middle "S.P." pedal, although the Stuart actually has four pedals - the one at extreme left is called "dolce", raising all the hammers closer to the strings (used at beginning of fugue).
Видеоклипы
![Bach + [Various]: Transcriptions (Weissenberg, Rösel, Bax, Grimaud, Glemser)](http://i.ytimg.com/vi/exYK6Wzmh2g/mqdefault.jpg)
![Bach + [Various]: Transcriptions (Weissenberg, Rösel, Bax, Grimaud, Glemser)](/img/tr.png)
![Bach-Busoni: Prelude and Fugue in D major, BWV 532 [with sheet music score]](/img/1.gif)
I was genuinely shocked when I read "a performance I made".. Thought it was one of the greats. Phenomenal
It is
*0:00** - Prelude*
*9:34** - Fugue*
_9:35__ - Subject I _*_(4/2)_*
_11:34__ - Subject II _*_(6/4)_*
_12:17__ - S-I with S-II (S-I is back, but now this is changed version for 6/4 measure)_
_13:00__ - Subject III _*_(12/8)_*
_13:24__ - S-I, S-II and S-III with hilarious counterpointing and breathing very in barocco._
_14:48__ - Pedal-point on Dominant (V)_
One of the greatest pieces ever composed
At this point, it's just easier to learn how to play with your feet and play it on the organ.
Indeed. This transcription is fiendishly difficult to play well.
Actually, no, it isn't. You diminish the time it takes to become an organist; with double and even triple keyboards. Even four on some pipe organs throughout the world in cathedrals. You're either a pianist enjoying Busoni's brilliance here. Or you'll spend a lifetime at the other instrument. Try your hand at Max Regers Variations and fugue on a theme by Bach: composed for the piano. It's similar in it's difficulties. And Max was a organist. Check out that massive fugue. No pedals to concern oneself with in that one. And don't forget Stops to deal with.
not so easy either.
@@arthurhogan3047 it was a joke
😂😂😂
Я на небесах..Боже! Какая красота, Бах - Небесный Гений..🎹👏👏👏🎶💝💝💝
The sound of that piano is just amazing. It's brilliant to actually have the bottom A flat and G to play as Busoni intended for the final fugue entry
Glad you like the piano. It's not that easy to play - 4 pedals are confusing and the extra notes are not coloured differently, which throws out the peripheral vision. I put a couple of dark serviettes over those keys, pushing the left ones out of the way when those low notes came!
I just hope that someday I have the opportunity to play one of these superb pianos
This is simply the best rendition of this transcription available. Huge respect and thanks !
Thank you!
@@davidrichardstanhopeI have listened to this rendition, without exaggeration, about 100 times. It's going to be a lot more in the future too, because I want to take the Busoni St. Anne and expand it to a string nontet (4 vln, 2 vla, 2 vcl, and electric 5-string bass!)
Seriously David, your playing is remarkable. Thank you for being the only person I've heard play the dotted eighth sixteenth rhythm correctly (that is to say not triplets), thank you for the work you put in to conquer this giant, thank you for uploading your marked copy of the score, and thank you for making this available to the world to enjoy. I have this downloaded so I am never without it when I need it!
@@GryphonWahle From what I have heard on other RUclips comment sections on music videos that involve the dotted eighth sixteenth rhythm in Bach's music, apparently, rhythms like this would be notated as a dotted eighth note and a sixteenth note as a kind of shorthand for a quarter note followed by one eighth note, in which case the quarter note may be regarded as two triplet eighths tied together.
Source: Troeger, Richard (2003). _Playing Bach on the Keyboard: A Practical Guide._ Pompton Plains, New Jersey: Amadeus Press. p. 172. ISBN 1574670840. OCLC 52424125
@@john3260 That's really interesting. Whether or not it's more correct to play the rhythm as two tied triplet 8th-notes followed by a triplet eighth, my preference is the more rhythmically sharp as-written rhythm. Heck- David's performance on this piano is my preferred way to listen to St. Anne. I'm all for period-interpretation of Bach as well as modern adaptations. As long as I'm hearing Bach in the end, it's all good.
That about the closest I've heard a piano match the grandeur of and organ. Great job!! 10 out of 10.
Thank you!
Yes, I pretty much agree - that performance was excellent. I would love to get my hands on (literally) one of those legendary Stuart & Sons pianos some day. I am not sure if there is one somewhere in London which I could hear in a live concert at some point. The closest I have had the privilege of playing to date was a (also fantastic) Bösendorfer imperial grand piano.
Wonderful playing. Totally enjoyed w/admiration.
Absolutely brilliant. Thank you for bringing attention to an undervalued work!
Spectacular performance - the counterpoint is so beautifully clear throughout!
LOVE your POWER, strength, .......One of my favorite fugues! Ross
Your feel for Bach is sublime, thanks
Splendid, really enjoyed it!
I'm marvelled! Thank you for posting this!
You are welcome!
A great, great piece!
A masterpiece played beautifully. Thank you for sharing this, Mr Stanhope. Your work is much appreciated
No worries!
It's extremely well recorded, and played!
Magnificent performance! This looks like it might be even harder than the Chaconne arrangement. The piano has an amazing, organ-like sound, as well.
I love this very much 😍😍😍😍😍😍😍
Fugue starts around 9:34
so good!
What a noble and spectacular performance! The finger work takes my breath away. But your pedaling is some of the most artful I've ever heard--not just the sostenuto, but the mid levels of the sustaining pedal. On only one hearing, the sustaining catches and blends the successive overtones with clarity and power. I'd love to hear it live. Thanks for posting.
Thank you! Your comments are very kind - makes the hours of practice worthwhile!
Superb!
I feel refreshed again as I sat down to enjoy this remarkable and brilliant performance once more. Again, I thank you for sharing your enormous gift and talent. It inspires us all.
No worries! And you clearly know a lot more about organs and organ performances than I. The only organ I ever played was a small electric thing at a tiny church, mostly for weddings, when I was still at school. I never learned pedal technique, too late now.
@@davidrichardstanhope Well, I will not remind anybody of Dr. Paul Jacobs or the late English cathedral organist and recitalist Peter Hurford. This piece is monumental. Truly only a few can really master it, you being one of them. My congregations always enjoyed my playing, so I feel blessed that way. You are a true talent, one of the rare ones who excel both in pedagogue and performance.
Such a kind comment makes all the practice worthwhile - thank you!@@edwardwilliamson1863
Very nice piano!
Your recording made me practice this piece. Hard to master the fugue but your fingerings are of huge help!
That's nice to know!
Bravo! Wonderful performance!
Thank you!
BRAVO!
simply brilliant!!! well done on this amazing feat
Thank you! One of my best, I think (not just better!).
What an amazing feet! Lol
@@henrykwieniawski7233 🦶🏼🦶🏼🦶🏼🦶🏼🦶🏼🦶🏼🦶🏼🦶🏼🦶🏼🦶🏼🦶🏼🦶🏼🦶🏼🦶🏼🦶🏼🦶🏼🦶🏼🦶🏼🦶🏼🦶🏼🦶🏼
I love the sound/timbre of this Australian piano, especially for this sort of music. Well
played too
Bosendorfer Imperial.......è il suo suono imperiale! Bravo Stanhope per un grande brano.
Amazing ... the sound of he piano was beautiful and you performance heartbreaking in my humble opinion...
Thank you!
beautiful! thank you for this Gift Best wishes from germany
Danke sehr!
Chopin-Godowsky Etudes David Stanhope was thinking About Starting Piano as a second Instrument for some time. Your rendition convinced me i should(: i will start tomorrow!
@@notme6820 how’s your progress so far? :)
@@notme6820 Also, thought I should mention, I started piano around the time you did and I can sort of play this transcription! I’m currently working on Bach/Busoni’s Ich Ruf Zu Dir and Wachet Auf ruft uns die Stimme.
8:31 wow, that's just wow
Bravo! A splendid rendition, worthy of both meisseurs Bach and Busoni. Marvellous and rich piano sound that successfully conveys the impression of organ, and decisive presentation of an overall conception that is very well in the line with the character of the composition. I have one objection though: in my opinion the very last presentation of the 1st subject in the bass line should stand above all else - and as much as I tried to hear that, I was left wanting.
That is rather difficult to pull off seeing as the piano doesn't have a 32-note pedal board that the performer can draw upon. I agree with you that this is a splendid rendition of one of the big-stop organ pieces. The artful use of mordants and trills really suited this piece well on the piano. Great articulation and phrasing and the dynamic changes were well constructed and executed.
Браво блестяще исполнил
I have listened to this rendition, without exaggeration, about 100 times. It's going to be a lot more in the future too, because I want to take the Busoni St. Anne and expand it to a string nontet (4 vln, 2 vla, 2 vcl, and electric 5-string bass!)
Seriously David, your playing is remarkable. Thank you for being the only person I've heard play the dotted eighth sixteenth rhythm correctly (that is to say not triplets), thank you for the work you put in to conquer this giant, thank you for uploading your marked copy of the score, and thank you for making this available to the world to enjoy. I have this downloaded so I am never without it when I need it!
Thank you Griffin for your kind words! I think when I decided on the maestoso tempo at the beginning (usually played faster) it seemed logical to do the dotted rhythm as somewhere between a single dot and a double dot. Thus the forward impetus has greater strength and vigour.
@@davidrichardstanhope Out of the dozen or so different recordings I've heard of the arrangement or the original, your maestoso tempo for the prelude vibes the most for me. The articulation and rhythmic distinction both drives the motives and themes forward while comfortably sitting in the pocket. It's really well done.
Do you have a CD, vinyl, or digital copy for purchase? Also, is there an existing video, or if not would you consider making a video of you performing it?
Finally, I would be infinitely grateful for any words of advice or any other learned wisdom would you part with on my attempt to arrange it into a nontet. It's been a thorn in my mind ever since I first discovered your performance over 2 years ago, I've finally purchased my own copy of the arrangement, and I really am done with theorizing the parts and want to put pen to paper.
@@GryphonWahle The CD is listed at the top. You could order it from the Tall Poppies Records website. I don't think I can return to it just for the sake of making a video. I have some other pieces that I would rather do. For your nonet arrangement, I think it would be best to go back to the original Bach organ score, maybe referring to the Busoni for more ideas. Above all, you must rethink the whole work as if you were creating it yourself for the intended ensemble. You might give attention to balance by doubling instruments on whichever line you think should dominate at any given moment. Good luck!
@@davidrichardstanhope Mr. Stanhope, after years of conceptualizing the arrangement I wrote to you about over a year ago, I finally, once and for all, arranged this titanic work into the string nontet I had envisioned for many years. Your recording was *absolutely* paramount In helping make it happen, for that alone I could never thank you enough. For the kind words and encouragement you gave me long ago, once again I cannot thank you enough. I quite literally finished the arrangement minutes ago, but when I get everything polished out I would love to share a copy of the MIDI file to you! I'm somewhat technologically inept, so that might take some time to learn how to extract all of that. The next hope is to collect an ensemble, perform it, and record it! That dream now seems a little less far off. Thank you so much once again, cheers!
@@GryphonWahle Good luck with the project and I hope your hard work will be rewarded.
Outstanding playing.
thank you so much sir David !! I didn`t deep amazing other orgel sounds. but your piano is always strong heart break during 15min. because. Id heard your this number after I met my dad in my dream night. my dad is pass away 1991 in japan.
when I talk about with my dad in dream first time in dream and then your ST.ANNE my side.....
thank you very much sir. your play is ....may be ........I don`t know .........you have power connecting heaven would with this would in dream.
so. I`m glad very much possible met my dad by your piano .
thank you sir.
You are very kind, thank you.
幼い頃はお父ちゃまであり、記憶をなくした後は、高校時代の恩師であり、真っ青な雲ひとつない日に、煙になられましたことを思い出していました。
ピアノで弾かれている貴方の演奏を聴くたびに、鮮やかに蘇る風景があります。
配信🎞️、ありがとうございます🙏
Nice! I like when I listen non-Stainway pianos for the sake of diversity. The playing is fantastic too!
冗談抜きで、この演奏を聴くと、高校時代私達をおいて死んだ父を思い出して、仕方がありません。
それほど胸を打つ何かがあるんでしょうか。驚くことに、オルゲル盤も感動するのですが、あなたの演奏に特に
胸を打たれるのです。どこか青空を眺めた瞬間に浮かぶ死んだ誰かを偲ぶ美しさがあるのです。
ピアニストに脱帽する思いです。
Wow.
I like bach
Also, I love how he fingered the piece throughout. It would certainly help. ' copy his/her guide, and go for it.
I want compose something of this
musically Interpretation, like it :-)
Earl Wild also made a marvelous arrangement of this "St. Anne" Prelude and Fugue (better than Busoni's).
I went to an unforgettable Wigmore recital he gave in 1984.
Best recording I've ever heard. Where can I find it?
Это чертовски трудно. С ума сойти!
Hi Mr.Stanhope,Could you play Godowsky's Java suite?
This suite is very hard to find a complete recital on RUclips.
Thanks for advance.
Suppawat Boonrach I love the Java Suite, but I have never learned it. If I do any more recordings, I think the Opus 25 studies and Godowsky versions should come first. But if my fingers hold out I might record Java one day.
@@davidrichardstanhope Really want to see that op. 25!!!
@@mochdrew3364 I'm working on it - next year?
May I know how to perform in the touching of those semi-quavers as started at 3:55? This sounds so Baroque yet it sounds to me not just mezzo-detached playing? How to play like that?
As it says: "non troppo legato", so a detached style is required. It's not very different from staccato!
This is amazing!! Have you heard John Ogden’s performance?
No. But he was a marvellous pianist at his best. Tragic life.
davidrichardstanhope I know. I guess his genius came at a cost.
Busoni totally excluded about 4 measures from the original right around 8:45...
He excluded about 13 measures in total. I counted.
I think this is probably because of the reduced range of the piano compared to the organ these big cascading chord phrases would put the bulk of the piece uncomfortably in the bass registers of the piano.
15:02 did the piano this performance took place on have bass notes lower than A0?
Yes, down to C below
This piece actually does benefit from the G0. Unlike the end of An die Jugend (Epilogo) that is.
:)
1:03
8:30
9:34 11:34 13:01
GREAT !! 🎉🎉 Also correct the title "BACH-Busoni" 😮😮 I'll wait for the same fairness and education when it comes to Vivaldi , PLEASE title "VIVALDI-Bach" all the transcriptions/arrangements the great BACH realized 😊😊😊 🌺🏵️🌺
How long did this take to learn?
Three months perhaps? I can't remember. But a lot of the preparation was learning about Bach and how pianists of the past played organ transcriptions. That started a long time ago.
As far as I'm concerned, it could have been a Kissin performance.
As an organist, I've never been a fan of Bach organ to piano transcriptions, particularly Bach's "grand" pieces, like the St. Anne. Without mixture and mutation stops, and multiple stops and registrations in general I find piano versions seem thin. But having said that, your version is excellent. You might want to try out a good organ though. lol
I could never master the pedals! However, the main value of a transcription such as this Busoni (in my view) is the greater clarity of Bach's musical argument with a more percussive instrument like the piano, including more scope for dynamic expressiveness. Performances on an organ (especially in a resonant acoustic like a church) tend to blur the lines. A pedal harpsichord (again in my view) is often better than an organ if clarity is considered more important than colour.
@@chopin-godowskyetudesdavid9873 Maestro, your talent is undeniable. Truly astounding. I am sure you are a fine organist, too. Your pedal work is probably better than a lot of accomplished church organists. Someone needs not to have the pedal technique of a Cameron Carpenter, Jonathan Scott, Paul Jacobs. or Diane Bish to be a good performer. Harpsichord, which I do love and play, in my opinion, lacks the power for this piece. It would play it cleanly, but since you can't change dynamics on it -- I don't know. Kooperman might pull it off. It does need to be played a bit slower on the pipe organ, particularly in European cathedrals due to the great amount of reverb. Dynamics can be changed by adding or subtracting stops, coupling manuals, or using the shutters on the enclosed divisions. That said, this is about your performance on this absolutely fabulous and resonant piano. It is simply amazing. More than that, your interpretation is beyond description. I am sitting here in jaw-dropping awe of what I just heard.
@@edwardwilliamson1863 You are too kind! But thank you.
@@chopin-godowskyetudesdavid9873
Thank you for sharing your talent. It was a much-needed listen for me tonight, and I enjoyed it immensely.
I am an organist as well, and while I do play the piano and harpsichord, I wondered how it would sound on a harpsichord due to the lack of dynamics. The nice thing is the harpsichord has great clarity, but one would really have to pay super close attention to articulation and phrasing and the precision of mordents and trills would be of utmost importance. Well, on RUclips, the harpsichordist, Gerard van Reenen plays this, and it sounds great. But, the piano is percussive and can give this piece gravitas. Maestro Stanhope interprets this piece brilliantly. His articulation and clean, spritely runs really make this a treat to listen to. He really interprets this brilliantly.
I wish Godowsky had transcribed the St. Anne. Busoni doesn't really add enough to compensate for the piano's lack of organ like sustain and variable voicing. Godowsky's piano transcription of Bach's Bourrée from Violin Sonata BWV 1002 is a wonderous example of how Godowsky could expand a piece.
+PointyTailofSatan A Godowsky transcription would certainly have made an interesting comparison.
+Chopin-Godowsky Etudes David Stanhope Literally just minutes ago I discovered Godowsky's transcriptions of Bach's Cello suites! OMG! He's like the gift that just keeps giving! lol
これは… 日本人ならついついラジオ体操をしてしまうことだろう
@Funi Con: Actually, I don't think so. I'm thinking he just doesn't know any better. Anyone who's been with this music wouldn't say a crack like that. Many commenters come to this music by accident/ willy nilly. And find that its beautiful; greater sounding than that run of the mill stuff they hear on local networks. They're novices, at best. If that. To those who've spent their lives on these two instruments, its insulting to say the least. The next thing he should have done, was to have listened to.this piece full bore, on a pipe organ. Big speakers and all. And visually ( video ).
@Cameron Guarino: My point, exactly, joking around about serious music. No place for it. There is enough cracking around on virtually everything in the public eye; Sit - Coms, Roasting and stand up comedy. Amongst other things. Let's leave Art out of this nonsense.
It is nothing compared with the organ....best wait for that!
sounds sad and hopeless
Oh dear; no soul.
BRAVO!
Thank you!