love pahud's playing, so gentle, so beautiful and always so stylish. as a baroque flutist, he is the only one i can listen to play baroque on modern. bravo to all, love this interpretation, ornaments so tasteful
I came here for the flute but the whole ensemble is wonderful. A performance like this makes me realize again how great a composer Bach is. But the flute playing is truly amazing. How does he get a sound like that? The tone is so alive it is incredible.
Flauta-Pahud, violin-Kussmaul y cembalo-Alpermann forman un trío extraordinario en la interpretación de este hermoso concierto de Bach... Muchas gracias, cello 644.
REALLY VERY BEAUTIFULLY PLAYED ! THANK YOU SO MUCH. sounds authentic probably because the very lively articulation and rubato's. Sound engeneering also on spot !!!!
Thumbs down. Really? Some people just not understand the musicianship and artistry of these performers. I saw Emanuel in concert. He was out of this world.
-- Ce concerto Brandebourgeois dédié à l'art de la flûte est vraiment très beau, le deuxième mouvement (09:40) est particulièrement magnifique. Superbe interprétation. --
After hearing other records witth metal flutes I must change or qualify my last comment into: How it is possible to play even the modern metal Boehm-Flute in a modest worm manner, well in tune with the strings you can here in this record of Bach Brandenburg 5 with E. Pahud, even I like more the sound of the baroque flute. Sicerely Dietrich
My first listening to Brandenburg, that I recall. I love it. The recording is impeccable; (I'm an audio engineer). My 2nd time listening to Pahud. Brilliant.
blog.ameba.jp/ucs/entry/srventryupdateinput.do?id=12203319629 Speaking roughly, Bach's concerto like violin concertos or Brandenburg concertos aren't so difficult comparing with Violin solo Chaconne or partitas for keyboard. Because his concertos are receiving the influences of various Italian concertos which have easy intimate melodies. So especially Brandenburg concerto No.5 seemed very popular among many German in 18 century. On the contrary, pretty many people were not fond of Bach's logical strict works like "Violin solo Chaconne "or "Goldberg Variations". So, they had moved toward Telemann's intimate works. Well I think this No.5 is so excellent concerto. This consist of small orchestra and three solo instruments. 3 solo instruments mean violin,flute,and harpsichord. Especially Emanuel Pahud's flute performance is so attractive. He won the gold medal at the Kobe flute competition . then gradually he became a remarkable great flutist like James Galway.
高橋正博 It is unlikely that the Brandenburg Concertos were popular in 18th century Germany. Christian Ludwig, lacked the musicians in his Berlin ensemble to perform the concertos. The full score was left unused in the Margrave's library until his death in 1734. The autograph manuscript of the concertos was only rediscovered in the archives of Brandenburg by Siegfried Wilhelm Dehn in 1849. The Brandenburg Concertos (with revisions) were assembled by J S Bach from his music produced at Köthen, however with one exception of a copy one movement used as a Cantata Sinfonia, there are no 18th manuscript copies of these concertos from the set among Bach's children, students or his admirers to my knowledge. That's not to say that later versions in whole or in part of the concertos were not heard during J S Bach's tenure as Cantor in Leipzig. Bach arranged the 4th Concerto in G major as the F Major Harpsichord Concerto, BWV 1057, most likely for the Collegium Musicum performances. The third movement of the First Brandenburg Concerto was used as the opening chorus of the secular cantata Vereinigte Zwietracht der wechselnden Saiten, BWV 207, where the horns are replaced by trumpets. Bach composed this cantata to celebrate the appointment of Gottlieb Kortte as professor of Roman Law at Leipzig University. Bach recycled this Cantata as Auf, schmetternde Töne der muntern Trompeten (Arise, blaring tones of high-spirited trumpets), BWV 207a was composed for the name day of the Elector of Saxony, King Augustus III of Poland which was celebrated on 3 August. The work was likely premiered in Leipzig in 1735. It is heavily based on an earlier secular cantata Vereinigte Zwietracht der wechselnden Saiten BWV 207, which was first performed in 1726. The first Concerto's first movement was recycled as the Sinfonia for the cantata Falsche Welt, dir trau ich nicht, BWV 52 in a version without the piccolo violin. This also exists as Sinfonia, BWV 1046a which also lacks the the piccolo violin part as a manuscript copy (no date) by Christian Friedrich Penzel (1737-1801). C F Penzel is chiefly remembered more for his association as one of J S Bach's last pupils and known for his copies of Bach's works. Penzel became a prefect at the school under Bach's successor Johann Gottlob Harrer. The position involved him directing the boys choir on occasion. Harrer required a deputy because he had health problems; Harrer died in 1755 while taking the waters at Carlsbad. The music sung by the Thomanerchor in the 1750s included revivals of Bach's vocal music. For several cantatas Penzel's copy is the oldest surviving source. Among these manuscripts, the Sinfonia for BWV 52. C F Penzel after completing his studies at the Leipzig University became a composer. J S Bach reworked the Third Brandenburg Concerto's 1st movement with the addition of three oboes and two horns, which became the Sinfonia of the cantata Ich liebe den Höchsten von ganzem Gemüte, BWV 174. As about one third of J S Bach's Cantatas scores are lost, one can speculate that among these works the some of the other movements of the Brandenburg concertos might have been put to use, as J S Bach was a practical Cantor. One can also speculate whether J S Bach played the 5th Brandenburg Concerto at Zimmermann's Coffee House. The transcriptions which became his Harpsichord Concerto Collection in Bach's handwriting does not include the Concerto. An earlier version exists with some differences from the concerto as included in the set which most likely was inspired and performed by J S Bach upon the delivery of the Mietke Harpsichord at Köthen in 1719. If only a list of performances of J S Bach and others performed by the Collegium Musicum had been recorded.
I am faithful listener of baroque and renessainse music and my favourite composers are : Bach, Handel, Albinoni, Vivaldi, Telemann, and more brilliant composers, next : classical - Haydn, Beethoven, romantism - Chopin, Chaikovskij, Shubert, Liszt and than The Beatles band :3 I know what is good....
I believe it is like putting down fourth fifth and sixth fingers on c# which just lowers the pitch, but I think it was used for the effect it put on the sound, like keys clicking.
To be more exact, it is a typically baroque ornamentation called "flattement" in French, that brings micro-tonal waving in the t pitch by alternative fingerings. It doesn't sound like pitch as violin does and as flute may do, because in vibrato the wave is more round, like synusoidal. In flattement, the fingering brings a more sudden change in pitch, but generally lesser than a quarter tone. If one adds one more finger, the waving in pitch may of course be enhanced. I am not sure whether the original Bach's score indicates flattement and then the final trill, but in the eighties when recordings in period instruments began to appear, a recording directed by Christopher Hogwood I heard already used the flattements, creating that characteristic growing tension that is way more expressive that just diatonic trills throughout. My impression is that it became so to speak standard in period recordings, and Pahud adapted that to the modern flute. Actually, the effect is not hard at all to obtain in a modern Bohm flute, although doing it in an artistically convincing way may not be easy, for too much effect and the thing may sound grotesque. Pahud did it very well, and his technical and expressive versatility is indeed amazing.
would this music not have been played by a Recorder type flute or block flute. But I think the modern instrument sounds lovely with the strings and Harpsichord it harmonises very well though for a more authentic sound a wooden transverse flute would be Better I think.
The score in J S Bach's hand specifically indicates for a Transverse Flute as opposed to the Recorder. A recorder is scored for the 2nd Brandenburg concerto. The 4th Brandenburg score lists "Flauti d' Echo." Musicologists argue if these instruments are recorders (why the d' Echo), were for the flageolet (Purcell and Handel both wrote for the instrument). The early 18th century French flageolet had 4 tone holes in the front and 2 tone holes in the back, an unlikely that such an instrument was intended by J S Bach, the French flageolet that could only play the aeolian scale down to the a above middle c (possibly the g with the end of the instrument hole was half covered), while the Score for the 4th Brandenburg concerto calls for a f natural below the g. The one explanation was the manner in which the Recorders (Flauti) were to be played. The F major Harsichord Concerto list two Two flauti à bec (recorders). Another was a specific instrument (some type of recorder) by the name (as J S Bach was usually specific).
Der Flötist hätte besser da gestanden, wo RAINER KUSSMAUL steht und dieser da, wo PAHUD steht, weil dann das Flötenrohr mehr in Richtung der Zuschauer zeigen würde und damit den Flötenklang besser zu den Zuschauern tragen würde!
In contrast to the G Dur concert of Telemann (ruclips.net/video/0obtdzhuQIs/видео.html), when he plays his metal flute rather subtle well adapted to the strings, and with charming baroque ornaments, in the Bach concert the metal sound with its lack of overtones is to hard and dominant. Even a baroque trumpet would fit better
and I really hate mozart (mocard/his real and demonic name/ this is soo long story I don´t want to give explanation)!!! because of his fake "talent" - he wasn´t real composer, he only PLAYS what Salieri wrote! Because Salieri tried really hard - but his majestad Joseph II. was so strickt and fussy and maybe little dum, so he select mocard - the thief! I know what happened I am going to study history of art at university in september...
2004年ごろにNHKの当時の教育テレビで放送されたのを見た覚えがあります。ずっともう一度見たいと思っていました。また見られて本当に嬉しいです。
love pahud's playing, so gentle, so beautiful and always so stylish. as a baroque flutist, he is the only one i can listen to play baroque on modern. bravo to all, love this interpretation, ornaments so tasteful
Ils sont juste tous bons. Que du bonheur. Merci! Bravo!
I came here for the flute but the whole ensemble is wonderful. A performance like this makes me realize again how great a composer Bach is. But the flute playing is truly amazing. How does he get a sound like that? The tone is so alive it is incredible.
i imagine pahud would attribute it to years of daily long tone
and overtone study. he sure is a beautiful player.....
Flauta-Pahud, violin-Kussmaul y cembalo-Alpermann forman un trío extraordinario en la interpretación de este hermoso concierto de Bach...
Muchas gracias, cello 644.
une splendeur d'entre les splendeurs;haute admiration,une flute d'or et de lumière
REALLY VERY BEAUTIFULLY PLAYED ! THANK YOU SO MUCH.
sounds authentic probably because the very lively articulation and rubato's.
Sound engeneering also on spot !!!!
2:45 how the mood just changes so subtly sounds so amazing
Mov1: 0:00
Cadenza: 6:15
Mov 2: 9:43
Mov 3: 14:50
Clapping/ the end: 19:51
Thumbs down. Really? Some people just not understand the musicianship and artistry of these performers. I saw Emanuel in concert. He was out of this world.
Bach c'est déjà un grand bonheur, mais joué par Emmanuel Pahud, je me régale....
Wow, Hello my friend.. All the best to your channel and hope you have a wonderful day
-- Ce concerto Brandebourgeois dédié à l'art de la flûte est vraiment très beau, le deuxième mouvement (09:40) est particulièrement magnifique. Superbe interprétation. --
Nice accent and movement. Bach would be pleased. Would like to hear more volume on cembalo and lower voices.
This is a peculiar recording. Bach's 5th is mainly about the keyboard, but you wouldn't know it with the balances here!
It’s wonderful!
Ahh beautiful beautiful but that harpsichord needed a spot mic to bring its volume up in the mix!
Профи!!!!! Все.
A 6mn 35, vous noterez la très belle performance du premier violon. On espère bientôt une version pour pétomanes.
After hearing other records witth metal flutes I must change or qualify my last comment into: How it is possible to play even the modern metal Boehm-Flute in a modest worm manner, well in tune with the strings you can here in this record of Bach Brandenburg 5 with E. Pahud, even I like more the sound of the baroque flute. Sicerely Dietrich
Bach era o Jazz do século XVIII...
Sim!
Te amamos Emmanuel!
4:34 Best Pahud trill ever recorded.
My first listening to Brandenburg, that I recall. I love it. The recording is impeccable; (I'm an audio engineer). My 2nd time listening to Pahud. Brilliant.
Is this a trill or a series of triplets?
Weebles wobble but they don't fall down 20:01
blog.ameba.jp/ucs/entry/srventryupdateinput.do?id=12203319629
Speaking roughly, Bach's concerto like violin concertos or Brandenburg concertos aren't so difficult comparing with Violin solo Chaconne or partitas for keyboard. Because his concertos are receiving the influences of various Italian concertos which have easy intimate melodies.
So especially Brandenburg concerto No.5 seemed very popular among many German in 18 century. On the contrary, pretty many people were not fond of Bach's logical strict works like "Violin solo Chaconne "or "Goldberg Variations". So, they had moved toward Telemann's intimate works.
Well I think this No.5 is so excellent concerto. This consist of small orchestra and three solo instruments. 3 solo instruments mean violin,flute,and harpsichord.
Especially Emanuel Pahud's flute performance is so attractive. He won the gold medal at the Kobe flute competition . then gradually he became a remarkable great flutist like James Galway.
高橋正博 It is unlikely that the Brandenburg Concertos were popular in 18th century Germany. Christian Ludwig, lacked the musicians in his Berlin ensemble to perform the concertos. The full score was left unused in the Margrave's library until his death in 1734. The autograph manuscript of the concertos was only rediscovered in the archives of Brandenburg by Siegfried Wilhelm Dehn in 1849.
The Brandenburg Concertos (with revisions) were assembled by J S Bach from his music produced at Köthen, however with one exception of a copy one movement used as a Cantata Sinfonia, there are no 18th manuscript copies of these concertos from the set among Bach's children, students or his admirers to my knowledge.
That's not to say that later versions in whole or in part of the concertos were not heard during J S Bach's tenure as Cantor in Leipzig.
Bach arranged the 4th Concerto in G major as the F Major Harpsichord Concerto, BWV 1057, most likely for the Collegium Musicum performances.
The third movement of the First Brandenburg Concerto was used as the opening chorus of the secular cantata Vereinigte Zwietracht der wechselnden Saiten, BWV 207, where the horns are replaced by trumpets. Bach composed this cantata to celebrate the appointment of Gottlieb Kortte as professor of Roman Law at Leipzig University. Bach recycled this Cantata as Auf, schmetternde Töne der muntern Trompeten (Arise, blaring tones of high-spirited trumpets), BWV 207a was composed for the name day of the Elector of Saxony, King Augustus III of Poland which was celebrated on 3 August. The work was likely premiered in Leipzig in 1735. It is heavily based on an earlier secular cantata Vereinigte Zwietracht der wechselnden Saiten BWV 207, which was first performed in 1726.
The first Concerto's first movement was recycled as the Sinfonia for the cantata Falsche Welt, dir trau ich nicht, BWV 52 in a version without the piccolo violin. This also exists as Sinfonia, BWV 1046a which also lacks the the piccolo violin part as a manuscript copy (no date) by Christian Friedrich Penzel (1737-1801). C F Penzel is chiefly remembered more for his association as one of J S Bach's last pupils and known for his copies of Bach's works. Penzel became a prefect at the school under Bach's successor Johann Gottlob Harrer. The position involved him directing the boys choir on occasion. Harrer required a deputy because he had health problems; Harrer died in 1755 while taking the waters at Carlsbad. The music sung by the Thomanerchor in the 1750s included revivals of Bach's vocal music. For several cantatas Penzel's copy is the oldest surviving source. Among these manuscripts, the Sinfonia for BWV 52. C F Penzel after completing his studies at the Leipzig University became a composer.
J S Bach reworked the Third Brandenburg Concerto's 1st movement with the addition of three oboes and two horns, which became the Sinfonia of the cantata Ich liebe den Höchsten von ganzem Gemüte, BWV 174.
As about one third of J S Bach's Cantatas scores are lost, one can speculate that among these works the some of the other movements of the Brandenburg concertos might have been put to use, as J S Bach was a practical Cantor.
One can also speculate whether J S Bach played the 5th Brandenburg Concerto at Zimmermann's Coffee House. The transcriptions which became his Harpsichord Concerto Collection in Bach's handwriting does not include the Concerto. An earlier version exists with some differences from the concerto as included in the set which most likely was inspired and performed by J S Bach upon the delivery of the Mietke Harpsichord at Köthen in 1719. If only a list of performances of J S Bach and others performed by the Collegium Musicum had been recorded.
18:45, comsumando el aire en el espiritu
Muito bonito!!!
I am faithful listener of baroque and renessainse music and my favourite composers are : Bach, Handel, Albinoni, Vivaldi, Telemann, and more brilliant composers, next : classical - Haydn, Beethoven, romantism - Chopin, Chaikovskij, Shubert, Liszt and than The Beatles band :3 I know what is good....
What are those trills/fingerings at 3:53-3:58? They are definitely affecting pitch but not in the typical way.
I believe it is like putting down fourth fifth and sixth fingers on c# which just lowers the pitch, but I think it was used for the effect it put on the sound, like keys clicking.
It is a "Tremolo" effect.
To be more exact, it is a typically baroque ornamentation called "flattement" in French, that brings micro-tonal waving in the t
pitch by alternative fingerings. It doesn't sound like pitch as violin does and as flute may do, because in vibrato the wave is more round, like synusoidal. In flattement, the fingering brings a more sudden change in pitch, but generally lesser than a quarter tone. If one adds one more finger, the waving in pitch may of course be enhanced.
I am not sure whether the original Bach's score indicates flattement and then the final trill, but in the eighties when recordings in period instruments began to appear, a recording directed by Christopher Hogwood I heard already used the flattements, creating that characteristic growing tension that is way more expressive that just diatonic trills throughout.
My impression is that it became so to speak standard in period recordings, and Pahud adapted that to the modern flute.
Actually, the effect is not hard at all to obtain in a modern Bohm flute, although doing it in an artistically convincing way may not be easy, for too much effect and the thing may sound grotesque.
Pahud did it very well, and his technical and expressive versatility is indeed amazing.
would this music not have been played by a Recorder type flute or block flute. But I think the modern instrument sounds lovely with the strings and Harpsichord it harmonises very well though for a more authentic sound a wooden transverse flute would be Better I think.
The score in J S Bach's hand specifically indicates for a Transverse Flute as opposed to the Recorder. A recorder is scored for the 2nd Brandenburg concerto. The 4th Brandenburg score lists "Flauti d' Echo." Musicologists argue if these instruments are recorders (why the d' Echo), were for the flageolet (Purcell and Handel both wrote for the instrument). The early 18th century French flageolet had 4 tone holes in the front and 2 tone holes in the back, an unlikely that such an instrument was intended by J S Bach, the French flageolet that could only play the aeolian scale down to the a above middle c (possibly the g with the end of the instrument hole was half covered), while the Score for the 4th Brandenburg concerto calls for a f natural below the g. The one explanation was the manner in which the Recorders (Flauti) were to be played. The F major Harsichord Concerto list two Two flauti à bec (recorders). Another was a specific instrument (some type of recorder) by the name (as J S Bach was usually specific).
very well played, but nothing comes close to the warm sound of the wooden transverse flute used originally
You speak the truth. Wooden baroque flute should be used instead of the metal concert flute to play this piece of music.
16:07
Der Flötist hätte besser da gestanden, wo RAINER KUSSMAUL steht und dieser da, wo PAHUD steht, weil dann das Flötenrohr mehr in Richtung der Zuschauer zeigen würde und damit den Flötenklang besser zu den Zuschauern tragen würde!
Is this a flute concerto??
In contrast to the G Dur concert of Telemann (ruclips.net/video/0obtdzhuQIs/видео.html),
when he plays his metal flute rather subtle well adapted to the strings, and with charming baroque ornaments, in the Bach concert the metal sound with its lack of overtones is to hard and dominant. Even a baroque trumpet would fit better
Really nice even though it's played on metal flute and strings, actually almost as good as La Petite Bande performance...
C'est dur être Claveciniste.
Problem with modern instrument ensembles playing Bach is the lack of rhythmic vitality and the homogeneous sound of their instruments.
+A Jalapeño Hola, I agree, see my posting today, sicerely Dietrich
P
.sich
Competent, excellent etc but.i don't care for this performance
As usual, flute and violin way too loud.. and worst part is can barely hear the harpsichordist
Cembalist - ganz schlecht.
and I really hate mozart (mocard/his real and demonic name/ this is soo long story I don´t want to give explanation)!!! because of his fake "talent" - he wasn´t real composer, he only PLAYS what Salieri wrote! Because Salieri tried really hard - but his majestad Joseph II. was so strickt and fussy and maybe little dum, so he select mocard - the thief! I know what happened I am going to study history of art at university in september...
Ahura Mazda Shumerian Akkadian o
Please, seek help, I fear for your sanity.
Oh wow