What’s insane is that this is the first time I’ve seen NBS use a fortepiano! And it’s only for a specific reason, following the historical story behind where & what instrument Bach had played this on for the very first time in front of the emperor! This is stunning how NBS keeps this aspect in mind and for first also seeing Dr. Doeselaar playing a instrument other than the organ is interesting on its own! This video is a remarkable one indeed!
The person you're referring to, Frederick II, was not an emperor. He was king in Prussia --- and only in Prussia. And the piece Bach improvised for the king is not the composition being played in the video. The composition being played is likely an elaboration of the improvised work, but it is surely not a note-for-note reproduction.
@@DaviSilva-oc7iv You're mistaken. I was (intentionally) replying to the comment by @RevivalMusic in which he wrote, "... this is the first time I’ve seen NBS use a fortepiano! And it’s only for a specific reason, following the historical story behind where & what instrument Bach had played this on for the very first time in front of the emperor!" Bach did not play "this" (i.e., the 3-part Ricercar) on fortepiano for any "emperor." The 3-part Ricercar is likely an elaboration of the 3-part fugue Bach famously improvised on the fortepiano for the Frederick II, who was not an emperor but rather king in Prussia. It's very unlikely that the 3-part Ricercar is an note-for-note reproduction of the improvised 3-part fugue.
After listening to Ricercar a 3 from Musikalisches Opfer BWV 1079 by the Netherlands Bach Society, I slept soundly and woke feeling refreshed. The music had a calming effect on me and helped me to drift off into a deep sleep. I woke feeling well-rested and ready to face the day ahead.
Seriously it was a masterful performance. And to think Papa Bach winged the fugue upon which this is based on the spot before an audience with Frederick II. Frederick II: "What do you think of my theme?" JSB: "Let me see what I can do with it." Talk about pressure. Talk about transcendental genius!
@Yeheng Music you can also read Hristo’s comment and the replies that go into this as well as the article previously posted m.ruclips.net/video/WdmcabpiGYU/видео.html
Musical contests would happen from time to time. Bach scheduled a contest with Marchand. Marchand is supposed to have fled town. Some suspect that Handel avoided meeting Bach because he feared the consequences of such a test. I don't think so, though... I believe that Handel thought of himself as a world class composer, dealing with opera and other big performances. Bach's world was smaller, more intimate and possible too pedestrian for Handel.
I'm agreeing with many of the other comments written here: It is nice to see Leo van Doeselaar sitting behind a clavier of a different order. It is my first time hearing a Silbermann Forepiano, although I've known of them for nearly half of a century...it is a beautiful sound...and different from other fortepianos...less "clunky" to my ol' ears. LvD's diverse articulations, and phrasing are also really interesting, and they stand out much more than on his numerous recordings on which he plays organ. The room is beautiful, and its acoustics made it a great choice for this recording, also. I'd love hearing more of LvD playing this instrument...yep, I surely would. A wonderful treat, indeed. // NBS, never cease...ever.
Such an informed and tasteful decision to use a fortepiano in this performance! All the subtle dynamic contrasts, courtesy Van Doeselaar, really bring the ricercare alive in a new way for someone who has only ever heard this on a harpsichord. This performance deserves a medal!!
@@karsheijboer7593 ah, I've already seen that. I probably should've specified that I was only talking about him in relation to NBS. My fault, I will correct it now.
Wunderschöne Aufführung dieses scheinbar komplizierten doch perfekt komponierten Meisterstücks im gut analysierten Tempo mit klarem doch zugleich anmutigem Klang des technisch perfekten Klaviers und mit sorgfältig kontrollierter Dynamik. Wahrlich genialer Pianist!
Extraordinary! What a gift. Eternal gratitude for this magnificent performance. Music that circles and dances through the channels of the mind and soul.
BACH probably loved it. Silbermann introduced Cristofori's instrument construction in Germany. At the beginning there may have been some difficulties with Silbermann's fortepianos, because Johann Sebastian Bach criticized the weak sound of the instrument's treble and the too heavy touch of the keyboard. However, when Silbermann improved his instruments decisively, evidently as a result of a detailed examination of a Cristofori fortepiano, Bach gave them his "complete approval". For Johann Sebastian Bach a renewed encounter with a Silbermann fortepiano occurred, when he visited the Prussian King Friedrich II at the palace of Potsdam in 1747. On this occasion Friedrich II gave Johann Sebastian Bach the famous "King's Theme". Johann Sebastian Bach improvised directly on the king's Silbermann fortepiano a Ricercare for three voices that met with his majesty's "most gracious pleasure".
Again, this was outstanding performance, recording, instrument, as usual... I love how the last notes are given total attention, are so delicately dropped, like you are leaving your dearest friend after this short encounter - but you know he isn't far, and you are going to reunite soon anyway...
전 임윤찬의 팬입니다. 클라이번 콩쿨에서 그가 연주한 영상을 보다가 그의 ’90초의 침묵‘에 공감하고 싶어서 30여번을 다시 들어봤지만 그게 안되네용…(아…. 바흐… 어렵다….) 다른 영상을 들어보면 도움이 될까하여 찾다보니 여기까지 오게 되었습니다. 임윤찬의 곡과는 다른 느낌이어서 또 새롭게 들리기는 하지만 아무리 들어도 ‘그의 영혼을 바치는 연주’에 까지는 이르지 못하겠지요? ㅋㅋ 그래도 많이 들어봐야겠습니다 ㅎㅎ 좋은 연주와 영상에 감사드립니다^^
This music was composed ON THE SPOT, can someone imagine this?... Very few composers (if any) were able to produce music of this caliber, but Bach was able to compose it WHILE PERFORMING!
No. The 3-part Ricercar performed in this video is likely an elaboration of, but surely not a note-for-note reproduction of, the 3-part fugue Bach improvised before the Prussian king and his guests.
Honestly, even I didn't love Bach's music, you'd surely be mesmerized by the fantastic filming - but you all know that already, don't you? LvD is never less than the ideal artist playing the keys. Thank You. I feel fab - all of a sudden!
The reason this is being played on a “piano” instead of a harpsichord, because this is basically Bach’s first composition specifically written for that instrument. Bach improvised this fugue for Frederick the Great (over a theme given to him) on a prototype of what we know as pianos today
There's no evidence that Bach wrote the 3-part ricercar specifically for the fortepiano. He didn't mention fortepiano in the publication or the dedication of the Musical Offering. He only referred to "fugue for the keyboard." Even in correspondence about "the Prussian fugue," no one ever mentions fortepiano. In Bach's time, the fortepiano was regarded as a novelty of the rich. Very few people owned a fortepiano. It's very unlikely that Bach recalled note for note the 3-part fugue he improvised for Frederick 2 months before he published the Musical Offering. The 3-part ricercar is likely an elaboration of, not a reproduction of, the improvised 3-part fugue. What we would recognize as the sound of the modern piano didn't exist until around 1875 -- almost a half century after Beethoven died.
@@user-fu7zf4ck9z Bach improvised a 3-part fugue on the king's theme on a keyboard instrument that happened to be a fortepiano, but that alone does not support your conclusion that the 3-part Ricercar on the same theme "is basically Bach’s first composition specifically written for that instrument." Nowhere in the dedication, the score, or in Bach's correspondence about the Musical Offering or "the Prussian fugue" does anyone mention fortepiano. If, as you claim, the 3-part Ricercar was "specifically written for" the fortepiano, one would think Bach would have specified "fortepiano" in the score.
@@herrickinman9303 I didn’t mean to claim that Bach intended this to be played only on the fortepiano, I‘m sorry for that. What I was trying to say was that this is probably the first composition that Bach wrote knowing it would be performed on a fortepiano prototype. This doesn’t mean it was composed in any way that wouldn’t have worked on any other keyboard instrument of his time.
The Prophet of all music left no stone unturned in his endless tonal explorations, so much that there is nothing new after Bach. Listen as he breaks into a walking bass while "riding jazz triplets" in the right hand, marker 1:30 and again around 1:46 but this time with a Bebop style back and forth triplet/duplicate "lick" in the right hand (more later as well 3:11). If that ain't Jazz I don't know what is!
@@rhalleballe From what I've read, it seems that the a3 was improvised and the a6 was composed. Nevertheless, if he didn't improvise the whole a3, then he at least improvised at least a good portion of it. The "small fugue" that he improvised was a three-voice fugue, like the a3.
@T_A_Verne well may it be as it was, it's still impressive to consider that Bach has improvised even just an exposition of a fugue over such a theme which is by no means a suitable puece of material for counterpunctual development.
@Andrew Aiello so basically you're just denying historical reports (which can neither be verified nor be falsified) even without plausible reasoning. The only fact I know is that Bach was a extraordinary improvisor on keyboard and as long as there's no sufficient evidence to prove it false, I, as an ordinary human being, choose to assume and believe that there's always genius out there who can accomplish crazy things which I couldn't even dream of.
Composers in those days were trained in music by improvisation, unlike most modern music training. Also, musical training was from the ground up based on counterpoint, also unlike today. They used concepts like "chord of the fifth, chord of the sixth" which were firmly rooted in the concepts of intervals, not I, IV, V, which is rooted in an abstract fundamental root. It was actually unremarkable for composers of that time to improvise fugues on the spot. Bach was widely known as an improvisor, not because he could do it, but because he was so good at it. Bach also at this point had a lot of experience with chromaticism, so the king's theme wouldn't have posed a great hardship for him to improvise on. So is this fugue an EXACT duplicate of the one he improvised? Probably not. But it could be pretty darn close if he wrote it down later in the day.
Yes, this instrument is a replica of the fortepiano that Gottfried Silbermann built for Frederick the Great in 1746 (actually, he bought a fairly large number of these fortepianos, despite the fact that the price was much higher than a harpsichord!). Three original Silbermann pianos have survived: two in Berlin in Frederick palaces, and one in the collection of the museum in Nürnberg.
@@bach The price wasn't higher than a harpsichord. I've found a source for a Silbermann harpsichord new for 500 rthl and one for a Silbermann piano for 500 rthl. The ones for Frederick were slightly cheaper.
@@bach A few days before this came out, I wondered, whether there are any fortepiano recordings of the musical offering... And here it is! I am very looking forward to the next pieces! :-)
@@leonardschick5257 According to a receipt in Bach's hand, dated May 6, 1749, a Polish nobleman paid 115 rthl. for a Silbermann fortepiano. According to the specification of Bach's estate, dated July 28, 1750, a veneered harpsichord was valued at 80 rthl.; 3 plain harpsichords were valued at 50 rthl. each; a smaller harpsichord and 2 lute-harpsichords were valued a 20 rthl. each. CONCLUSION: around 1749-1750. a Silbermann fortepiano cost at least 40% more than a veneered harpsichord, more than twice a plain harpsichord, and 5 to 6 times as much as a small harpsichord.
Magnifica decisión el emplear un fortepiano para el Ricercar inicial, muy apegado con los instrumentos que Bach vio en aquella visita. Como siempre música e interpretación de alto nivel 👍🏻👍🏻
Nun habe ich das Stück schon sehr oft gehört, natürlich von den „großen Namen.“ Aber so gut und überzeugend wie hier ist es mir noch nicht vorgekommen! Im Großen und Ganzen, aber auch in den Details: der Mann hat ja so recht! Diese chromatische Harmonik schreit ja geradezu nach expressiver Dynamik und flexibler Agogik. Bach fährt mit dem Hörer geradezu wagnerisch Achterbahn. Hier auf der Linie des guten Geschmacks zu bleiben, ist eben die große Kunst. Mir ist schon früher aufgefallen, dass dieser Musiker über viel Geschmack verfügt, auch wenn es im Ausdruck lyrisch und poetisch wird. Es gibt viereckig denkende Nüchternheitsfreaks, „Anti-Romantiker“ und HIP-Raser unter den Hörern und Ausführenden der „Alten Musik“. Für mich sind das alles Phänomene von Unreife, wenig verfeinertem Geschmack und ja, Unmusikalität. Diese Einspielung, ja die Meisterschaft, die hinter der Einspielung steht, ist ein sehr guter Beweis dafür, dass es auch noch den Weg wahrer und erfüllter Musik gibt. Danke dafür🙏❣️
When was this replica piano made? It looks like it's in pristine condition. Compared to a modern piano, this one seems to achieve much greater separation of voices and be better suited for polyphonic music such as Bach. It produces quite an overall pleasant sound as well, particularly with Van Doeselaar's playing. I would certainly love to try playing on a piano like that, even though I most likely will never get the opportunity.
Can someone enlighten me on the mechanism of this instrument? I can see the jacks and the strip of black felt that limits their rise (2:40 and 6:20), but where are the hammers that hit the strings, presumably from below?
As much as Bach is (rightly) considered a genius in the world of music, I do think that more credit needs to be given to the genius of Gottfried Silberman, whose instruments: clavichords, harpsichords, fortepianos, and organs, were a great inspiration to the legendary Thomaskantor and his family (see the younger Bach's "Abscheid" to his Silberman Clavier).
A lovely instrument. That first sweeping arpeggio episode I find slightly unusual in J.S. Bach. Perhaps a nod to the emergence of Rococo and the ideas his son was playing with?
It is indeed a really lovely instrument! I have read, that the arpeggio episode is seen by scholars as evidence, that this really is a written down improvisation and he would probably done it differently, if he had composed the piece, which sounds plausible to me. But maybe you are right and it is also a stylistic matter, maybe to please Frederic II.
I see that Louis Marchand downvoted this video. Bach kicked your @$$ in the organ competition, and you ran away before the competition even started! Get over it 😁
@@0rganopleno Marchand's music is lovely too, but he had a big ego and seemed to underestimate his opponents. Bach doesn't seem to have been a similar person. He had ego but he did not seem to allow it to control him as much, especially as he grew older. Bach understood very early on that musical talent is wide and unique to each person, and even those with comparatively simple music can be inspiring and have merit. To me at least, it seems unlikely Bach would have underestimated Marchand and would have practiced accordingly, only for Marchand to hear Bach and decide that to save his reputation it may be better to just leave quietly.
Beautiful! Such a relief when Bach is rescued from the harpsichord and organ. Lol Don’t get me wrong, I enjoy the organ and harpsichord....for about 5 mins.
The organ is a reverb laden mechanical monstrosity and the harpsichord is a mechanical, nonexpressive sewing machine. I find major key works on the harpsichord particularly nauseating.
This fortepiano seems to be a good compromise between a harpsichord and a piano, the latter i find to be dull and boring when playing Bach. The harpsichord has a much more livelier sound than a regular piano
For those discussing it should be played on a fortepiano or not: ruclips.net/video/Y25G0W2NiQQ/видео.html In the end; IT DOESN'T MATTER on which instrument it is played! 😁
Watch the complete Musikalisches Opfer BWV 1079 via this playlist: bit.ly/2Zq09pk
What’s insane is that this is the first time I’ve seen NBS use a fortepiano! And it’s only for a specific reason, following the historical story behind where & what instrument Bach had played this on for the very first time in front of the emperor! This is stunning how NBS keeps this aspect in mind and for first also seeing Dr. Doeselaar playing a instrument other than the organ is interesting on its own! This video is a remarkable one indeed!
The person you're referring to, Frederick II, was not an emperor. He was king in Prussia --- and only in Prussia. And the piece Bach improvised for the king is not the composition being played in the video. The composition being played is likely an elaboration of the improvised work, but it is surely not a note-for-note reproduction.
@@herrickinman9303 I think you replied tô the wrong comments.
100% true
What a fabulous fortepiano so sensitively played
@@DaviSilva-oc7iv You're mistaken. I was (intentionally) replying to the comment by @RevivalMusic
in which he wrote, "... this is the first time I’ve seen NBS use a fortepiano! And it’s only for a specific reason, following the historical story behind where & what instrument Bach had played this on for the very first time in front of the emperor!"
Bach did not play "this" (i.e., the 3-part Ricercar) on fortepiano for any "emperor." The 3-part Ricercar is likely an elaboration of the 3-part fugue Bach famously improvised on the fortepiano for the Frederick II, who was not an emperor but rather king in Prussia. It's very unlikely that the 3-part Ricercar is an note-for-note reproduction of the improvised 3-part fugue.
In my humble opinion, this interpretation touches perfection.
You shouldn’t be humble, this is magnificent, the highest level of intellect
After listening to Ricercar a 3 from Musikalisches Opfer BWV 1079 by the Netherlands Bach Society, I slept soundly and woke feeling refreshed. The music had a calming effect on me and helped me to drift off into a deep sleep. I woke feeling well-rested and ready to face the day ahead.
My eyes are on tears. Beautiful.
Glenn Gould never deared to play this stuff.
But with this crazy instrument he would have done with perfect Joy.
Seriously it was a masterful performance. And to think Papa Bach winged the fugue upon which this is based on the spot before an audience with Frederick II. Frederick II: "What do you think of my theme?" JSB: "Let me see what I can do with it." Talk about pressure. Talk about transcendental genius!
To expand on this, the theme was thought to be impossible to harmonize, and was likely given to Bach knowing that.
@Yeheng Music you can also read Hristo’s comment and the replies that go into this as well as the article previously posted m.ruclips.net/video/WdmcabpiGYU/видео.html
@Yeheng Music not back then. Baroque music wasn't jazz, until jsb went on ofc
@@felipecortegana3209impossible is quite a word.. the word you were searching for is 'hard'.
Musical contests would happen from time to time. Bach scheduled a contest with Marchand. Marchand is supposed to have fled town.
Some suspect that Handel avoided meeting Bach because he feared the consequences of such a test. I don't think so, though... I believe that Handel thought of himself as a world class composer, dealing with opera and other big performances.
Bach's world was smaller, more intimate and possible too pedestrian for Handel.
I'm agreeing with many of the other comments written here: It is nice to see Leo van Doeselaar sitting behind a clavier of a different order. It is my first time hearing a Silbermann Forepiano, although I've known of them for nearly half of a century...it is a beautiful sound...and different from other fortepianos...less "clunky" to my ol' ears. LvD's diverse articulations, and phrasing are also really interesting, and they stand out much more than on his numerous recordings on which he plays organ. The room is beautiful, and its acoustics made it a great choice for this recording, also. I'd love hearing more of LvD playing this instrument...yep, I surely would. A wonderful treat, indeed. // NBS, never cease...ever.
The sound is more brilliant than many fortepianos’s - I was a little confused even when he started playing! Interesting to hear this.
@@comtaar2245 Yes. Many "fortepianos" are very unpleasant on the ear!
Can’t get more Bach than this ABSOLUTELY WONDERFUL
I am glad this jewel is now being played in the instrument that was intended! One of the first compositions for a piano-forte indeed!
This level of playing is transcendental. Glorious.
Such an informed and tasteful decision to use a fortepiano in this performance! All the subtle dynamic contrasts, courtesy Van Doeselaar, really bring the ricercare alive in a new way for someone who has only ever heard this on a harpsichord. This performance deserves a medal!!
This man plays with heart!
Spectacular journey. Miracle.
Is this the first time we've ever seen LVD not playing the organ on NBS?
@@SR009s no he played harpsichord during some passions i think
@@lukasimic2853 ah okay, thanks for the reply.
No! In this video he plays the piano also brilliant: ruclips.net/video/B27njtsX8n4/видео.html
@@karsheijboer7593 ah, I've already seen that. I probably should've specified that I was only talking about him in relation to NBS. My fault, I will correct it now.
@@lukasimic2853 Nope, he has always played the organ so far. He doesn't want to play the harpsichord, although I am convinced he could!
Absolutely incredible. I felt like I was transported back in time.
Wunderschöne Aufführung dieses scheinbar komplizierten doch perfekt komponierten Meisterstücks im gut analysierten Tempo mit klarem doch zugleich anmutigem Klang des technisch perfekten Klaviers und mit sorgfältig kontrollierter Dynamik. Wahrlich genialer Pianist!
Extraordinary! What a gift. Eternal gratitude for this magnificent performance. Music that circles and dances through the channels of the mind and soul.
Beautiful. Patient, complete phrasing creates the magic. There is a hint of the Art Of The Fugue here and there.
Wow. It sounds like you traveled back in time to record Bach himself improvise this piece...I cannot thank you enough, both Leo and NBS!
BACH probably loved it. Silbermann introduced Cristofori's instrument construction in Germany. At the beginning there may have been some difficulties with Silbermann's fortepianos, because Johann Sebastian Bach criticized the weak sound of the instrument's treble and the too heavy touch of the keyboard. However, when Silbermann improved his instruments decisively, evidently as a result of a detailed examination of a Cristofori fortepiano, Bach gave them his "complete approval".
For Johann Sebastian Bach a renewed encounter with a Silbermann fortepiano occurred, when he visited the Prussian King Friedrich II at the palace of Potsdam in 1747. On this occasion Friedrich II gave Johann Sebastian Bach the famous "King's Theme". Johann Sebastian Bach improvised directly on the king's Silbermann fortepiano a Ricercare for three voices that met with his majesty's "most gracious pleasure".
Wonderfully played
very beautiful sound🍃
Apart from the music and the instrument - I really appreciate LVDs beard!🙏
Again, this was outstanding performance, recording, instrument, as usual...
I love how the last notes are given total attention, are so delicately dropped, like you are leaving your dearest friend after this short encounter - but you know he isn't far, and you are going to reunite soon anyway...
Fantastic performance and interpretation! Thank you for posting.
Belle sonorité...clarté du jeu...Magnifique!
Che splendida scelta, e che splendido strumento! 🤩
Outstanding performance and instrument. Thank you.
전 임윤찬의 팬입니다.
클라이번 콩쿨에서 그가 연주한 영상을 보다가
그의 ’90초의 침묵‘에 공감하고 싶어서
30여번을 다시 들어봤지만 그게 안되네용…(아…. 바흐… 어렵다….)
다른 영상을 들어보면 도움이 될까하여 찾다보니 여기까지 오게 되었습니다.
임윤찬의 곡과는 다른 느낌이어서 또 새롭게 들리기는 하지만
아무리 들어도 ‘그의 영혼을 바치는 연주’에 까지는 이르지 못하겠지요? ㅋㅋ
그래도 많이 들어봐야겠습니다 ㅎㅎ
좋은 연주와 영상에 감사드립니다^^
"Tuned in" on my way to work, and suddenly I'm at Sans Souci, CPE looking on as the King plays the theme for the Master. Dank, LVD & NBS!
This music was composed ON THE SPOT, can someone imagine this?... Very few composers (if any) were able to produce music of this caliber, but Bach was able to compose it WHILE PERFORMING!
No. The 3-part Ricercar performed in this video is likely an elaboration of, but surely not a note-for-note reproduction of, the 3-part fugue Bach improvised before the Prussian king and his guests.
@@herrickinman9303 Herr Herrick, are you on the spectrum ?
Asperger maybe
Wat een gave fortepiano! Prachtig Leo👌
Honestly, even I didn't love Bach's music, you'd surely be mesmerized by the fantastic filming - but you all know that already, don't you? LvD is never less than the ideal artist playing the keys. Thank You. I feel fab - all of a sudden!
Congratulations!
I have been after a recording of this quality for some time now. Outstanding
Wunderschön! Ich höre es zum ersten Mal gespielt auf einem Hammerklavier.
The reason this is being played on a “piano” instead of a harpsichord, because this is basically Bach’s first composition specifically written for that instrument. Bach improvised this fugue for Frederick the Great (over a theme given to him) on a prototype of what we know as pianos today
There's no evidence that Bach wrote the 3-part ricercar specifically for the fortepiano. He didn't mention fortepiano in the publication or the dedication of the Musical Offering. He only referred to "fugue for the keyboard." Even in correspondence about "the Prussian fugue," no one ever mentions fortepiano. In Bach's time, the fortepiano was regarded as a novelty of the rich. Very few people owned a fortepiano.
It's very unlikely that Bach recalled note for note the 3-part fugue he improvised for Frederick 2 months before he published the Musical Offering. The 3-part ricercar is likely an elaboration of, not a reproduction of, the improvised 3-part fugue.
What we would recognize as the sound of the modern piano didn't exist until around 1875 -- almost a half century after Beethoven died.
@@herrickinman9303 Yes I‘m aware of that, but it’s well documented that this piece (or an improvised prototype of it) wasn’t played on a harpsichord.
@@user-fu7zf4ck9z Bach improvised a 3-part fugue on the king's theme on a keyboard instrument that happened to be a fortepiano, but that alone does not support your conclusion that the 3-part Ricercar on the same theme "is basically Bach’s first composition specifically written for that instrument." Nowhere in the dedication, the score, or in Bach's correspondence about the Musical Offering or "the Prussian fugue" does anyone mention fortepiano. If, as you claim, the 3-part Ricercar was "specifically written for" the fortepiano, one would think Bach would have specified "fortepiano" in the score.
@@herrickinman9303 I didn’t mean to claim that Bach intended this to be played only on the fortepiano, I‘m sorry for that. What I was trying to say was that this is probably the first composition that Bach wrote knowing it would be performed on a fortepiano prototype. This doesn’t mean it was composed in any way that wouldn’t have worked on any other keyboard instrument of his time.
The Prophet of all music left no stone unturned in his endless tonal explorations, so much that there is nothing new after Bach. Listen as he breaks into a walking bass while "riding jazz triplets" in the right hand, marker 1:30 and again around 1:46 but this time with a Bebop style back and forth triplet/duplicate "lick" in the right hand (more later as well 3:11). If that ain't Jazz I don't know what is!
Prachtig, schitterend gespeeld en wat een bijzonder instrument…..
Thank you for that beautiful performance. I particularly like your execution of the ornaments.
Fascinating instrument.
Amazing!
Impresionante este intérprete. En mi opinión es maravilloso cómo toca el Barroco
Thank you for the Musical Offer Bach Society.
これってフリードリヒ大王からもらったテーマで即興演奏やったやつでしょ。ほんま余裕ですね。しかも全部憶えていて楽譜にして贈ったってすごすぎだわ
This is Absolute Genius
Bravo, magnifique piano forte, tout aussi prenant que le clavecin ou l'orgue
Meesterlijk, Leo, transparant en wondermooie frasering!
Simply stunning work, chaps!! Bit surprised to find this one played on a Fortepiano!!!
Friedrich had several Silberman fortepianos. Bach supposedly improvised this three-part fugue on one of them when he visited the king in 1747.
It was originally played on a fortepiano at Freddie's
Same
@@bathtubbarracuda2581 "at Freddie´s" - Hahahahahah thx for the laugh
@@bathtubbarracuda2581 at freddies!!!!! Lmao
Maestro Doselar bravissimo! Non ho mai sentito un tale cantabile al pianoforte. Lo staccato all'inizio dell ricercar avrebbe potuto essere omesso.
Insane to think that Bach improvised this piece.
He did not. Bach composed it, he only improvised a small fuge on the motiv given by Friedrich der Große.
@@rhalleballe From what I've read, it seems that the a3 was improvised and the a6 was composed. Nevertheless, if he didn't improvise the whole a3, then he at least improvised at least a good portion of it. The "small fugue" that he improvised was a three-voice fugue, like the a3.
@T_A_Verne well may it be as it was, it's still impressive to consider that Bach has improvised even just an exposition of a fugue over such a theme which is by no means a suitable puece of material for counterpunctual development.
@Andrew Aiello so basically you're just denying historical reports (which can neither be verified nor be falsified) even without plausible reasoning. The only fact I know is that Bach was a extraordinary improvisor on keyboard and as long as there's no sufficient evidence to prove it false, I, as an ordinary human being, choose to assume and believe that there's always genius out there who can accomplish crazy things which I couldn't even dream of.
Composers in those days were trained in music by improvisation, unlike most modern music training. Also, musical training was from the ground up based on counterpoint, also unlike today. They used concepts like "chord of the fifth, chord of the sixth" which were firmly rooted in the concepts of intervals, not I, IV, V, which is rooted in an abstract fundamental root. It was actually unremarkable for composers of that time to improvise fugues on the spot. Bach was widely known as an improvisor, not because he could do it, but because he was so good at it. Bach also at this point had a lot of experience with chromaticism, so the king's theme wouldn't have posed a great hardship for him to improvise on. So is this fugue an EXACT duplicate of the one he improvised? Probably not. But it could be pretty darn close if he wrote it down later in the day.
Una excelente interpretación de una gran obra de arte .
Gracias .
Love it! Also a really beautiful instrument - do we know if this is the type that Frederick had and that Bach would have played on when he visited?
Yes, this instrument is a replica of the fortepiano that Gottfried Silbermann built for Frederick the Great in 1746 (actually, he bought a fairly large number of these fortepianos, despite the fact that the price was much higher than a harpsichord!). Three original Silbermann pianos have survived: two in Berlin in Frederick palaces, and one in the collection of the museum in Nürnberg.
@@bach Wow!
@@bach The price wasn't higher than a harpsichord. I've found a source for a Silbermann harpsichord new for 500 rthl and one for a Silbermann piano for 500 rthl. The ones for Frederick were slightly cheaper.
@@bach A few days before this came out, I wondered, whether there are any fortepiano recordings of the musical offering... And here it is! I am very looking forward to the next pieces! :-)
@@leonardschick5257 According to a receipt in Bach's hand, dated May 6, 1749, a Polish nobleman paid 115 rthl. for a Silbermann fortepiano. According to the specification of Bach's estate, dated July 28, 1750, a veneered harpsichord was valued at 80 rthl.; 3 plain harpsichords were valued at 50 rthl. each; a smaller harpsichord and 2 lute-harpsichords were valued a 20 rthl. each. CONCLUSION: around 1749-1750. a Silbermann fortepiano cost at least 40% more than a veneered harpsichord, more than twice a plain harpsichord, and 5 to 6 times as much as a small harpsichord.
Magnifica decisión el emplear un fortepiano para el Ricercar inicial, muy apegado con los instrumentos que Bach vio en aquella visita.
Como siempre música e interpretación de alto nivel 👍🏻👍🏻
Bravo Maestro ! This is so tricky to play and to understand. Merry Christmass ! Best wishes from Hamburg/Germany
Nun habe ich das Stück schon sehr oft gehört, natürlich von den „großen Namen.“ Aber so gut und überzeugend wie hier ist es mir noch nicht vorgekommen!
Im Großen und Ganzen, aber auch in den Details: der Mann hat ja so recht!
Diese chromatische Harmonik schreit ja geradezu nach expressiver Dynamik und flexibler Agogik. Bach fährt mit dem Hörer geradezu wagnerisch Achterbahn. Hier auf der Linie des guten Geschmacks zu bleiben, ist eben die große Kunst. Mir ist schon früher aufgefallen, dass dieser Musiker über viel Geschmack verfügt, auch wenn es im Ausdruck lyrisch und poetisch wird. Es gibt viereckig denkende Nüchternheitsfreaks, „Anti-Romantiker“ und HIP-Raser unter den Hörern und Ausführenden der „Alten Musik“.
Für mich sind das alles Phänomene von Unreife, wenig verfeinertem Geschmack und ja, Unmusikalität.
Diese Einspielung, ja die Meisterschaft, die hinter der Einspielung steht, ist ein sehr guter Beweis dafür, dass es auch noch den Weg wahrer und erfüllter Musik gibt.
Danke dafür🙏❣️
When was this replica piano made? It looks like it's in pristine condition.
Compared to a modern piano, this one seems to achieve much greater separation of voices and be better suited for polyphonic music such as Bach. It produces quite an overall pleasant sound as well, particularly with Van Doeselaar's playing. I would certainly love to try playing on a piano like that, even though I most likely will never get the opportunity.
This replica was built by Thomas and Barbara Wolf, The Plains, Virginia, USA in 1997/1998.
True. The modern piano muddies the sound of counterpoint. This is perfect.
Triple thumbs up !!!
Bravo, Bravissimo!! ❤️🎼🎹🎶👏
Can someone enlighten me on the mechanism of this instrument? I can see the jacks and the strip of black felt that limits their rise (2:40 and 6:20), but where are the hammers that hit the strings, presumably from below?
Zo stevig en toch doorzichtig.
GALANT DRAMA !
What a beautiful piece of music!
Nice sound! And congratuations for musician.
Quite the best fortepiano I’ve heard. Maybe due to the performers touch.
I feel the same
Wonderful! Lots of Ricercar pieces in the early Italian lute repertoire.
So good
Thank you so much
Best piece Bach ever wrote..but not widely known or Popular! A mystery why it isn't!
Excellent!
MAESTRO VAN DOESELAAR UN PLACER ESCUCHAR TU EJECUCIÓN.
GRACIAS DESDE MÉXICO
Masterful!
2:30 so mellow after the theme re-appearance
Браво!
Beautiful
Maravilloso
Amazing!
Bravo!
wonderful
mesmerizing!
This guy is simply a rockstar 🤘
As much as Bach is (rightly) considered a genius in the world of music, I do think that more credit needs to be given to the genius of Gottfried Silberman, whose instruments: clavichords, harpsichords, fortepianos, and organs, were a great inspiration to the legendary Thomaskantor and his family (see the younger Bach's "Abscheid" to his Silberman Clavier).
Bravo
BRAVO
Nice music 🎶
A lovely instrument. That first sweeping arpeggio episode I find slightly unusual in J.S. Bach. Perhaps a nod to the emergence of Rococo and the ideas his son was playing with?
It is indeed a really lovely instrument! I have read, that the arpeggio episode is seen by scholars as evidence, that this really is a written down improvisation and he would probably done it differently, if he had composed the piece, which sounds plausible to me. But maybe you are right and it is also a stylistic matter, maybe to please Frederic II.
Wonderful! Van Doeselaar on a Silbermann fortepiano! SDG
Sublime!
I see that Louis Marchand downvoted this video. Bach kicked your @$$ in the organ competition, and you ran away before the competition even started! Get over it 😁
Amusing, but Marchand's music is actually quite good. Definitely worth a listen.
@@0rganopleno Marchand's music is lovely too, but he had a big ego and seemed to underestimate his opponents. Bach doesn't seem to have been a similar person. He had ego but he did not seem to allow it to control him as much, especially as he grew older. Bach understood very early on that musical talent is wide and unique to each person, and even those with comparatively simple music can be inspiring and have merit.
To me at least, it seems unlikely Bach would have underestimated Marchand and would have practiced accordingly, only for Marchand to hear Bach and decide that to save his reputation it may be better to just leave quietly.
Amazing sound - very clear but very subtle at the same time. What do we know about temperament used in this recording?
Thanks! We used the Bach-Kellner temperament for the fortepiano.
YES
The closest empirical instance we have of divinity
Beautiful! Such a relief when Bach is rescued from the harpsichord and organ. Lol Don’t get me wrong, I enjoy the organ and harpsichord....for about 5 mins.
Don't mess around with the organ 😡
The organ is a reverb laden mechanical monstrosity and the harpsichord is a mechanical, nonexpressive sewing machine. I find major key works on the harpsichord particularly nauseating.
This fortepiano seems to be a good compromise between a harpsichord and a piano, the latter i find to be dull and boring when playing Bach. The harpsichord has a much more livelier sound than a regular piano
Hey you Frederick the great... you messed up with the wrong composer..
Great job Herr Doeselaar 🥰
Emil
Sydney, Australia
Why all the background hum? It spoils this magnificent presentation.
For those discussing it should be played on a fortepiano or not: ruclips.net/video/Y25G0W2NiQQ/видео.html
In the end; IT DOESN'T MATTER on which instrument it is played! 😁
Leo here at the piano looks like Bach.
On a fortepiano, like we were told it was done the first time around.
COOL
Mijn lof voor Dhr. Van Doeselaar!
Nice. Actually the piano is amazing.
Can you pls Upload this in spotify
You should do the prelude and fugue in c minor bwv 546 and the toccata and fugue in F major those are two of the best organ works your missing
Stay tuned, because BWV 546 is on it's way
💖