I haven't heard this Lady before but lovely performance! What fascinates me about organists,is that not only are the hands doing different things often at different tempos but the feet are also doing even more different things at different tempos too!
With so much love for the legendary Ms. Bish, I feel it must be pointed out: The first fugue theme really does resemble the opening line of St. Anne, but it also resembles fugue subjects found in other works around and about the early 1700s. It is not at all clear that the English hymn tune made it across the channel to Germany in time for Bach to have heard it; it seems likely that this is just one of those cases where a good idea strikes more than one person in more than one place.
This is one of Bach's pieces that is so intricate, it really needed to be played on a "tight" organ, that speaks very fast, to avoid blurring of notes. E. Power Biggs version of this on the Harvard Flentrop is an excellent example.
Dear Ms. Bish. What a glorious delight it is to hear you play. This most marvelous piece is a true great but it takes a player of true class and caliber to bring out its creativity to the full. I hear you and feel a controlled passion that allows the music to sings and state itself, almost without interference as if you move your fingers through the streams of music and glory comes. It was truly lovely and I do so hope you continue to allow us to delight in your wonderful gift for the great art. R
You play Bach with such deep understanding. You seem to know that for many of us, Bach is where we get our Christianity - raised a Methodist, I became a Presbyterian because their organist played one Bach piece every Sunday - and from you, it is pure.
Immaculate playing, Diane. I join you in calling Bach the greatest composer -- not just for the organ, though -- but for all time of all the greatest composers. Beethoven worshiped him; Mozart pales beside him Even for those not particularly inclined towards the religious, Bach's music remains one of the most profoundly spiritual experiences a soul can have. His counterpoint is a perfection of intelligence, both conscious and unconscious, which consummates the deepest resources of the human.
Dane Bish is a consummate master of the instrument. Few play as well, and none better, although we might quibble about her choice of registration which seems a trifle muddy and lacking in subtlety here. This most splendid among Bach's many magnificent organ works is most certainly a triple fugue. The primary subject developed in Section 1 is repeated in altered rhythm in Section 2 against the running eighth note figure that comprises the second subject. In Section 3 a strongly rhythmic third subject is introduced is introduced OFTEN ACCOMPANIED BY FRAGMENTARY STATEMENTS of the RUNNING EIGhTH NOTES of the SECOND SUBJECT. The first subject is never lost but becomes subordinate until its grand restatement in the pedals as the piece soars to its majestic, hair-raising, goose-bump producing climax. I would have much preferred Miss Bish to have reserved all that power and glory for the THIRD Section, but even so it's a glorious performance of possibly THE most glorious piece in the organ literature.
In Section 3 a strongly rhythmic third subject is introduced is introduced OFTEN ACCOMPANIED BY FRAGMENTARY STATEMENTS of the RUNNING EIGhTH NOTES of the SECOND SUBJECT. The first subject is never lost but becomes subordinate until its grand restatement in the pedals as the piece soars to its majestic, hair-raising, goose-bump producing climax. I would have much preferred Miss Bish to have reserved all that power and glory for the THIRD Section, but even so it's a glorious performance of possibly THE most glorious piece in the organ literature.
Hyramess Hiramess climax. I would have much preferred Miss Bish to have reserved all that power and glory for the THIRD Section, but even so it's a glorious performance of possibly THE most glorious piece in the organ literature. Show less
PS: Mozart does NOT "pale in comparison to Bach" anymore than Brahms "pales" in comparison to Beethoven. It's always foolish to compare apples to oranges to peaches to plums to pears to nectarines, etc. Each has something unique and marvelous to offer. Quibbling about such things misses the point of living. Comparisons are said to be odious for good reason.
Sorry for my bad English. "Yamex5" quotation: "At some point all the different subjects must overlap". But it's never happend in this Fugue. Yes, Hyramess Hiramess, fragments can be seen many times in the final part, but only as counterpoint. Fragments is of course not good enough, I want the complete subject! The melody line of the second subject are too different to be found in the final part.
geir øyvind eskeland I am not a trained musician, just an amateur , but I seem to hear all three subjects being played in the third section or is it my imagination?
03:30 - 03:55 "O god our strength in ages past"? this passage is so hard to execute because of the tightness between the voices. It's easy to turn into mush, but Ms Bish makes every line heard. OMG the reverb after the end takes forever to decay.
Gosh, I love how she reads this Bach piece. She was able to translate the crisp and effervescent scintillating melody of this fugue into a grand ode to the power of Almighty. Its like as if I am "ascending into the high heavens".
Different organs require different tempos based on reverb. Here there is probably a lot of reverb in the church so she needs to play slower so the notes don’t get muddy. Also you have to remember she is recording for television which is only a half hour to an hour so she needs to play much faster to fit more pieces into her show
geir øyvind eskeland This is called a triple fugue because there are three individual fugues within the work. The three fugues are: 1. a five part fugue, 2. a four-part double fugue on a single manual and 3. a five-part double fugue for full organ. Hope that helps.
I do not have the score in front of me, and I cannot hear clearly if all 3 subjects are present together, but Geir's interpretation of what constitutes a triple fugue is correct. At some point all the different subjects must overlap.
Well played, Diane! I think the video and audio are not very clear, unfortunately. I agree that Bach was the greatest organ composer. His compositions suit the instrument perfectly.
Best recording I have ever heard of this was by E. Power Biggs on the four antiphonal organs in Freiburg. It is available for viewing on youtube. You should check it out.
It's extremely unlikely that his piece was based on the opening phrase of the English hymn-tune "St Anne" (1708). It IS similar, however, to the beginning measures of the Lutheran chorale melody, "O Herzensangst, O Bangigkeit" that Bach would have certainly been familiar with. And it's technically not a "triple fugue" but a TRIPARTITE fugue - and yes, there's a difference.
A tripartite fugue that includes two double fugues (in the sense that the first subject appears with both subsequent ones) and the second one is "similar" to the counter subject in the third. So it is not such a crime calling it a triple fugue, even though I know it isn't
Rayan Charafeddine, I removed my comment, I understood that the comment wasn't easy to understand, so let me try again: To compose a triple fugue is a technical challenge. The fugue BWV 552 gives us three proper fugal expositions. But the three subjects never combines in the final section, therefore it isn't a triple fugue. The technical challenge is to compose three subjects that changes positions in every development. Because that parallell fifths is forbidden, its a challenge to avoid the problem. And other problems too make it difficult to compose a real fugue with many subjects combined together. In this fugue, the second subject never combines together with the two other subjects.
Bob H, quote: "Do some research for yourself". It is not easy for everyone to get the information. I would like that you, with your proper English, give people some useful information, thanks.
@@geiryvindeskeland7208 You wrote: "But the three subjects never combines in the final section, therefore it isn't a triple fugue. " Sorry but your statment is not entirely correct. All three subjects DO combine in the final section, the second subject is not as apparent, as it is somewhat modified (partially inverted) to fit harmonically and fit as a countersubject to the other two, while the first and the third are used without any alterations. So I guess we can easily regard this as a triple fugue, with all the artistic freedom the great composer could allow himself.
Dear Thomas Mole. Sorry, but it didn't help. "Three individual fugues" is not the same as a triple fugue. You'll never find fugue 2 together with fugue 1 and 3.
I know that people get irritating of my inadequate English. On the other hand, Trevor Armbuster, I get irritating of people without knowlegde. I don't think I know, I have the knowlegde! This fugue is a triple fugue to everyone who don't understand too much.
Obviously you have never heard André Marshal's frankly definitive recording of the work produced in the 1959's. How i wish it were available in RUclips! Marshal was to the St. Anne what Landowska was to the Chromatic Fantasy and Fugue!
Orgelfan 16' I am sorry for my inadequate English. "Why so fast?" Hm...In my opinion the pace is ok exept for the second subject 6/4. Everyone play 6/4 too fast. How do I know? Well, listening to what happend to the first subject in the double fugue - the first subject lose its majesty and sounds more like circus music.
@@TJMalana Also because it is a mechanical organ and therefore requires more strength. She has no electrical assist as with the modern electro-pnuematic organs of today. You're right, she does a great job.
Видеоклипы![J.S. Bach, PRELUDE & FUGUE IN D MAJOR [BWV 532] - Diane Bish](http://i.ytimg.com/vi/HBOdUP4QmLM/mqdefault.jpg)
![J.S. Bach, PRELUDE & FUGUE IN D MAJOR [BWV 532] - Diane Bish](/img/tr.png)
I haven't heard this Lady before but lovely performance! What fascinates me about organists,is that not only are the hands doing different things often at different tempos but the feet are also doing even more different things at different tempos too!
beautiful...i've been searching for this for over 30 years...
Excellent organist.
Wow, great!
This is a beautiful display of style and class on the organ.
Simply magnificent! Thank you Ms. Bish. Praise God!
With so much love for the legendary Ms. Bish, I feel it must be pointed out: The first fugue theme really does resemble the opening line of St. Anne, but it also resembles fugue subjects found in other works around and about the early 1700s. It is not at all clear that the English hymn tune made it across the channel to Germany in time for Bach to have heard it; it seems likely that this is just one of those cases where a good idea strikes more than one person in more than one place.
This is one of Bach's pieces that is so intricate, it really needed to be played on a "tight" organ, that speaks very fast, to avoid blurring of notes. E. Power Biggs version of this on the Harvard Flentrop is an excellent example.
Fabulous interpretation!
Grande organista... Brava Diane Bish....Bella interpretazione....Grazie
Dear Ms. Bish. What a glorious delight it is to hear you play. This most marvelous piece is a true great but it takes a player of true class and caliber to bring out its creativity to the full. I hear you and feel a controlled passion that allows the music to sings and state itself, almost without interference as if you move your fingers through the streams of music and glory comes. It was truly lovely and I do so hope you continue to allow us to delight in your wonderful gift for the great art. R
You play Bach with such deep understanding. You seem to know that for many of us, Bach is where we get our Christianity - raised a Methodist, I became a Presbyterian because their organist played one Bach piece every Sunday - and from you, it is pure.
Simply awesome❤❤❤❤❤❤
Super excellent with very good interesting video
Ottima tecnica, eccellente "legato", brava!
Stupendo!!!!☺
Superb!
Beautiful
Immaculate playing, Diane. I join you in calling Bach the greatest composer -- not just for the organ, though -- but for all time of all the greatest composers. Beethoven worshiped him; Mozart pales beside him
Even for those not particularly inclined towards the religious, Bach's music remains one of the most profoundly spiritual experiences a soul can have. His counterpoint is a perfection of intelligence, both conscious and unconscious, which consummates the deepest resources of the human.
The three composers are like comparing, apples to oranges to bananas; they are all great but very different. Comparing them is a waste.
You got it!
Amazing ;-)
The Love of Our Savior Christ Jesus is evident in your playing. God The Father Bless You all the days here on earth until you go onto Glory Ms. Bish.
Greates of all
Dane Bish is a consummate master of the instrument. Few play as well, and none better, although we might quibble about her choice of registration which seems a trifle muddy and lacking in subtlety here. This most splendid among Bach's many magnificent organ works is most certainly a triple fugue. The primary subject developed in Section 1 is repeated in altered rhythm in Section 2 against the running eighth note figure that comprises the second subject. In Section 3 a strongly rhythmic third subject is introduced is introduced OFTEN ACCOMPANIED BY FRAGMENTARY STATEMENTS of the RUNNING EIGhTH NOTES of the SECOND SUBJECT. The first subject is never lost but becomes subordinate until its grand restatement in the pedals as the piece soars to its majestic, hair-raising, goose-bump producing climax. I would have much preferred Miss Bish to have reserved all that power and glory for the THIRD Section, but even so it's a glorious performance of possibly THE most glorious piece in the organ literature.
In Section 3 a strongly rhythmic third subject is introduced is introduced OFTEN ACCOMPANIED BY FRAGMENTARY STATEMENTS of the RUNNING EIGhTH NOTES of the SECOND SUBJECT. The first subject is never lost but becomes subordinate until its grand restatement in the pedals as the piece soars to its majestic, hair-raising, goose-bump producing climax. I would have much preferred Miss Bish to have reserved all that power and glory for the THIRD Section, but even so it's a glorious performance of possibly THE most glorious piece in the organ literature.
Hyramess Hiramess climax. I would have much preferred Miss Bish to have reserved all that power and glory for the THIRD Section, but even so it's a glorious performance of possibly THE most glorious piece in the organ literature.
Show less
PS: Mozart does NOT "pale in comparison to Bach" anymore than Brahms "pales" in comparison to Beethoven. It's always foolish to compare apples to oranges to peaches to plums to pears to nectarines, etc. Each has something unique and marvelous to offer. Quibbling about such things misses the point of living. Comparisons are said to be odious for good reason.
Sorry for my bad English. "Yamex5" quotation: "At some point all the different subjects must overlap". But it's never happend in this Fugue. Yes, Hyramess Hiramess, fragments can be seen many times in the final part, but only as counterpoint. Fragments is of course not good enough, I want the complete subject! The melody line of the second subject are too different to be found in the final part.
geir øyvind eskeland I am not a trained musician, just an amateur , but I seem to hear all three subjects being played in the third section or is it my imagination?
03:30 - 03:55 "O god our strength in ages past"?
this passage is so hard to execute because of the tightness between the voices. It's easy to turn into mush, but Ms Bish makes every line heard.
OMG the reverb after the end takes forever to decay.
I haven't heard her play before but I'd say she's pretty good...
Een van de Grote der Aarde. Zij is er dus een van.
translated this from Dutch to English, thanks for this upload.
YES. !!!
Gosh, I love how she reads this Bach piece. She was able to translate the crisp and effervescent scintillating melody of this fugue into a grand ode to the power of Almighty. Its like as if I am "ascending into the high heavens".
Bach would be pleased.
Very good ! Why in USA does she play so fast ? Here she plays with normal tempo, thank you Miss Daine Bish !
Different organs require different tempos based on reverb. Here there is probably a lot of reverb in the church so she needs to play slower so the notes don’t get muddy. Also you have to remember she is recording for television which is only a half hour to an hour so she needs to play much faster to fit more pieces into her show
geir øyvind eskeland This is called a triple fugue because there are three individual fugues within the work. The three fugues are: 1. a five part fugue, 2. a four-part double fugue on a single manual and 3. a five-part double fugue for full organ. Hope that helps.
I do not have the score in front of me, and I cannot hear clearly if all 3 subjects are present together, but Geir's interpretation of what constitutes a triple fugue is correct. At some point all the different subjects must overlap.
Question for the Diane Bish fans. Is the prelude that goes with this fugue available on RUclips with Ms. Bish playing?
Well played, Diane! I think the video and audio are not very clear, unfortunately. I agree that Bach was the greatest organ composer. His compositions suit the instrument perfectly.
+cynic150 this is one of Bach's fugues with a lot of melodic complexity. It sounds best with little reverb.
Best recording I have ever heard of this was by E. Power Biggs on the four antiphonal organs in Freiburg. It is available for viewing on youtube. You should check it out.
It's extremely unlikely that his piece was based on the opening phrase of the English hymn-tune "St Anne" (1708). It IS similar, however, to the beginning measures of the Lutheran chorale melody, "O Herzensangst, O Bangigkeit" that Bach would have certainly been familiar with.
And it's technically not a "triple fugue" but a TRIPARTITE fugue - and yes, there's a difference.
A tripartite fugue that includes two double fugues (in the sense that the first subject appears with both subsequent ones) and the second one is "similar" to the counter subject in the third.
So it is not such a crime calling it a triple fugue, even though I know it isn't
@@geiryvindeskeland7208 you should apologize for your inadequate understanding, your English is just fine..
I don't understand your point at all
Rayan Charafeddine, I removed my comment, I understood that the comment wasn't easy to understand, so let me try again: To compose a triple fugue is a technical challenge. The fugue BWV 552 gives us three proper fugal expositions. But the three subjects never combines in the final section, therefore it isn't a triple fugue. The technical challenge is to compose three subjects that changes positions in every development. Because that parallell fifths is forbidden, its a challenge to avoid the problem. And other problems too make it difficult to compose a real fugue with many subjects combined together. In this fugue, the second subject never combines together with the two other subjects.
Bob H, quote: "Do some research for yourself". It is not easy for everyone to get the information. I would like that you, with your proper English, give people some useful information, thanks.
@@geiryvindeskeland7208 You wrote: "But the three subjects never combines in the final section, therefore it isn't a triple fugue. "
Sorry but your statment is not entirely correct.
All three subjects DO combine in the final section, the second subject is not as apparent, as it is somewhat modified (partially inverted) to fit harmonically and fit as a countersubject to the other two, while the first and the third are used without any alterations.
So I guess we can easily regard this as a triple fugue, with all the artistic freedom the great composer could allow himself.
Well according to the program coding, it was released in 1990.
BWV?
552
I could do without her commentary. The music more than speaks for itself.
Dear Thomas Mole. Sorry, but it didn't help. "Three individual fugues" is not the same as a triple fugue. You'll never find fugue 2 together with fugue 1 and 3.
Alas! the world is filled with endless woe
By egoists who only THINK they know.
I know that people get irritating of my inadequate English. On the other hand, Trevor Armbuster, I get irritating of people without knowlegde. I don't think I know, I have the knowlegde! This fugue is a triple fugue to everyone who don't understand too much.
OK, J. K. maybe you are right, but how to inform the listeners without create a bad attitude?
If that isn't a triple fugue, then nothing is!
Alain, the second fugue subject never combines together with the fugue subject I and III.
No one ever played this as well as E Power Biggs on the almost supernatural Flentrop organ at Harvard.
Obviously you have never heard André Marshal's frankly definitive recording of the work produced in the 1959's. How i wish it were available in RUclips! Marshal was to the St. Anne what Landowska was to the Chromatic Fantasy and Fugue!
Why so fast ?
Orgelfan 16' I am sorry for my inadequate English. "Why so fast?" Hm...In my opinion the pace is ok exept for the second subject 6/4. Everyone play 6/4 too fast. How do I know? Well, listening to what happend to the first subject in the double fugue - the first subject lose its majesty and sounds more like circus music.
Why does she keep pushing them bits of stick with her feet.
Those are pedal keys. So not only is she playing the keyboard with her hands but she's also playing the keys with her feet. Fascinating isn't it?
@@TJMalana Also because it is a mechanical organ and therefore requires more strength. She has no electrical assist as with the modern electro-pnuematic organs of today. You're right, she does a great job.
What even is this registration lollll