This quite the most interesting and exciting performances of this work I have ever heard. The registration is brilliant, adding more layers of interpretation to an already thrilling work. What I would have given to be there in person... Thank you.
This is one of Bach's best, in my opinion. The toccata is, though not my favorite, still great. The first minute where the organ just plays these really high registers is amazing. It's a sound you very little often hear coming from the Organ nowadays. Probably because the organ has kind of been dumbed down to just being 565. Obviously, 565 is good, but having that be the go to thing we associate with organs isn't great. One of the best things about organ is just how much you can do with it. Some organs have much more potential to create a unique sound than others, but in general, my point stands. Someone else pointed out how good the toccata sounds at 3:00. They're right. It's extraordinary how seamlessly Bach transitioned from this bright glorious sound to such an angry and dark one. And then, he goes right back to major, then right back to minor. These are unnoticeable which is an amazing feat. It all flows so naturally. And then, once the dominant chord hits, it's all so great. This performance of the Adagio is one of my favorites. The sound of the organ here is just so amazing. It takes a very melancholy passage and plays it with this very strange, indescribable sound. It feels almost like something you'd hear in this very old town. It doesn't feel desolate, or too optimistic, but calm. It is beautiful and painful. Then, at 8:40, it goes to an even higher register. It maintains the sound very well and keeps the feeling. It is very strange to have this right after the Toccata, a very emotional piece. It feels almost as if the toccata foretold disaster, and this is the result of that. Then, there is the fugue. I don't have as much to say about the fugue. The harmonic progressions are all very nice, though the sound gets a bit dry after a while. Oh, but those high notes at 12:40 are so great. How they adapt to the lower register is beautiful. It all blends so well. I love it. It never really screams at you and it understands what it is pretty well. If the toccata was the disaster, and the adagio was after the disaster, then this is the fixing of the disaster. It is a simple story, but it is articulated amazingly. This is a great performance and it is a shame they don't have it on spotify.
Meiner Ansicht nach hätte Bach sein Werk auf dieser Orgel in der (fast leeren?) Basilika nicht so gespielt. Die Akustik macht dem Bemühen um gute Wiedergabe eindeutig "einen Strich durch die Rechnung". Wäre eine andere Registrierung evtl hilfreicher gewesen bei einem derart halligen Raum? Da hat Richter in Notre Dame dP. deutlich sinnvoller registriert. Aber dies ist natürlich nur meine bescheidene Meinung über die Toccata.... ⚘⚘⚘ oder liegt es an der Aufnahmetechnik? Adagio und Fuge klingen besser. Freilich kann Richter das Werk technisch super meistern.... Vergleiche dazu auch die Interpretation von M.G. Förstemann. Der blinde Organist ist durch seinen Fokus auf Akustik hierin meisterlich; allerdings ist dort von gegenteiliger akustischer Besonderheit auszugehen! Leider auf RUclips nicht vorhanden.
3:07 very nice passage. So pleased. I truly think and feel that i prefer the 564 to the most famous and sister 565. Bach truly mastermind of gravest notes and pedals
Emozionante. Davvero il più grande. Senza uguali
This quite the most interesting and exciting performances of this work I have ever heard. The registration is brilliant, adding more layers of interpretation to an already thrilling work.
What I would have given to be there in person...
Thank you.
As I have guessed, the adagio is the best I found in youtube
It is. He played that so beautifully. It touches my heart so deep every time I listen to this piece
Magnificent and powerful! Thank you Master of the Masters!
Thank you! Please feel free to share this masterpiece of a recording with fellow classical music fans!
Karl Richter un des plus grands organistes du 20ème siècle. Son jeu nous donne la chair de poule. On est pas prêt de l’approcher.
Astonishingly magnificent - simply the best rendition I have heard within 60 years of my interest in classical music.
This is one of Bach's best, in my opinion. The toccata is, though not my favorite, still great. The first minute where the organ just plays these really high registers is amazing. It's a sound you very little often hear coming from the Organ nowadays. Probably because the organ has kind of been dumbed down to just being 565. Obviously, 565 is good, but having that be the go to thing we associate with organs isn't great. One of the best things about organ is just how much you can do with it. Some organs have much more potential to create a unique sound than others, but in general, my point stands. Someone else pointed out how good the toccata sounds at 3:00. They're right. It's extraordinary how seamlessly Bach transitioned from this bright glorious sound to such an angry and dark one. And then, he goes right back to major, then right back to minor. These are unnoticeable which is an amazing feat. It all flows so naturally. And then, once the dominant chord hits, it's all so great. This performance of the Adagio is one of my favorites. The sound of the organ here is just so amazing. It takes a very melancholy passage and plays it with this very strange, indescribable sound. It feels almost like something you'd hear in this very old town. It doesn't feel desolate, or too optimistic, but calm. It is beautiful and painful. Then, at 8:40, it goes to an even higher register. It maintains the sound very well and keeps the feeling. It is very strange to have this right after the Toccata, a very emotional piece. It feels almost as if the toccata foretold disaster, and this is the result of that. Then, there is the fugue. I don't have as much to say about the fugue. The harmonic progressions are all very nice, though the sound gets a bit dry after a while. Oh, but those high notes at 12:40 are so great. How they adapt to the lower register is beautiful. It all blends so well. I love it. It never really screams at you and it understands what it is pretty well. If the toccata was the disaster, and the adagio was after the disaster, then this is the fixing of the disaster. It is a simple story, but it is articulated amazingly. This is a great performance and it is a shame they don't have it on spotify.
Non c'è declamazione, solo virtuosismo e per questo scade di qualità.
Meiner Ansicht nach hätte Bach sein Werk auf dieser Orgel in der (fast leeren?) Basilika nicht so gespielt. Die Akustik macht dem Bemühen um gute Wiedergabe eindeutig "einen Strich durch die Rechnung". Wäre eine andere Registrierung evtl hilfreicher gewesen bei einem derart halligen Raum? Da hat Richter in Notre Dame dP. deutlich sinnvoller registriert. Aber dies ist natürlich nur meine bescheidene Meinung über die Toccata.... ⚘⚘⚘ oder liegt es an der Aufnahmetechnik? Adagio und Fuge klingen besser. Freilich kann Richter das Werk technisch super meistern....
Vergleiche dazu auch die Interpretation von M.G. Förstemann. Der blinde Organist ist durch seinen Fokus auf Akustik hierin meisterlich; allerdings ist dort von gegenteiliger akustischer Besonderheit auszugehen! Leider auf RUclips nicht vorhanden.
5:37 Adagio 10:16 Fugue
3:07 very nice passage. So pleased.
I truly think and feel that i prefer the 564 to the most famous and sister 565. Bach truly mastermind of gravest notes and pedals
Sublime.
Sublime!
Delightful
the bass at 2:18 is so dumbass and it repat itself during 5times every 4th. At 3:25 same thing.
wonderful grave notes. Bach was master in bass lines
Which of the three organs at Ottobeuren was this played on? It sounds like the the Marienorgel by Steinmeyer.