Oh,gloria del genio umano che ha inventato queste armonie di suoni che si diffondono nell'aria e pennetrano nell'anima.Oh,meraviglia di chi ha creato le note e di chi le interpreta e le esgue con accorata bravura.Grazie del mirabile dono.
Just WHY do nearly half the comments about Bach pieces on on RUclips revolve around the particular tempi the performers or directors decide upon? To me, Bach sounds great at nearly ALL speeds.... his music is so hearty and Robust that it comes up smelling like roses no matter WHAT instrumentation, tempi or even overall interpretation one uses.. heck, even most of Glen Gould's iconic "interpretations" of Bach's keyboard music sound good!!! Just relax, people, and enjoy: Bach transcends all.
I agree that it is too fast, but it is wonderfully played. Bach is great at any tempo. The iconoclast pianist Glenn Gould often played Bach (and other great composers) unexpectedly slow or frighteningly fast.
I love the speed of the 2nd movement ... in Bach's manuscript it's simply referred to as "air" or song. Bach seldom ever gave tempo indications. The reason most of us know this as a slow dirge is that the likes of Karajan and other 20th century conductors had no clue about how Bach might've actually been performed or thought about.
@@andyarmstrong4750 I actually agree with David Trainer.....Karajan's and other 20th C conductors often filtered earlier music through the lens of Richard Strauss.....and the results were dishonest....however the Air sounds a bit perfunctory at this speed....and does not contrast with the faster dances.
David Trainer, quote: «Bach seldom ever gave tempo indications». Well, this is both right and wrong. If we don’t find any tempo indication, the composers meant «tempo ordinario». Air has time signature C. They counted four beat per measure, but what kind of beat?Heart beats! A human function normally with 60-80 heart beats per minute, some sources say 50-80. We count around 58 heart beats per minute in this version of Air. That means the tempo maybe is historical correct.
As much as I try, I can never get myself to appreciate the air played at this fast (proper?) tempo. It will always sound as if the conductor's just rushing through it to get to the next piece...
Yes, the pace is very fast, but is it wrong? Bach didn't say a single word about tempo, so what do we know? The time signature is C. Old sources tells us that C is neither fast or slow, but something in the middle. We don't like this, because we are use to enjoy the piece very slow. Maybe the conductor still is closer to the original tempo?
lol.. thanks. I love Bach, and i also love unique, interesting or just non-standard interpretations and renditions of his music - which is indeed robust enough to take whatever anyone can do with it!! Bach rulez.
l'aria si beau, est totalement dénature par un tempo si rapide; c'est comme si le chef se refusait de se laisser inspirer par la mélodie sublime de cet aria, qui s'invite souvent dans des cérémonies funéraires a lequel il se prête si bien... c'est une réelle performance que d'enlever a la musique de bach ce qui fait que Bach est Bach!!!
Um... i said no such thing, no matter how you look at it. I said in fact, that with Bach, things such as tempo and instrumentation are nearly irrelevant: the music of the Master of so many things musical, is simply so amazing and versatile that it can be interpreted in many ways and still come up smelling like roses!! When played by good musicians who have even a basic music sensibility and a few ounces of musicality, Bach ALWAYS sounds great, no matter how it is approached.
Don't understand the comments about tempo. They aren't playing it that fast. In the overture I think the problem is more that they are playing it in a way that sounds rushed. The actual pulse isn't that fast and is. Pretty usual speed for this. But the orchestra doesn't sound comfortable with the speed so it sounds like its falling part and ounds rushed. It is perfectly possible to play at this speed and still sound stable and danc like.
To my mind, the music of Bach is very "robust": it can sound great within a much wider range of tempi, ornamentation, variation and instrumentation than almost any other composer. Its harmonic structure is intricate and its artistry is amazing....its able to withstand a lot of different treatments and still come out smelling like roses most of the time!! Whether a particular treatment is in the "sweet" zone for a given Bach piece, is usually simply a matter of personal preference.
With his internal 8 cylinder engine he will be on the other side of the channel right at the beginning of the 6th Brandenburg concerto after conducted all the previous 5 on the way.
Awesome, shocking, exiciting, etc, is something that you can to relate to sport, to yield in a concert house, or to shoot, but nothing to do with music.
Y quien afirma que debe ser mas lento....Reinhard Gobel, mi interprete favorito de la musica barroca, basta con escuchar a la Antiqua Musika Koln....es un genio....!!!
His "style" of conducting is not a sepparate question to music. Actually, is the same question. Your afirmation is like to say "I can play violin like I want, will not change the sound". "Conducting" like that is, anyway you want to believe, wrong. Of course, I only wrote about "the historical accuracy of stuff like "conducting" for to make the point of there's not a single wiew about "historical interpretation"
Well, I don't know where you got that. Hindi is the third most common language in the world. But may I say that your English is a lot better than my Spanish, mainly because I have had no real occasion to learn it. I still have trouble with French, what with those goddam verbs and genders. I notice your English verbs are still a bit incorrect, but you are quite understandable nonetheless. Keep up the good work!
There are a few oddities here. Why only 3 violas? They could've solved that balance problem by having one of the second violinists switch to viola; 6-5-4-4-2 makes more sense than 6-6-3-4-2. Why are those two flute players sitting on stage through this whole piece when there's no part for them? And since when is the Budapest Festival Orchestra a period instrument ensemble? If they're mainly modern players who just picked up Baroque instruments for this concert that would account for the sloppy and crude playing by what are obviously fine professional musicians. The fast tempo for the Air might have worked if there was more shaping of the phrase and better interplay among the voices, but as it is it feels rushed and perfunctory. And there were some scrappy entrances that felt easily preventable had the conductor just took some deep breaths.
Hans de Korver, how do you know? Bach didn't say anything about slow tempo. The time signature is C. Old sources tells us that C is neither fast or slow but something in the middle. Maybe this tempo is closer to the original? But I don't like this performance.
I haven't read all these comments, but all I can say is "tell these people to get Italian bows and play this music with some nuts." See the Saint Martin in the Fields recording.
Is this a full Orchestra? Is there a soloist on an orchestral suite? Why did the conductor only shakes hand with one of the violinist? I am a layman and I would like to know what an Orchestral Suite has in common to a Concerto. Thanks.
This is a full orchestra in the sense of a baroque period orchestra (actually already enlarged compare to what bach had in his days) around the 1600s to 1750. There is no soloist in this orchestral suite. the conductor shook hands with the first chair of the first violin section because he is the "concert master", a position of leadership in the orchestra. However, back in bach's day there rarely was a conductor, bach performed this piece usually with himself on the harpsichord and conducting at the same time. you can check out the performance by ton koopman and the amsterdam bach soloists.
@@albertclemente8739 Reinhard Goebel is my old neighbor! He knows his music, is writing a book about Bach at the moment. I assume he has his reasons. Often times, when we hear musicians playing in the street, they aren't playing a piece true to its composer's wishes. I'm assuming Goebel knows his apocyphal literature and is aware at what approximate time signature the piece was written in.
At last, do you have any document that says wich are the right tempo? So, how can you know that's right? You don't know. So is possible (only possible) that I'm right. Then, why are you so angry with my critic?
En realidad es Musica Antiqua Köln, la mejor orquesta q interpreta al periodo barroco....Quizas esta orquesta de Budapest no sea tan brillante y precisa como la MAK, pero se nota la mano de Goebel....lo mismo me encantó...buena interpretacion..
I enjoyed listening to this for my homework, but I found the "Air" movement much to fast. I thought it was supposed to be played at a much slower tempo...
If you play the score, you can hear the relation between interval, rhythms, harmonies, etc. and then discover what music, ear and conscience needs in tempo, phrasing, etc. Anyway, you can't trust any recording, because the recording ever looses something. And by treatie I mean ", like "sur l'art de jouer la flute" or "Versuch einer gründlichen Violinschule".
As others said, the "Aria" is way too fast... it would be a menuet if it were a 3/4... :D More like a sarabande... IMHO, an aria is not a dance, so it should not be played as if it were... That said, performers are very good indeed. I enjoyed the rest of it, and in a sense, even the aria, after the initial shock. :)
Sorry for my bad English. Manuel Lopez "As other said, the "Aria" is way too fast".... Who are the other people? Maybe they not even read notes? If not, how do they know the pace is way too fast? Ok, they read notes, they play the piece on the piano at home. The tempo marks say Grave, or Largo, or Adagio or maybe Lento, often added "ma non tanto" bla bla bla. Bach, the composer don't tell us anything about tempo, not a single word. We know the time signature - C. Not fast or slow, but someting in the middle. Do "other" people know "Air" from Bach's Partita e minor? The time signature is cutting C, not any slow time signature. Reinhard Gobel try to restore the well known piece, he try to bring the piece back to life. "Air" has often been played in funerals. Be sure everybody, funeral was not in the composers mind when he composed this piece. How can I know? I don't, but I bet that all the bodies left theyr coffins at the moment the trumpets and timpany started to play!
geir øyvind eskeland Great response. I enjoyed it. If any work by any composer is only supposed to be played or interpreted in one certain way, I think it would be a very boring musical world.
At last, you may to believe that's not important in Bach scores not listen everything. Of course you can't (I can't imagine how) to listen a "cross", but of course you can (without a great training) to listen a canon, or whatever is in Bach's scores. And of course sounds awesome. But awesome is not the goal of music, but something more, beyond awesome. Music is not for to do something "awesome, shocking, exciting, etc". You can also take look in Bach's writtings.
So, at last, when someone like Göbels does something like that, is not because there's a proof of that tempo. They only says "I readed more documents than you, you must to shut up". Lol. But if you play a Bach piece, for example, you may to discover a lot, only by listening, and trying the best for to understand the piece till the end. Because in music there's something you can to discover, something that's valid for everyone. If there's not, you can't to enjoy without information.
Hm..... timing is definitely not "everything", but a) yes its important i must agree, but b) "timing" would refer to when the notes are played in relation to each other... relating to rhythm and rubado, not to tempo, which is just average metronome speed. To a large degree, i really think that Bach's music more or less sounds good - or can be MADE to sound good - at pretty well any speed you wish to take your interpretation to. It also sounds good no matter what instrumentation you choose.
Cause Bach didn't say a single word about tempo. The time signature is C, neither fast or slow, but something in the middle. I can understand you, it sounds unusual, but maybe Gobel are closer to the "correct" tempo than many others?
oh, are'nt composers intentions what sounds best? Where says how must to sound the music? I didn't found a single document where it tells. That's why Harnoncourt, Brüchen, Göbels, Gardiner and so on don't find a single way to play this music in papers. So what reminds but to hear?
Anyway, I agree that there's something you gain and something you loose in Goebel interpretation. Hopefully we can find something that cover booth interpretation, listening all the notes and the whole "one-phrase" that's a piece. I'm sure of it, and I hope we'll find a lot of times. Sorrowfull not in recordings.
This is very fast to my taste as I prefer Furtwagler's or Knappertsbusch's recording. However, overall well executed without too much rushing. Still it sounds like brasses have hard time catching up in multiple points.
Poor Budapest, to have Gobel drive them so, and cause them to fall apart. jeez. A living example of how tempi are altogether relevant, aiming for sweet range, yes.
Why for example this tempo in the air (10:20). Is the slow movement! Where's the contrast? You miss almost all the details. Of course you get an easier overwiew, but sacrificing the music. You know why? Because he plays andante. Lol. But what's andante? The quarter note or the quaver?
Oh, I know that this is is the nowadays accepted "historical" practice. My comment is not only for this guy (except the movement as "conductor", that is too much). Anyway, there's no document that can to defend this or another tempo, so the accepted practice is not something you can trust till the end. In fact, I'm sure that you MUST to discover by hearing, more than by wrote information on "treaties" (sorry by mistake)
You know? There's a problem about what "subjective" means. I'm convinced about tempo is not arbitrary. I believe that some tempi are better, in the limits of a range. This interpretation tempi are not in this limits. At last the subject is simple: If everything is subjective I can to say whatever I want, and will be right. If is objective, we need arguments. Do you tell me your arguments? Simply you don't have, and that's why you attack me.
Sure. I think (most) of musicians (like this one), work a lot, and no one do without reasons- most of time. I know the difference between "historical" and "historically informed". I think that at last are only labels.- music is music, as mankind is mankind. But choices may be wrong. I say choice in tempo, choice in phrasing, but specially choice in "conducting" gesture are bad choosed
And you may to interpret the air as a transition, but is not a transition. A transition is something that has secondary character. You take so much care with words for to fail in here... Ok, like you want. But there's no such a transition in this case. O you may say the central dances in between the first (ussually allemande) and last (u. jig) are transitions. But then my request is: "what a transition is?". Must a transition to be quick? There are not slow ones? You are missing this.
![J. S. Bach - Orchestral Suite No. 2 BWV 1067 {oh!} Orkiestra / Barthel [full length]](http://i.ytimg.com/vi/5_lHARqkibM/mqdefault.jpg)
Oh,gloria del genio umano che ha inventato queste armonie di suoni che si diffondono nell'aria e pennetrano nell'anima.Oh,meraviglia di chi ha creato le note e di chi le interpreta e le esgue con accorata bravura.Grazie del mirabile dono.
Grazie, io sono tra i fortunati che le interpretano. Bach tutti i giorni !
Just WHY do nearly half the comments about Bach pieces on on RUclips revolve around the particular tempi the performers or directors decide upon? To me, Bach sounds great at nearly ALL speeds.... his music is so hearty and Robust that it comes up smelling like roses no matter WHAT instrumentation, tempi or even overall interpretation one uses.. heck, even most of Glen Gould's iconic "interpretations" of Bach's keyboard music sound good!!! Just relax, people, and enjoy: Bach transcends all.
Because people with no musical talent are always critics.
@@foveauxbear😂
I love the way he conducts, so lively and enthusiastic! He is moltovivace!
00:00 - I. Ouverture
10:34 - II. Air
13:24 - III. Gavotte I/II
17:40 - IV. Bourrée
19:27 - V. Gigue
Thanks a lot
The oboe and oboist used in this is amazing. Such talent.
Zo sfeervol en van een hemelse muzikaliteit. Buitengewoon gevoelig. Fijne vertolking. Dankjewel, Lutje
Esta musica la habia escuchado antes pero jamas habia visto como la tocaban esto ha sido hermoso realmente, gracias por compartir este video conmigo.
The ouverture is out of this world....ohh Bach Bach....my bach
Exactly. This interpretation only proves that Bach's music sounds good at any tempo. It's total music, so why shouldn't it.
Ouvrture just out of this world....my Bach ohh my Bach
I agree that it is too fast, but it is wonderfully played. Bach is great at any tempo. The iconoclast pianist Glenn Gould often played Bach (and other great composers) unexpectedly slow or frighteningly fast.
It must have sounded amazing live because coming across my speakers sounds fantastic!
Bach tocca l'anima e ti dà un senso di pace unico
What paltry applause for an incredible job at the end....also, I love the spirited female first violinist.....
Goebel is a baroque music genius. His works with M.A.K are excellent. I didn't know he was still an active conductor.
Those who know MUSICA ANTIQUA KOLN...
Bach + Goebel =
Could listen to this for hours.....superlative Bach
I love the speed of the 2nd movement ... in Bach's manuscript it's simply referred to as "air" or song. Bach seldom ever gave tempo indications. The reason most of us know this as a slow dirge is that the likes of Karajan and other 20th century conductors had no clue about how Bach might've actually been performed or thought about.
A little presumptuous there I'd say David. I've heard all the perfomances you conducted of all the great works BTW.
@@andyarmstrong4750 I actually agree with David Trainer.....Karajan's and other 20th C conductors often filtered earlier music through the lens of Richard Strauss.....and the results were dishonest....however the Air sounds a bit perfunctory at this speed....and does not contrast with the faster dances.
David Trainer, quote: «Bach seldom ever gave tempo indications». Well, this is both right and wrong. If we don’t find any tempo indication, the composers meant «tempo ordinario». Air has time signature C. They counted four beat per measure, but what kind of beat?Heart beats! A human function normally with 60-80 heart beats per minute, some sources say 50-80. We count around 58 heart beats per minute in this version of Air. That means the tempo maybe is historical correct.
It's just a good interpretation of a remarkable musician like J.S. Bach 😊.
FANTASTIC, perfect in every way.
As much as I try, I can never get myself to appreciate the air played at this fast (proper?) tempo. It will always sound as if the conductor's just rushing through it to get to the next piece...
Same
Yes, the pace is very fast, but is it wrong? Bach didn't say a single word about tempo, so what do we know? The time signature is C. Old sources tells us that C is neither fast or slow, but something in the middle. We don't like this, because we are use to enjoy the piece very slow. Maybe the conductor still is closer to the original tempo?
And rush through it he should, its awfully boring. Move on to the superior movement that follows as soon as possible!
A alma agradece uma tão bela música.
I like this performance very much 🤗
That Aria, whoa! Although I can appreciate a faster tempo I do believe it 'twas a tad bit fast. Great performance nonetheless! Brava
Sublime..
lol.. thanks. I love Bach, and i also love unique, interesting or just non-standard interpretations and renditions of his music - which is indeed robust enough to take whatever anyone can do with it!! Bach rulez.
Hemels, dankjewel, Lutje
It sounds incredible at that tempo - puts the orchestral suite into motion, like Vivaldi's Four Seasons
I would love to hear the 1st movement with a good, strong, modern brass section.
Lacking finesse. As though they can't wait to finish and hit the bar.
Simply beautiful!!
Grüße aus dem Musik Unterricht
Simplesmente fabuloso. In the Brazilian hasn't this wonder!
BRAVO!!!
I think that the Air was going a bit over the speed limit.
l'aria si beau, est totalement dénature par un tempo si rapide; c'est comme si le chef se refusait de se laisser inspirer par la mélodie sublime de cet aria, qui s'invite souvent dans des cérémonies funéraires a lequel il se prête si bien...
c'est une réelle performance que d'enlever a la musique de bach ce qui fait que Bach est Bach!!!
Quelle classe !
You write so much sense...
beautiful
Um... i said no such thing, no matter how you look at it. I said in fact, that with Bach, things such as tempo and instrumentation are nearly irrelevant: the music of the Master of so many things musical, is simply so amazing and versatile that it can be interpreted in many ways and still come up smelling like roses!! When played by good musicians who have even a basic music sensibility and a few ounces of musicality, Bach ALWAYS sounds great, no matter how it is approached.
Don't understand the comments about tempo. They aren't playing it that fast. In the overture I think the problem is more that they are playing it in a way that sounds rushed. The actual pulse isn't that fast and is. Pretty usual speed for this. But the orchestra doesn't sound comfortable with the speed so it sounds like its falling part and ounds rushed. It is perfectly possible to play at this speed and still sound stable and danc like.
Were they afraid to miss the train?BWV1068 at this speed is a sacrilege
To my mind, the music of Bach is very "robust": it can sound great within a much wider range of tempi, ornamentation, variation and instrumentation than almost any other composer. Its harmonic structure is intricate and its artistry is amazing....its able to withstand a lot of different treatments and still come out smelling like roses most of the time!! Whether a particular treatment is in the "sweet" zone for a given Bach piece, is usually simply a matter of personal preference.
With his internal 8 cylinder engine he will be on the other side of the channel right at the beginning of the 6th Brandenburg concerto after conducted all the previous 5 on the way.
Awesome, shocking, exiciting, etc, is something that you can to relate to sport, to yield in a concert house, or to shoot, but nothing to do with music.
Crazy fast tempi! Not to my liking but well played for the most part. The audience reaction says volumes about the conductor’s interpretation !
Y quien afirma que debe ser mas lento....Reinhard Gobel, mi interprete favorito de la musica barroca, basta con escuchar a la Antiqua Musika Koln....es un genio....!!!
Thanks for your words.- even I still think spanish is most common than hindi :)
excellent
I tend to believe the Air is closer to the the tempo Bach intended.
10:30 Air
thx
thx
His "style" of conducting is not a sepparate question to music. Actually, is the same question. Your afirmation is like to say "I can play violin like I want, will not change the sound". "Conducting" like that is, anyway you want to believe, wrong. Of course, I only wrote about "the historical accuracy of stuff like "conducting" for to make the point of there's not a single wiew about "historical interpretation"
Bravo
Rik77, that's what I meant. The tempo can't be splitted from sound. So, if sounds rushed, then the tempo should be slower.
bravooo
All these negative comments about tempo are tiresome.
Well, I don't know where you got that. Hindi is the third most common language in the world. But may I say that your English is a lot better than my Spanish, mainly because I have had no real occasion to learn it. I still have trouble with French, what with those goddam verbs and genders. I notice your English verbs are still a bit incorrect, but you are quite understandable nonetheless. Keep up the good work!
Un peu trop rapide
on a l'impression qu'ils sont tous pressés d'aller "bouffer"
Of course, that's what I mean! : ) And there's no paper for Bach (or maybe one or two works, but I don't know anything about stuff like that).
There are a few oddities here. Why only 3 violas? They could've solved that balance problem by having one of the second violinists switch to viola; 6-5-4-4-2 makes more sense than 6-6-3-4-2. Why are those two flute players sitting on stage through this whole piece when there's no part for them? And since when is the Budapest Festival Orchestra a period instrument ensemble? If they're mainly modern players who just picked up Baroque instruments for this concert that would account for the sloppy and crude playing by what are obviously fine professional musicians. The fast tempo for the Air might have worked if there was more shaping of the phrase and better interplay among the voices, but as it is it feels rushed and perfunctory. And there were some scrappy entrances that felt easily preventable had the conductor just took some deep breaths.
Ah, I see "Air" has now been renamed "Gale Force Wind". Pity.
Double speed indeed !
Hans de Korver, how do you know? Bach didn't say anything about slow tempo. The time signature is C. Old sources tells us that C is neither fast or slow but something in the middle. Maybe this tempo is closer to the original? But I don't like this performance.
Göbel doing what he does best; grit your teeth zest❤️
I haven't read all these comments, but all I can say is "tell these people to get Italian bows and play this music with some nuts." See the Saint Martin in the Fields recording.
Is this a full Orchestra? Is there a soloist on an orchestral suite? Why did the conductor only shakes hand with one of the violinist? I am a layman and I would like to know what an Orchestral Suite has in common to a Concerto. Thanks.
This is a full orchestra in the sense of a baroque period orchestra (actually already enlarged compare to what bach had in his days) around the 1600s to 1750. There is no soloist in this orchestral suite. the conductor shook hands with the first chair of the first violin section because he is the "concert master", a position of leadership in the orchestra. However, back in bach's day there rarely was a conductor, bach performed this piece usually with himself on the harpsichord and conducting at the same time. you can check out the performance by ton koopman and the amsterdam bach soloists.
why does he play "Air" so fast? :'(
Why not? :) It's interesting.
@@arsantiquawarsaw and nonsense too :)
@@albertclemente8739 Reinhard Goebel is my old neighbor! He knows his music, is writing a book about Bach at the moment. I assume he has his reasons. Often times, when we hear musicians playing in the street, they aren't playing a piece true to its composer's wishes. I'm assuming Goebel knows his apocyphal literature and is aware at what
approximate time signature the piece was written in.
At last, do you have any document that says wich are the right tempo? So, how can you know that's right? You don't know. So is possible (only possible) that I'm right. Then, why are you so angry with my critic?
En realidad es Musica Antiqua Köln, la mejor orquesta q interpreta al periodo barroco....Quizas esta orquesta de Budapest no sea tan brillante y precisa como la MAK, pero se nota la mano de Goebel....lo mismo me encantó...buena interpretacion..
Is the introduction Grave?
No. There is no tempomarks at the beginning. Edition: Dover
I enjoyed listening to this for my homework, but I found the "Air" movement much to fast. I thought it was supposed to be played at a much slower tempo...
Yes, I agree, but for the movements, they are just fit to my favorite.
If you play the score, you can hear the relation between interval, rhythms, harmonies, etc. and then discover what music, ear and conscience needs in tempo, phrasing, etc. Anyway, you can't trust any recording, because the recording ever looses something. And by treatie I mean ", like "sur l'art de jouer la flute" or "Versuch einer gründlichen Violinschule".
You are right for palace music, not for most of church music.
As others said, the "Aria" is way too fast... it would be a menuet if it were a 3/4... :D More like a sarabande... IMHO, an aria is not a dance, so it should not be played as if it were... That said, performers are very good indeed. I enjoyed the rest of it, and in a sense, even the aria, after the initial shock. :)
Sorry for my bad English.
Manuel Lopez
"As other said, the "Aria" is way too fast".... Who are the other people? Maybe they not even read notes? If not, how do they know the pace is way too fast? Ok, they read notes, they play the piece on the piano at home. The tempo marks say Grave, or Largo, or Adagio or maybe Lento, often added "ma non tanto" bla bla bla. Bach, the composer don't tell us anything about tempo, not a single word. We know the time signature - C. Not fast or slow, but someting in the middle. Do "other" people know "Air" from Bach's Partita e minor? The time signature is cutting C, not any slow time signature.
Reinhard Gobel try to restore the well known piece, he try to bring the piece back to life. "Air" has often been played in funerals. Be sure everybody, funeral was not in the composers mind when he composed this piece. How can I know? I don't, but I bet that all the bodies left theyr coffins at the moment the trumpets and timpany started to play!
geir øyvind eskeland Great response. I enjoyed it. If any work by any composer is only supposed to be played or interpreted in one certain way, I think it would be a very boring musical world.
Manuel López sono d'accordo con te...non si può ascoltare!
Emotional gravelly train!!
the whole thing seems just a bit too fast
At last, you may to believe that's not important in Bach scores not listen everything. Of course you can't (I can't imagine how) to listen a "cross", but of course you can (without a great training) to listen a canon, or whatever is in Bach's scores. And of course sounds awesome. But awesome is not the goal of music, but something more, beyond awesome. Music is not for to do something "awesome, shocking, exciting, etc". You can also take look in Bach's writtings.
So, at last, when someone like Göbels does something like that, is not because there's a proof of that tempo. They only says "I readed more documents than you, you must to shut up". Lol.
But if you play a Bach piece, for example, you may to discover a lot, only by listening, and trying the best for to understand the piece till the end. Because in music there's something you can to discover, something that's valid for everyone. If there's not, you can't to enjoy without information.
La encuentro bien ejecutada en conjunto , pero un poco rápida o poco pausada..
10:38 Amazing!!! :')
Hm..... timing is definitely not "everything", but a) yes its important i must agree, but b) "timing" would refer to when the notes are played in relation to each other... relating to rhythm and rubado, not to tempo, which is just average metronome speed. To a large degree, i really think that Bach's music more or less sounds good - or can be MADE to sound good - at pretty well any speed you wish to take your interpretation to. It also sounds good no matter what instrumentation you choose.
Why the AIR is so fast??
Cause Bach didn't say a single word about tempo. The time signature is C, neither fast or slow, but something in the middle. I can understand you, it sounds unusual, but maybe Gobel are closer to the "correct" tempo than many others?
It's the way it should be.
This sounds like it's in D-flat, rather than D.
Yeah, baroque music uses an A 415Mhz music pitch,, that´s why,,
Ah, that explains it, thanks.
oh, are'nt composers intentions what sounds best? Where says how must to sound the music? I didn't found a single document where it tells. That's why Harnoncourt, Brüchen, Göbels, Gardiner and so on don't find a single way to play this music in papers. So what reminds but to hear?
Anyway, I agree that there's something you gain and something you loose in Goebel interpretation. Hopefully we can find something that cover booth interpretation, listening all the notes and the whole "one-phrase" that's a piece. I'm sure of it, and I hope we'll find a lot of times. Sorrowfull not in recordings.
Bach Bach Bach
Don't know why are you talking about my english. The main problem here is the tempo, not my english.
le tempo rapide dégrade fortement la beauté de l œuvre surtout pour le passage de l aria ...
this isn't in d?
@shanman150 could not agree more
Ария непривычно быстро играется здесь.
Dieser "Dirigent" ist immer auf der schnellen Seite. Schade um diese schöne Musik !!!
This is very fast to my taste as I prefer Furtwagler's or Knappertsbusch's recording. However, overall well executed without too much rushing. Still it sounds like brasses have hard time catching up in multiple points.
Poor Budapest, to have Gobel drive them so, and cause them to fall apart. jeez. A living example of how tempi are altogether relevant, aiming for sweet range, yes.
Whoa, what's your problem with verbs and infinitives? It's really not that difficult.
No, the tempo of the Air is quite defensible.
Why for example this tempo in the air (10:20). Is the slow movement! Where's the contrast? You miss almost all the details. Of course you get an easier overwiew, but sacrificing the music. You know why? Because he plays andante. Lol. But what's andante? The quarter note or the quaver?
Oh, I know that this is is the nowadays accepted "historical" practice. My comment is not only for this guy (except the movement as "conductor", that is too much). Anyway, there's no document that can to defend this or another tempo, so the accepted practice is not something you can trust till the end. In fact, I'm sure that you MUST to discover by hearing, more than by wrote information on "treaties" (sorry by mistake)
You know? There's a problem about what "subjective" means. I'm convinced about tempo is not arbitrary. I believe that some tempi are better, in the limits of a range. This interpretation tempi are not in this limits.
At last the subject is simple:
If everything is subjective I can to say whatever I want, and will be right. If is objective, we need arguments. Do you tell me your arguments? Simply you don't have, and that's why you attack me.
Buena orquesta...
Pero el que filma está enamorado de una violinista...!!!!,,
Sure. I think (most) of musicians (like this one), work a lot, and no one do without reasons- most of time. I know the difference between "historical" and "historically informed". I think that at last are only labels.- music is music, as mankind is mankind. But choices may be wrong. I say choice in tempo, choice in phrasing, but specially choice in "conducting" gesture are bad choosed
To like or not to like is not something enough valid for to decide about music. Your taste may be roght or wrong
And you may to interpret the air as a transition, but is not a transition. A transition is something that has secondary character. You take so much care with words for to fail in here... Ok, like you want. But there's no such a transition in this case. O you may say the central dances in between the first (ussually allemande) and last (u. jig) are transitions. But then my request is: "what a transition is?". Must a transition to be quick? There are not slow ones? You are missing this.