It's very odd and not very Bach like. Despite it's seeming complexity, it's actually very simple harmonically, especially starting around 5:41 where it's just a bunch of slow trills on the third. I would be tempted to say it was written by one of Bach's young sons. But he was only in early 20's. Maybe Bach just had a few too many beers. lol
I had not realized until now how incredible this work is. He combines the first subject (00:22) and the second subject (02:04) to create an extraordinary Double Fugue starting at 03:43
Here is another example of an amazing but incomplete Bach double permutation fugue, completed by one of the best Bach scholars in modem times, Zoltán Göncz. ruclips.net/video/KdiHaWHJNc8/видео.htmlsi=0f-oyAg89uYC1AWS
This fugue is an excellent example of Bach's "equal rights for bass" thinking. I don't think any other composer in Western music treated bass lines more as equals to the normal melodic leads. It's also very obvious in the Brandenburgs.
It is because Bach was a Bass singer, so, he learned what Bass could do in a choral, and he like bethoven, fall in love to Bass instruments, bethoven also created special treatments to Bass lines with instruments like tuba and bassoon, Bach also created great Works for Baritonos like his Árias in Matthäus Passion.
@@gil15100 That’s something I can feel along with being a cellist. For crying out loud the instrument was built with a gigantic upper range and people expected me when I was younger to play the lower stuff over one octave of range? Forget it!
@@topsecret1837 Yeah i know that, i personally love basson, and it really hurts my ears with modern music, when they put the drums over the eletrical bass, and how it is used just as smoother to the guitar. It is the same in some classical pieces with the violin being used over everything, even with concertos made for totally different instruments, while viola and continuo being forgotten.
With some pieces I really ask how I could ignore them for so long. I knew 574 for a long time, but never bothered to recognize how amazing it really is.
There is something strangely hypnotic about the modulations and structure of this fugue. More so than even most other other extended Bach fugues. I find myself being drawn back to listen over and over.
I remember when one of my school friends bought from another one the Murray Hill 18-record set of Bach's organ works with Walter Kraft, that performed it on the organ of the Kristkirke at Tønder, Denmark. My first impression in detail was this one: for the first subject session, white and red candles are lit alternately, usually long/tall candles; the tiny and thin candles come in the second subject session; when both subjects are simultaneously all candles shine more intense. Lastly, the coda is a complete fire practically without control, and after many trials to extinguish it, it ends with everything burned out in the last bar/measure. A really igneous composition! Wow!
Maybe from Passacaglia and fugue in c minor. From keyboard toccata on c minor. All in c minor, lol. Or, they are so vastly different, that there isn't a single best fugue, tbh.
Bach estaba al tanto de la música en otras partes del mundo sin necesidad de haber salido de Alemania. Que hasta conocia de Legrenzi el maestro de Vivaldi!
It's somewhat funny, and sad, to think that for many composers, their greatest musical achievement was to have Bach use one of their themes or works. Still I suppose, one could do worse than to have the real world's Orpheus find interest in their music.
Giovanni Legrenzi (1626-1690) an important baroque composer active in Venice in the second half if the 17th century who had a very significant influence on late Italian baroque music. He's worth investigating, knowing his music helps us understand how music developed between giants like Monteverdi and Bach.
I just don't think that ending is Bach. Either that, or it might be some kind of joke. It doesn't make any sense to tack a loose cadenza like that to the end of a highly structured fugue.
@@bronktug2446 of course it is marvelous , but it has nothing to do with the rest of the highly structured polyphonic 1st movement. It is like Buxtehude or Reinkens' stylus phantasticus pops up in Bachs' music . But as I said, so now and then Bach reverted to this ancient style in places where you wouldn t expect it.
@@bronktug2446 That is a term for the very rhapsodic and almost improvised style of composing for keyboard one or two generations before JS Bach. Buxtehude, Reinken, Böhm etc. used it. The term itself is from German composer Muffat.
After several listens to the ending cadenza, I am now almost positive it's not JSB. The development is too immature, both harmonically, and in cadence. It has to be from either one of Bach's young sons, or a young Krebs, maybe as a challenge from Bach himself. An example of a good Bach fugue ending cadenza would be BWV 535.
Ryan Leonard I prefer the term "eye-opener." You know . . . Someone who sees and knows the truth, then relays it to rather reluctant individuals who are clearly in denial, so they use name-calling to avoid the subject.
Oceananswer just ignore his stupid comment. I myself am a Muslim who’s come to Germany about 2 years ago. Meanwhile I’m at the music school playing harpsichord and I also play the organ for the last 2 years with the best organist in my city (Ulrich Stötzel is his name)
Ryan Leonard, he’s just a stupid illiterate man! Just ignore him. I play the organ and live in Germany and am a Muslim at the same time and haven’t got any problem with that.
Je Suis Shlomo Je Suis Shlomo, I am not going to start any any ranting or even any sort of argument at all. I am, in fact, censuring this guy named John Stuart.
![Skilla Baby - Misfits (Feat. Polo G) [Official Video]](http://i.ytimg.com/vi/IjsylSnNMyw/mqdefault.jpg)
That ending is so surprising.
Yea, the coda realy suprised me. Realy Great to see bach "Unusual" cliches.
Very Buxtehude
It's very odd and not very Bach like. Despite it's seeming complexity, it's actually very simple harmonically, especially starting around 5:41 where it's just a bunch of slow trills on the third. I would be tempted to say it was written by one of Bach's young sons. But he was only in early 20's. Maybe Bach just had a few too many beers. lol
I had not realized until now how incredible this work is. He combines the first subject (00:22) and the second subject (02:04) to create an extraordinary Double Fugue starting at 03:43
That's is the principle of a double fugue.
Here is another example of an amazing but incomplete Bach double permutation fugue, completed by one of the best Bach scholars in modem times, Zoltán Göncz. ruclips.net/video/KdiHaWHJNc8/видео.htmlsi=0f-oyAg89uYC1AWS
@@edouardmassicotte3073 ruclips.net/video/KdiHaWHJNc8/видео.htmlsi=SkE7XRuwiireHtx3
ruclips.net/video/KdiHaWHJNc8/видео.htmlsi=_FEDKHM9lvMRIvxf
ruclips.net/video/KdiHaWHJNc8/видео.htmlsi=nHhZI9FVi83Z8eJW
This fugue is an excellent example of Bach's "equal rights for bass" thinking. I don't think any other composer in Western music treated bass lines more as equals to the normal melodic leads. It's also very obvious in the Brandenburgs.
It is because Bach was a Bass singer, so, he learned what Bass could do in a choral, and he like bethoven, fall in love to Bass instruments, bethoven also created special treatments to Bass lines with instruments like tuba and bassoon, Bach also created great Works for Baritonos like his Árias in Matthäus Passion.
@@gil15100
That’s something I can feel along with being a cellist. For crying out loud the instrument was built with a gigantic upper range and people expected me when I was younger to play the lower stuff over one octave of range? Forget it!
@@topsecret1837 Yeah i know that, i personally love basson, and it really hurts my ears with modern music, when they put the drums over the eletrical bass, and how it is used just as smoother to the guitar.
It is the same in some classical pieces with the violin being used over everything, even with concertos made for totally different instruments, while viola and continuo being forgotten.
Bach was probably the first metal head
@Juan Richart Ruiz Totally!
I would say Buxtehude who was one of Bach's sources of inspiration
He even wrote the first black metal song with his BWV 598. Love Marie-Claire Alain's interpretation.
Rest in peace, Geru. Your work changed my life.
With some pieces I really ask how I could ignore them for so long. I knew 574 for a long time, but never bothered to recognize how amazing it really is.
The ending is just marvelous, especially when you're able to enjoy the dispersed sound of repeated mixtures in passages!!! I love it!
Varios comentarios hablando del final de esta fuga, que aun no he terminado de escucharla pero ya tengo curiosidad jajaja
И.С.Бах здесь просто блеснул своим неповторимым талантом. Спасибо gerubach!!!
I. S. Bach - one of my favourite composers.
Thanks for the upload, I'd never heard this fugue before :)
Прекрасно!!! Спасибо gerubach!!!
There is something strangely hypnotic about the modulations and structure of this fugue. More so than even most other other extended Bach fugues. I find myself being drawn back to listen over and over.
Yes you are right i have the same Feeling.
I almost felt like I was levitating off my bed while listening to this. My soul at perfect calm
Thank you Geru!
Please do more organ music!
the part from 5:30 to the end is so much Buxtehude-esque!
Please do the Buxtehude praeludia!
Since it’s one of his earlier pieces, once sees why it resembles Buxtehude
I just love it!
Legrenzi, mi compostor favorito. ♥️
Bravo bravo bravo brilliance
Sensacional, grande instrumentista eque peça, mas vindo do mestre BACHnenhuma novidade, o grande genio damúsica mundial!!!
O melhor de todos os tempos
Amazing
I remember when one of my school friends bought from another one the Murray Hill 18-record set of Bach's organ works with Walter Kraft, that performed it on the organ of the Kristkirke at Tønder, Denmark. My first impression in detail was this one: for the first subject session, white and red candles are lit alternately, usually long/tall candles; the tiny and thin candles come in the second subject session; when both subjects are simultaneously all candles shine more intense. Lastly, the coda is a complete fire practically without control, and after many trials to extinguish it, it ends with everything burned out in the last bar/measure. A really igneous composition! Wow!
Perhaps the greatest fugue Bach ever wrote. And that's saying something.
I prefer his last fugue, Contrapunctus XIV, because you can combine its subjects with the theme of Contrapuntus I.
Calm down there, son! That's quite the statement.
I doubt anyone else on earth would agree with you on that.
Maybe from Passacaglia and fugue in c minor. From keyboard toccata on c minor. All in c minor, lol.
Or, they are so vastly different, that there isn't a single best fugue, tbh.
That’s a bold statement son!
Awesome...
Bach estaba al tanto de la música en otras partes del mundo sin necesidad de haber salido de Alemania. Que hasta conocia de Legrenzi el maestro de Vivaldi!
It's somewhat funny, and sad, to think that for many composers, their greatest musical achievement was to have Bach use one of their themes or works. Still I suppose, one could do worse than to have the real world's Orpheus find interest in their music.
I realised it 45 years ago, when I was 14, and the year afterwards I played it;some technical challenges
Somptueux
Starting at 5:30, this fugue becomes seriously bizarre.
Oh, nice fugue, nice fugue.
wow
Max Reger would approve this Double Fugue ;)
The man could fugue, that is for sure! Take the monumental fugue op. 135b!
I love the 0:42 part
Who is Legrenzi?
Giovanni Legrenzi (1626-1690) an important baroque composer active in Venice in the second half if the 17th century who had a very significant influence on late Italian baroque music. He's worth investigating, knowing his music helps us understand how music developed between giants like Monteverdi and Bach.
It shows, how Bach was interested in the works of other composers, even in earlier times or far away.
Tuning: 0c: A4 = 440Hz
Do you know what work of Legrenzi Bach used in this fugue?
www.bach-cantatas.com/Lib/Legrenzi-Giovanni.htm
Thank you. It is from a trio sonata in G Minor La Mont'Albana from his Op 2 No 11 (Venice, 1655).
0:21
2:55 - 2:59
5:14 - 5:30
My organ teacher called it Bauchweh-Fuge...
Easy enough to read, I suppose. I guess this should be easy enough to hum, too...
A bit faster tô me
Beethoven approves 😂
B
Oh, what an disastrous montage setback at 2:48. But the instrument is fantastic and so is the performance!
What "montage setback" ? ? ?
pinkpantheress brought me here
I just don't think that ending is Bach. Either that, or it might be some kind of joke. It doesn't make any sense to tack a loose cadenza like that to the end of a highly structured fugue.
Bach does this sometimes. Think of the totally out of place harpsichord cadenza in the first part of the 5th Brandenburg concerto.
@@christianwouters6764 why is it out of place? sounds perfectly in place to me, wdym?
@@bronktug2446 of course it is marvelous , but it has nothing to do with the rest of the highly structured polyphonic 1st movement. It is like Buxtehude or Reinkens' stylus phantasticus pops up in Bachs' music . But as I said, so now and then Bach reverted to this ancient style in places where you wouldn t expect it.
Christian Wouters what is stylus phantasticus?
@@bronktug2446 That is a term for the very rhapsodic and almost improvised style of composing for keyboard one or two generations before JS Bach. Buxtehude, Reinken, Böhm etc. used it. The term itself is from German composer Muffat.
5:32 Jesus is Lord
After several listens to the ending cadenza, I am now almost positive it's not JSB. The development is too immature, both harmonically, and in cadence. It has to be from either one of Bach's young sons, or a young Krebs, maybe as a challenge from Bach himself. An example of a good Bach fugue ending cadenza would be BWV 535.
There is another version 574a without that silly ending.
silly ending! what a deplorable
@@bronktug2446 That ending is showoff joke.
Too long.
Ultra lol.
Poor Germans! Soon enough, their organs will recite the cries of Allah.
Ryan Leonard I prefer the term "eye-opener." You know . . . Someone who sees and knows the truth, then relays it to rather reluctant individuals who are clearly in denial, so they use name-calling to avoid the subject.
+John Stuart I'd bet money you've never been to Germany.
Oceananswer just ignore his stupid comment. I myself am a Muslim who’s come to Germany about 2 years ago. Meanwhile I’m at the music school playing harpsichord and I also play the organ for the last 2 years with the best organist in my city (Ulrich Stötzel is his name)
Ryan Leonard, he’s just a stupid illiterate man! Just ignore him. I play the organ and live in Germany and am a Muslim at the same time and haven’t got any problem with that.
Je Suis Shlomo Je Suis Shlomo, I am not going to start any any ranting or even any sort of argument at all. I am, in fact, censuring this guy named John Stuart.