J. S. Bach - Fantasia and Fugue for organ in C minor BWV 537 - Ton Koopman Organ
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- Опубликовано: 6 сен 2009
- Composed in 1708
Fugue at 4:06
Ton Koopman, Organ
Fantasias, Preludes & Fugues for Organ-Koopman playlist: ruclips.net/user/view_play_list... 
Видеоклипы
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I am becoming obsessed and addicted by this work as well as with Passacaglia and fuge in C minor. I can't stop listening to them over and over both in the organ version and the majestic orchestral transcription! This is music from another galaxy! BACH was a ultra-human being. 🙏
I agree !
No other human in history will do more for music! THE single greatest achievement within the history of music, fact!!!!!! 👌
@@originunknown3209 that's exactly how it is! Such a wealth and density of high quality musical creation is unsurpassed.
wait this is my favourite 2 organ works of Bach as well guess it's not just me
this was the first organ work of Bach (apart from BWV 565) that I formally lsitened too and has been one of my favorite ever since
He's amazing. It's so great that people are continuing to pursue this type of performance. I wish I could learn from the man
This is divine music, divinely played!
great music, great player.
+Willem van Twillert I am in love with the music you've played on your channel.
Beautifully played.
Bela música!
VERY GOOD SOUND QUALITY...
VERY PLEASING TO GOD YOUR WORK OVER THE YEARS...
GOD WILL REWARD YOU GREATLY...
GLORY BE TO GOD FATHER, SON AND HOLY SPIRIT..AMEN
@achantus1
Koopman is considered part of the 'historic' performance movement. He is a student of the great Gustav Leonhardt, who was probably the most prominent figure in historically performed music during the last century.
Un jour , un mec qui ose et qui aime suffisamment , osera dépouiller cette fugue et en sortir les harmonies pour les mettre en valeur dans un cadre qui leur donnera la vie qu'elles méritent et qui est encore inexploitée .
Un boulot comme celui de Jacques Loussier en son temps , ou simplement comme Marc Minkowski l' a fait avec le rondeau des Indes Galantes ... Et cette BWV 537 fera un malheur ! Je vous le dis .
Et je peux le dire sans suspicion de délire car je l' ai déjà entendu et jouissivement reniflé .. ce malheur à base de 537 !
Un ami organiste ," titulaire" (1) de pas mal de très saints Orgues (comme celui de Ste Catherine à Honfleur ) et qui aimait tricoter sur des matrices classiques : lui , il l' a fait et il l' a réussit . Résultat = Un truc dont la marque me reste imprimée trente ans après .
(1) Titulaire ou possédant la clés de ces divers saint lieux en échange de quelques messes.
The organ: Amsterdam, Waalse Kerk, built by Christian Müller 1733-34.
Bravo bravo bravo
This piece was played at Carl Jung's funeral.
I wonder if T koopman is an INTJ
Monumental, hors de l'espace et du temps
Very interesting using a reed in the pedal for the fugue.
@CantusMaximus This organ is a half-step sharp.
I hear some jitter at various places in the fugue. For example: 6:30.
The lower, larger pipes, using more air, cause the smaller more pressure-sensitive pipes to waver in pitch. Noticed most when the higher notes are held as lower notes are running or changing.
Hey, thanks for organizing these into a playlist. :-)
bela music
Well yes, there was no set temperament in that age..
You remember that video of Karl Richter playing 582 at Ottobeuren? Many were questioning what scale he was playing it in... That organ is tuned a step down, to the A415. Which is why it sounds so wonderful, I remember the comments you made.
I have to agree with your B+, its indeed very energetic. But I also want to hear legato.
Registration? I think its interesting. However if I had my way I'd balance it.
Fugue at 4:07, secondary chromatic theme at 5:39
I think the Baroque builders tuned their instruments to whatever sounded best to them.
Have you ever played German Baroque organs?
I'd love to play a great German Baroque organ one day. My favorite organ is in Naumburg, but I'd also love to visit Ottobueren as well.
the fugue is the song of the rising fifth which develops into the song of the rising half-tone
Johann Sebastian Bach:c-moll Fantázia és Fúga BWV 537
Ton Koopman-orgona
I hate the DEFECT.
Some call it "jitter".
J.S. Bach reportedly would pull on all the stops and play a big chord to see if the wind supply was sufficient.
Jitter is the upper pipework being affected by pressure transients.
Many people don't like that "old fashioned" sound.
👋👋👋👋👋
Why is this organ is a half-step sharp?
Sounds like a modern built organ.
I like Ton's pedal trills.
Interesting and refreshing.
me encata como.se escucha ese horgano y melodia.k sonidaso?
hey ton ! can you hear me ton ? hey, this is one piece t6hat I think you have imporved by throwing in trills !
He is a good organist...I just wish no flashy ornaments that sound so out of place.
4:07
Shouldn't one trill in the pedal anyway?
I am missing any information about the used instrument.....
Amsterdam, Waalse Kerk, Christian Müller organ, 1733-34.
@CantusMaximus It IS avoidable if organ builders would make good wind supplies.
Some modern "authentic" organs even have the defect.
Can be any size organ.
I hate it. Any organs, even historic instruments, that have this deficiency should have wind regulators added. The regulators can then be defeated (turned off) if one wants to hear the historic defect.
No, I'm not. I've checked. Ha, ha!
I'm a bit confused. Is Koopman playing autentically ( the way Bach himself would play) or is he making this up ( unhistorically)? I would really prefer the historical approach.
He is probably the closest I've heard to baroque performance practice.
Never got to Germany.
But have played modern German organs.
No pitch standardization?
Or is it saving some pipe metal and wood?
Some organs start on D.
Dislike the unsteady attack pitch of this organ.
I never placed any trills in the pedal of this work.
All the many broken notes are a disappointing distraction.
And again we have the unbalance of pedal with reed while none in manuals.
But great, energetic tempo.
Grade B+
Excluding modern instuments is an unfortunate practice.
There are many modern barogue instruments superior to the originals which often had insufficient wind resulting in bouncing tones in upper pipework.