nor did any sort of competition show up

I concur, Johann Sebastian Bach is my teacher, the teacher of existence and being

@@Dhruvnater456 xif

9f

F

Bach reigns forever, just because it's BACH. BACH damn it

by who? who underrates it? And what is rating here after all? It is irrelevant thing such as rating of the instrument. They are used where they fit general idea. When you need oboe, oboe is used, need tuba, here you are. Alto flute? very well here it is. What's the problem?

@@Galova a lot of other solo oboe concertos? Any famous oboists?

@@russellpowers86 maybe you missed it but I know of this instrument all my life.

@@russellpowers86 Compared to something like the tuba or double bass, there is a lot of repertoire for solo oboe and it is one of the most prominently featured woodwinds in orchestral works. Many great, famous oboists if you look for them. Albrecht Mayer and Francois come to mind, with Heinz Holliger being possible the most well known.

for those who that knows nothing about music and the history of it, yes it's underrated

Unfortunately many musicians need to play certain kind of music just because it pays our bills but aren't art. Classical music in general is a kind of music that's born into aristocratic rooms and later used by bourgeons to show off richness and cultivated manners. Then classical music needs a full dedication to be WELL PLAYED. And if you aren't rich who has time enough to study and practice properly but have to work to survive then you have a problem. Unfortunately classical music is elitist.

Sin hablar del daño que causa el ruido llamado roca.

Me the same

Me too!

If all good music were a body, this might be an earlobe - a nice one at that. Go forth and listen to other Bach, Vivaldi, Liszt, Mozart, Chopin, Rachmaninov, Elgar, Beethoven, Brahms, Schubert, Scriabin, Tchaikovsky, ... Classical is an oasis.

I fealed a groove also in other pice a chor from bwv 178

@@Mr55330 i have to listen to BTW 178 then ! Thanks!

how wonderful!

You sir are a man of culture indeed.

I’d get chills too if Bach were still alive lol.

I got warmth within my heart

This performance made me think the same thing: Bach is alive! Because his music was not forgotten

10:01

Bach's music for moments of reflection and light in a world of darkness.

I can’t get enough of this piece. I love it.

Jose's Garage, it is unlogic to thank God. It makes more sense to thank the great composers parents and the kind of "work" they did back in 1684!

geir øyvind eskeland Jesus/God was the reason for this Bach’s success even Bach himself said it “all glory to God” and he wrote it after all of his pieces. Bach was the most humble person to ever exists he even asked to be buried in an unmarked grave because he wanted all of the glory to go to God. this is the reason Bach is the person I look up to the most as inspiration not just because of his God gifted talent but his personality and his humbleness. This is all factual as far as the the quotes I mentioned

Indeed! Bach is a wonderful distraction from the futility and pain of existence.

מלבד הגאון(באך), מגיעה הערכה לצוות הנגנים/יות,על הביצוע הנהדר/מושלם!!!

Amazing. I said that to my wife, five minutes ago. My first seeking-to-study classical piece of music was a was a cheap version of if from a man with a table in front of a Target type local discount store store. He had a boombox playing this piece. Until then, nothing but pop and jazz.

The whole work though, it's flawless.

That is just the problem. Baroque orchestras were in small scale because the instruments were supposed to play in chambers of the royalties, nobilities, and aristocratic small rooms. It is a complete disaster play baroque music with modern instruments and using the mahlerian-scale orchestra. The same thing goes to play romantic, modern, and contemporary music using baroque musical instruments.

do people really try to play bach with a full orchestra--even on the scale typically reserved for late mozart or early beethoven? Do you know of any recordings? I'd be curious to hear what it sounds like.

@@Admiralmeriweather Many examples are available. Try Glenn Gould playing Bach's "Piano" concertos. Personally, I hate them because Bach musical lines must have clarity. If the orchestra is bigger than the two instruments for part the musical lines intermixture badly. I do not recomend this type of listening. Baroque music is intimacy, even for a Vilvadi-ish approach.

@@millennial8441 The Beatles used Harpsichords, Recorders, and Sitars in their music, the revival instruments (harpsichord) for works composed for Wanda Landowska (harpsichord concerto) by then contemporary music, the Theme for the TV show Taxi opened with a solo on the recorder would be exceptions to the list...

@@millennial8441 Of the many examples one needs go no further than KUSC radio online. Harpsichord Suites pieces by J S Bach or G F Handel (the scores of Bach have the German or French word for harpsichord) are invariably are called Keyboard Suites, Scarlatti Sonatas (more often than not, it's Guitar transcriptions played) likewise "Keyboard Sonatas," works by F J Haydn all performed on . Any Yehudi Menuhin performances of the Brandenburg Concertos on record. Many of Mozart's works and Beethoven on non-Period instruments with modern violin strings, valve Horns. Mozart, Haydn, and Beethoven also played the Clavichord. Haydn purchased a 5 1/2 octave Harpsichord from Shudi in 1775; he prescribes harpsichord for his solo keyboard sonatas as late as his E minor Sonata (H. XVI: 34) first published in 1784. In letters from March and April of 1789 he refers to his C Major “Clavier” Sonata (“keyboard” sonata-a generic designation) and he includes a middle movement with the title “Adagio per Clavicembalo o Piano-Forte” (“Adagio for Harpsichord or Pianoforte”), however by that vintage Clavier had lost its generic definition (which included organ), and acquired in some localities a meaning as a synonym for clavichord. Beethoven had left instructions that his nephew's clavichord should be tuned in 1821. In Cecil Forsythe's Orchestration published before the First World War, besides references to Gustav Von Holst's works for Sarrusophones, the book also noted that Haydn did not use hand stopped notes in the Natural Horns, that Mozart used hand stopped notes (changes the timbre) in the solo parts, and Beethoven used hand stopped notes in the Tuttis as well as the solos. Richard Wagner in one of his major works used both valve and natural horns. Mendelssohn in the Midsummer's Night Dream wrote of the "Serpent" (Bass of the Cornett family). Even in large orchestral works, instrument substitutions continue. F valve Trumpets are invariably not used in Strauss (as indicated in the score) Also Sprach Zarathustra The first steel E string appeared around 1910, but didn't gain prominence until the Second World War when sheep gut became scarce. From the 1880s until the development of steel strings, silk strings were used as an alternative to gut, but usually only in the case of an emergency. How many orchestras use gut strings for works composed before 1910, or for that matter works written prior to 1941? The main reason besides economics, or rather the Modern Symphony consists of compromised Orchestral instruments most used as substitutions (or in the case of French music with Saxophone parts, the exception is Ravel's Bolero, the instruments are simply omitted) with the expectation to play works from all eras to an audience that grew up with these instruments, and not knowing better or the timbre's the Great Master's originally had in mind when composed.

That is not what I hear, I hear two drasticly different ideas on how Bach should be played, the hoboist plays the beautiful melodies naturally while the violinist, while very good and talented, seems to place Bach in the wrong time period.

Today I stod above the Neckar Valley in the sunshine and listened to Bach with my headphones on. It was a moment of perfection.

Any chance to get these in the description so that the video gets sectioned automatically?

I would be nice

Very nice, but I think second movement was too fast.

Pp

ABSOLUTELY!

Me too.

I ask, am not a musician, but appreciate Bach, play this repeatedly as enjoy it immensely, was Bach thinking of a field or meadow that was filled with the vocalizations of birds?

It is the "worst" baroque wood wind instrument if one wants balance and mixture. That's the reason why British baroque composers called the baroque oboe "the naughty boy" because its prominent sound color is hard to beat down. And they preferred the alto recorder instead because it blends pretty well.

@@donnagoring250 That's what I think too!

Yes! Thank you Lord for Bach!

Agree.

Yes

и 0

Absolutely spectacular performance!

"lovely" was what came to my mind

Wow. How was your experience? Is it hard? What is the difference between Baroque oboe and modern oboe? Would you enlighten me?

@@defner.9251 You need a lot of patience, no playing with force, and each note has to be constructed as you go along. I've been playing Baroque oboe for about 10 years and I am finally getting the hang of it!

The same for me!

y desde Washington DC en 2022. Joyce Walker

It's a hypothetical reconstruction. In the 1874 preface to the Bach Gesellschaft edition of the concerto for two harpsichords, Wilhelm Rust had suggested that the original version of the concerto would have been for two violins. Max Schneider's reconstruction as a concerto for two violins in D minor in 1920. I am inclined to agree as the F Major Harpsichord Concerto (with obbligato Records) was originally the 4th Violin Concerto in G major. Concerto in C minor, BWV 1062 for two harpsichords is a transcription of the "Double" Concerto for 2 violins n D minor, BWV 1043, which was written circa 1730, about the same time as the arrangement. In 1886 Woldemar Voigt wrote that the original instrument for the part of the second harpsichord was more likely an oboe, and that the original of the concerto could almost certainly be identified with a lost concerto for oboe and violin mentioned in a 1764 Breitkopf catalogue. On the other hand, the lost concerto might have been a complete (and lost manuscript) earlier concerto which became the basis of the opening Sinfonia of the cantata Geist und Seele wird verwirret, (BWV 35, a Cantata for Alto Voice, Organ obbligato, 2 oboes and English Horn ancestor (Taille), and strings) which became the basis of the Harpsichord (and obbligato Oboe) Concerto in D minor, BWV 1059 (fragment) which exists only in 9 bars. Musicologists (20th century) are under the Publish or Perish pressures (the 3 "P's" of academia), there's too much speculation. Most of the so-called Bach Violin concertos are reconstructions of Harpsichord Concertos. Only the Violin Concerto in A minor (Bach), the Violin Concerto in E major (Bach), and the Concerto for Two Violins (Bach) are from J S Bach's hand. The 8 other violin concertos for one or more violins (and other obbligato instruments) are hypothetical reconstructions in other words "Guess Works." Musicologists aren't always intelligent, witness the recent claim that Bach's wife wrote the solo string sonatas/partitas was based on a modern translation of the French word that meant copied (18th meaning) to 20th Century "written." All the musicologist had to do was to check was a 18th century dictionary...

@@Renshen1957 However Tovey and others pointed out various reasons why this particular concerto looks more likely to be violin and oboe than two violins. It certainly lies very happily for this combination. The two violins idea is equally hypothetical, but it certainly seems most likely that this was an arrangement for clavier and not specially written for it.

@@iankemp1131 There's no question that the arrangement was for a harpsichord, however, how many solos concertos did J S Bach write for Oboe or Oboe da Amore? Zero. J S Bach did arrange a number of Cantata Sinfonias with an obbligato organ part. The Harpsichord Concerto in D minor, BWV 1052 originates from Two movements of the cantata, Wir müssen durch viel Trübsal, BWV 146 the Sinfonia and the first movement. A similar Obbligato Organ "concerto" are found for movements of his cantatas Gott soll allein mein Herze haben, BWV 169, and Ich geh und suche mit Verlangen, BWV 49an instrumental concerto. Then there's the Sinfonia to Wir danken dir, Gott, wir danken dir, BWV 29, in D major scored for obbligato organ, oboes, trumpets and strings, 1731, which is an adaptation of the E major Partita for Solo Violin's Prelude, and again the Organ part is transcribed downward one tone, for two reasons, J S Bach wrote for the Organ as a transposing instrument (Chorton pitch) and the top note being c''' (which played d''') as that was the limit of the organ's keyboard compass.

@@Renshen1957 Well, just because Bach wrote no other solo concertos for oboe doesn't mean he didn't write one! He used a variety of different combinations in other concertos, some unique. Your argument would imply that Mozart didn't write a clarinet concerto and that Beethoven, Mendelssohn and Brahms (etc) didn't write violin concertos. Plus, some would suggest that BWV 1053 was actually originally written for oboe, though that seems more speculative.

@@iankemp1131 There's no question that J S Bach wrote for the Oboe, Oboe d' Amore, Oboe da Caccio, in his Cantatas. The middle movement of the Concerto, sources from Bach's Cantata Ich steh mit einem Fuß im Grabe, BWV 156 with the Oboe solo scored for the solo line, in F major. In a practice to pay homage to another composer (of which CPE Bach references in the Nekrolog for his father in 1753) was the practice of quotation of a melody from another composers. The melody closely resembles the opening 2 1/2 measures of J S Bach's good friend (and Godfather to his son CPE Bach ) G P Telemann's Flute Concerto in G major (TWV 51:G2) in that the soloist plays essentially identical notes for the first two-and-a-half with the concerto being in the relative major of Ab. (Some have noticed a shorter quotation of Telemann for the opening of Bach's Goldberg variations. The Harpsichord concerto outer movements are possibly sourced from another "lost" concerto for violin in G minor according to one musicologist, again supposition. Be that as it may, the "reconstruction" has an Oboe as the solo instrument. J S Bach "cut and pasted" a number of works, such as the E minor Partita sources two movements from The sixth sonata in G Major for obbligato harpsichord and violin, BWV 1019: the Corrente as a harpsichord solo in e minor; and the Tempo di gavotta as a duo for violin and harpsichord, however that doesn't infer the entire E minor Partita was composed for Violin and obbligato Harpsichord. The 6th Sonata exists in three different versions, and if I had time, I could cite how many variants of the French Suites, the Well Tempered Clavier Parts 1 and 2 (early and later revised editions). J S Bach had a thing about sets of six, Six being the Biblical number of man, falling short of perfection (the number 7). One thing is for sure, J S Bach did not leave a set of 6 Oboe concertos, the closest we get is the F major Brandenburg for a concerto with the Oboe as solo instruments shared with three other solo instruments. One of the common practices of "Pfeifers" and similarly continues into the present, Flute (and Recorder) Players doubled on the Oboe. Although better known as one of the premier Flute players and composers, J J Quantz started his career as an Oboist, and switched to the Transverse Flute exclusively during his illustrious career with Frederick the Great.

Oui. D'accord.