This is probably the greatest short piece existing in the entire Multiverse
@bachkirche6 жыл бұрын
I love the Schnitger sound. I am so thankful that many of his instruments have survived and most have been restored back to the original intention.
@O-sa-car5 жыл бұрын
It has a regal sound
@kegelchen32 Жыл бұрын
...ungewohnt zurückhaltend erfreulicherweise für Koopmanverhältnisse,was das Tempo betrifft,die Verzierungen eher unüblich, sind Geschmackssache, ich bin kein Profi,weiß nicht, ob sie überhaupt statthaft sind,insgesamt eine eindringliche,emphatische Darbietung,DANKE...👏👏👏😐...
@juantomasholguerasgarrido85252 ай бұрын
Maestro, gracias!!!
@grahamparkhouse84673 жыл бұрын
Having been astonished by Bach's Passacaglia and Fugue in C minor, I'm enchanted by this, its precursor. My first encounter with a Passacaglia was Healey Willan's Introduction, Passacaglia and Fugue. The novelty and simplicity of Buxtehude's has won my heart.
@CaptJackAubreyOfTheRoyalNavy3 жыл бұрын
Clear inspiration for Bach's Passacaglia and Fugue in C minor I would say. There are some melodic passages and phrases that are almost exactly the same even.
@RiccardoP19833 жыл бұрын
Yes, in my opinion Bach certainly listened to this piece by Buxtehude during his trip to Lübeck.
@l000kin5 жыл бұрын
Wonderful! Many people can play notes, but Ton Koopman plays music... Every tone has some meaning and own importance and together it makes ingenious, animated dialogue.
@Photos-f8h6 жыл бұрын
JS Bach and Buxtehude the masters of baroque organ music, hard to know who is better simply magical
@nachito2002x5 ай бұрын
Bach was heavily influenced by Buxtehude. They even met in 1705 when Johann walked more than 400km only to hear the organist play.
@nathanbenisty4418 жыл бұрын
Koopman is so full of personnality ! I love it...
@Streifchen-fu9vj5 жыл бұрын
This is definitely one of my favorite videos of this song it’s played very passionate and I think the organ really gives the vibe
@user-ru8vy1uz7c2 жыл бұрын
Bravo bravo bravo grandiose genial music
@Dhruvnater4562 жыл бұрын
Dietrich Buxtehude, one of the greatest Baroque composers that ever lived, he deserves sitting next to J.S Bach
@user-kr9yf3mo3x10 ай бұрын
Он учитель Баха
@nachito2002x5 ай бұрын
In 1705, J. S. Bach, then a young man of twenty, walked from Arnstadt to Lübeck, a distance of more than 400km (250 mi), and stayed nearly three months to hear the Abendmusik, meet the pre-eminent Lübeck organist, hear him play, and, as Bach explained, "to comprehend one thing and another about his art". In addition to his musical duties, Buxtehude, like his predecessor Tunder, served as church treasurer.
@tuxedomoon7 жыл бұрын
This is the best performance of the piece by far, if one hears it and checks the score he will find how masterly Koopman played the basses the trebles, the rhythms of of the passacaille everything here perfect , he also played grave as it is being stated of the real tempo in the sources , he adds something special since he mostly plays fast , he Koopman shows how much good musician in spirit is.The ornaments are not so many as not so many as one thinks , some harpsichordist have made much more on this piece that Koopman.
@LewisDeAlba10 жыл бұрын
Here's the best performance on KZfaq. I really love that Buxtehude's piece, my favourite of all times! :D
@charlottewhyte98048 жыл бұрын
+Lewis De Alba Lewis well one of the top 3 anyway the others are crap
@andresplayanlopez7 жыл бұрын
Charlotte Whyte what are the other two top pieces? Thanks. By the way, bach composed a passacaglia so similar to this one, now I understand where he took his inspiration from when composing certain pieces.
@nachito2002x5 ай бұрын
Rainer Oster one looks comfortable for me (in my opinion), since its tonality it's different than this one from the video.
@corienvangarderen27075 жыл бұрын
Dit is mijn lievelingsstuk voor orgel, and Ton Koopmans is the best performer.
@emilmanke10203 жыл бұрын
Best performer voor dit stuk!
@vijnp7 жыл бұрын
Found 6 different recordings of this truly magnificent work on KZfaq, great to compare. What a richness.
@kegelchen32 Жыл бұрын
Agree,me too,found more than six...👏👏👏😐....
@CarlBowlby5 жыл бұрын
Very stately, elegantly done performance...so many ways this piece can be registered. But I like this understated registration...it’s not all up in your face. Though I might have made some use of the 16’ or even 32’ pedal points. Overall, however, a great performance!
@Rotkif28073 жыл бұрын
Dzięki, uwielbiam muzykę Buxtehudego.
2 жыл бұрын
un petit extrait est interprété durant le baptême final dans le Parrain I, c'est d'une autre dimension et d'imaginer cette oeuvre jouée dans le froid de Lübeck
@GaryGP40 Жыл бұрын
Wonderful! I am a fan of doing more subtle registration changes on each pass through the ground bass, but that's what makes us all unique, right? Thank you SO much for sharing this with us!! Beautifully done!
@lillodisa92275 жыл бұрын
Da brividi. Nelle giornate uggiose mette tanta malinconia
@colinhazell62594 жыл бұрын
Beautiful!
@CarlosdeGalvagni5 жыл бұрын
Ton is the best.
@lordchameleon26506 жыл бұрын
He plays this extraordinary, much better than how he plays JSB's passacaglia in c minor.
@thomaslai53033 жыл бұрын
I don’t like ton koopman ‘s style in general, but for this piece I think he plays beautifully, unlike his usual raspy playful style
@michaszpyrka41533 жыл бұрын
To my ear Koopman butchers Bach but with Buxtehude.. pure magic! He just shows more respect to the piece, unlike his "drunken virtuoso" approach to Bach
@thomaslai53033 жыл бұрын
@@michaszpyrka4153 hahahsh your comment is funny! Yes agree!
@raulreyes7258 жыл бұрын
ES GEFÄLLT MIR!!!
@nolyspe5 жыл бұрын
That chord at 3:09 is... spicy
@missasinenomine3 жыл бұрын
Yes. Indeed.
@class87srule6 жыл бұрын
No prizes for guessing whose theme Bach had in mind for his own great Cminor Passacaglia.
@MrLoknar6 жыл бұрын
Listen to this, you might be surprised :D kzfaq.info/get/bejne/asqRdJBqtb_ckWQ.html
@davidbukowski34634 жыл бұрын
Haha, you beat me to it. It sounds so similar, even from the very first chord.
@SirTenenbaum9 жыл бұрын
Love it!
@manuelrosales51366 жыл бұрын
The microphones are too close to the organ and we hear an edginess in the tone not intended to be amplified by the recording process. This is distracting from the somber music and the rich interpretation by Ton Koopman.
@emilmanke10205 жыл бұрын
Scheinbar kommt Herr Koopman mit Buxtehude besser aus als mit J.S.Bach. Hier sehr gut!
@gtuneit4 жыл бұрын
The cited calibration of "a: 473 Hz" raises a question, since 473 is a Pythagorean comma higher than a conventional Bb, suggesting perhaps a basis in what we know as bagpipe tuning. I wonder if the colon (:) is European or historical for a sharp. Guidance toward understanding that calibration would be welcome.
@IboOrtgies3 жыл бұрын
de.wikipedia.org/wiki/Orgel_der_Ludgerikirche_(Norden)#Temperatur The differences between the actual temperament, which is a modified meantone temperament, and the theoretical values of Equal temperament (which is not to be found in the organ and is based on different principles) are of no importance. The pitch of the organ in Norden matches what was in the 17th and 18th century customary in organ building in Northern and Central Germany, as well as for trumpets and cornetti (Zink/e). In the Norden organ it is a' = 469 Hz at 15 °C (473 Hz at ca. 22 °C), thus within the standard pitch field (roughly around a' = 460-475 Hz ) that was called (common) Chorton. Practically every organ built before 1750 (to set a cautious early term) has underwent changes of temperament (and voicing). This means, that these organs today tend to being somewhat higher in pitch than in their original state. The Norden organ could have been therefore closer to ca. a' = 466 Hz in 1692, when it was finished. The standard chamber pitch, however, which was usually in use for string instruments and singers and was a whole tone lower (roughly around a' = 410-420 Hz). (Occasionally there was also a high Chorton in organs, a' in the field between 490 and 500 Hz, i. e. a minor third above chamber pitch resp. a semitone higher than common Chorton). The colon is just a ordinary colon.
@gtuneit3 жыл бұрын
@@IboOrtgies Equal temperament is relevant, because to use a tuner rather than a trained ear to establish a foundation octave one would be using settings relative to Equal Temperament in the tuner. For example, in 1/5 Meantone one would have a fifth flatted by 2.3, not 4.3, because it is relative to ET rather than a pure fifth.
@missasinenomine3 жыл бұрын
A shortened ending? This phrase is often repeated 4x.
@nndyoon7_8163 жыл бұрын
feel sorry my co- 'army' who didn't make it here, me first besties😂
@princerupertscavalier10 жыл бұрын
The problem with Koopman as organist I think is that he ''adds his own embellishments"to the Original notes.In Deutsch:er fugt seine eigene Noten hinzu die nicht im Notenblatt vorhanden sind.Koopman spielt die praludien und toccaten oft zu schnell und andere Werke wie dieser passacaglia zu langsam nach meiner Meinung.es fehlt eben die Aufbau des wundervollen Werkes.Referenz fur mich bleibt Michel Chapuis auf Valois Kern Orgel Thionville.Unschlagbar!Augepasst:sehr seltene cd,hear it when you get the chance.I like Koopman best as an harpsichord player.I still enjoy the Bach concertos live at the Waalse kerk.Should be released on cd,much better than the Erato cd recording.Unbeatable!
@RiccardoP198310 жыл бұрын
There's no baroque music without personal embellishments. All the baroque treatises expect that the executor enriches the interpretation with his own embellishments. Koopman does not "invent" anything, he just apply what is prescribed.
@princerupertscavalier10 жыл бұрын
Ok thanks for your comment.still this is not my favourite interpretation of this beautiful music.
@BachFlip9 жыл бұрын
***** Well said!
@charlottewhyte98048 жыл бұрын
+Larry Kuipers yes Larry I quite agree here thanks for that
@scrutinizer01368 жыл бұрын
"The problem with Koopman" There isn't any problem but made up by yourself purely to feed just your imagination. Koopman is God, talented, inspired, willing to take risks (more of the Virgil Fox who I adore), making other organists with their snobbish "authentic performing" illusions sound pale and frigid.