All great music is connected to Bach

pobinr And how!

After a brief look on the internet: "Only 10 of the 20 children lived to be adults".

geir øyvind eskeland That explains why he was a good musician then.

pobinr women weren't completey useless in those times compared to nowadays, that's how they did it ;-)

He succeeded Bach’s position after all.

What do you mean lack of culture? We have lady Gaga and Tayler Swift?😂

The videos on youtube with Richter have Serien Instruments (mass produced), the non-historically based (with construction more in common with modern pianos than harpsichords of the 18th century) with the disposition of 16' & 8' on the lower manual and 8' & 4' choirs on the upper manual. These 'revival' instruments have a common ground with the historical instruments; both share the name harpsichord, but the revival instruments aresometimes referred to as "plucking piano."

The instrument that Richter played fell into disfavor as more and more builders in US and Europe followed the work of Hubbard, Dowd, and Martin Skowroneck who went back to historical prototypes for their instruments. Richter plays with artistry than transcends the instruments he plays in this recording.

@ TheNimble Turtle, I could not disagree with you more as to your comment on the organ or for that matter the harpsichord. I have played both revival Harpsichords (inch thick sides, bottomless case, bracing on the sound board that could support a load bearing wall of a house, shoe leather plectra, actions that require the strength of a blacksmith, contorted scalings, overwound strings in the base) and historically based single manual harpsichords, an italian 2X8 , a Ruckers copy, and a simple, small one choir instrument (the latter three with either quill or quill equivalent of which I prefer the former and fast/light crisp actions) and frankly the historical have more complexity of tone, timbre, surprisingly louder, projected farther, and respond differently to the performer's touch which elicited tone quality (the quantity of tone) than the mid century revival behemoth with its 2 manuals two 8 foot plus 16 and 4 foot choirs which was as though someone have wrapped the harpsichords in woolen blankets. The electronic harpsichords (Baldwin), the harpsichord stops on electric keyboards, and the digital samplings of old harpsichords lack the harmonic aliveness and presence that a real harpsichord or for that matter any instrument has, in short they sound flat at best or a poor and unkind caricature at worst, in my experience. Of course some wizardry of a recording studio, microphone placement, and a virtuoso recording engineer can make a silk purse out of any sow's ear. As to the organ, I have played more than my share of electronic and digital sampled in churches at "concert" or church service volume and compared to any of the pipe organs I have played (several Aeolian-Skinner including the last instrument made by the company before it went bankrupt, and a back to Baroque Tracker Organ which require more strength than a blacksmith and the endurance of a marathon runner to play). Frankly, by comparison there is no comparison, the electric/digital instruments "are weighed in the balances, and are found wanting." (The digital are better, close but no cigar, than the epic failures that are transistor organs). In fact I would go as far as to compare with the analogy of a pipe organ is the same as having a person standing next to you versus a life size photograph. I would say the same for any orchestral instrument or piano and its "synthetic" equivalent. As to an organ, most classical or theater organists would be tempted to sell their soul to have a "real" pipe organ. Of course one is entitled to one's preference, many individuals have expressed they do not particularly like the sound of an organ (church, electronic, or theater) or harpsichord (regardless of vintage). However, people who like these instruments tend to prefer the type they first heard (especially as children, or as teens/young adults) in my experience. This also follows for Bach and Handel on historical instruments or vocal performances (any instrument or vocal ensemble). I may have fallen in love with the Addams Family TV show harpsichord sound (and Caroline Jones) as a child, 16 foot choir and all, but changed my opinion their first time I played Bach on a historical based harpsichord. You enjoy the sound of the electronic organ, and that's a different tonal palette no less valid than any other. I couldn't imagine Born to Be Wild by Steppenwolf played on a pipe organ. You might enjoy the performances of Cameron Carpenter, he is very talented and in the electronic organ camp similar to Virgil Thompson, but he lacks some taste in playing Bach. His own arrangements/transcriptions of other works is technically brilliant if some seem to lack a tad bit of "soul ." I believe his preference for non-pipe organs is of a practical nature, he travels to perform concert venues and he wouldn't be able to play as fast (or as too fast) on most pipe organs. Possibly, Mozart's criticism of Clementi would be apropos, he "plays well, as far as execution with the right hand goes. His greatest strength lies in his passages in 3rds. Apart from that, he has not a kreuzer’s worth of taste or feeling - in short he is a mere mechanicus." However, to each his own.

+TheNimble Turtle, Thank you for your thoughtful reply. You wrote, "I do not believe Bach has to be played on historical instruments. There is the underlying assumption that the instruments of a composer's time influenced his/her music making." There are two sides to this coin. One Bach's compositions transcend time and instrumentation, (I am a fan of J S Bach on the Moog Synthesizer), and Bach can be well served by contemporary instruments, but this rarely occurs, unfortunately. Take the Second Brandenburg Concerto. The Solo instruments Natural Trumpet, (Baroque) Violin, Recorder, and (Baroque) work exceedingly well together, as though singing in a choir, in easy to follow counterpoint. Substitute a Piccolo Trumpet, Orchestral Flute, Modern Oboe, and contemporary violin (as it has mutated from the 18th century) and the balance of volume are thrown out of kilter and the work becomes a trumpet concerto. This lack of balance between musicians (equally as loud) can occur in HIP performances; too many harpsichord concertos exist in which the tutti rather playing in support the solo harpsichord seem bent on which part of the orchestra can (Bass, Cello, Viola, Violin) can drown out the harpsichord. You can find extreme examples of this on KZfaq, and the 5th Brandenburg Concerto is probably the most obvious whether its modern or period instruments. Instead of an ensemble, the Flute and Violinist seem to be in a duel, again to see who can play louder than the other (and completely obliterate the Harpsichord's obbligato passages). I wonder if music education should make mandatory the participation in a choir as it was in the past. This is the fault of the conductor. I would wish someday to be the solo keyboard player for the 5th Brandy, only playing a church organ instead of harpsichord, and when the tutti, Flute or solo Violin players became overly loud, I would hit a preset so the organ's reeds' mixtures, etc., drowned out the whole orchestra to return the favor of what's good for the goose is good for the gander. However it's not just orchestras that are at fault. A few (very few) thoughtful pianist can play (or played, past tense, regrettably no longer with us, Dinu Lipatti comes to mind) Bach well on the Piano. However, too many pianists play a Bach Fugue this way, Subject, Answer belted out forte to fortissimo and Counter subject played piano, etc., etc., etc. Bach intended every line to be heard, in fact in some Fugues he almost secretively sneaks in the subject, but the pianists thinks, "Aha, the subject, pound it out, while the other lines should be played as quietly as the left hand accompaniment to a Chopin Waltz, and the effect of a trio (or quartet) playing is suddenly lost. Well the Brass Instruments (Natural Trumpets and Horns) of Handel's and Bach's time certainly influenced their music making, they made the most of what they had (Clarino Playing), and if you examine the scores of Bach's Cantatas, their are examples of genius (even an example of a 4 note descending chromatic scale), not the drum and bugle corp that the Trumpet becomes in a generation. Mozart re-scored Handel's Messiah as no trumpet player of his time could play the notes. Bach and Handel's Oboes shared more in common timbre wise with the trumpet or their day, than the modern oboe which is mostly a quiet solo reed that blends nicely with a Flute. I've yet to hear a Viola da Gamba passage played on a Cello to be as effective. The Natural Horn of Handel which was generally not hand stopped (intonation problems and all), by the time of Haydn has some hand correction, by Mozart stopped notes in the solos, by Beethoven stopped notes in the full orchestra. But these tones are lost when played on the modern F Horn or double horn. Beethoven may have seen the first valve trumpets, but the Natural Horn survived into the time of Wagner, who wrote for both Natural and Valve Horns. On the other hand, I have heard Clarinets in a period instrument performance of Beethoven's 9th Symphony, which sound no different than the modern instrument. I could make a case of playing Chopin or Clementi on a period 19th Century Pianos, (played the real deal at an antique show in Orange County when Container Ships used to be stuffed with anything old was being sold as antiques stripped wholesale from Europe) and yes the music made sense, and sounded better, clearer, than on a modern cross-strong piano. Especially the Clementi full chords in the lower bass. I remembered an Alfred Edition Chopin's Prelude commenting on a Prelude by Chopin, that couldn't be played with the damper pedal as written by Chopin as it wouldn't work on a 20th Century Piano (and they were right, one of the pieces I played with Chopin's pedal indications from memory worked better than any 20th century piano). That is the goal of any artist, know what the composer intended, what the composer's resources where, and then inflect some of himself into the work. I never though of the harpsichord as sounding harsh (except some modern ones being voice with overplucking plectrum), certainly not in the same category as certain organ stops (Bombardes which should only be used with a full organ otherwise these sound flatulent). The Art of Fugue, theoretical work, work for Organ similar to earlier works written in full score to follow the lines, or your guess is as good as mine. Only the works (duos) written with the words Zwei Clav., (Organ, as in one Manuscript of the Passacaglia and Fugue which E Power Biggs comments Zwei Clav mit pedal for Pedal on one manuscript, or Harpsichord as indicated in the Clavierubung part 2 and the Goldberg variations). Before they took up comedy, I heard a version by the Saxophone Group, The Nuclear Whales, that was most convincing. One recording I heard over the radio has Brass, Reeds, Strings, each taking a separate voice (in the 3 voice Fugues). A version for different woodwinds (no two instruments from the same family on two voices) would be instructive. As to Bach, in his manuscripts (and those copies of by his students or family members) you will see indication on occasion, Suite for Harpsichord (French Suites found in the 1725 A M Bach note booklet), and works for harpsichord by other composers, which have zero comments as to instrument as though it was understood. Other than the criticism and alleged and further approval of Silbermann's Fortepianos (as embroidered by Forkel on comments from Agricola ), the only known first hand document on J S Bach is he was involved with a piano sale as an agent for the seller. I still find it peculiar that Bach's Harpsichord Concertos get rolled out as Bach's Piano Concertos (completely false) or Bach's Keyboard Concertos (partially true as one previously exist for Organ as the solo instrument in Cantata Symphonia). However, I'd rather see Bach be played and appreciated regardless of the instrument. There are many who say one should use the full resources of the Piano. Only, Bach on the piano with the damper pedal robs the pianist of discovering Bach's fingering problems and solutions which I believe he intentional wrote in for the students.

I really like these, but you might try Blandine Verlet's. Hoomeyow!!

I mean - you could buy them, couldn't you :-)

Or better yet, try Gould.

@@martinsweaney5325 thanks for the tip! You are so right!

Damn Gould always makes sense :D

@TheNimbleTurtle That's the thing about keyboard instruments, they can only play in tune in one key. Some are tuned to be equally out of tune in all keys and some people think that is an advantage.

Desculpe, apenas 54 anos.

Listen to Anatoly Vedernikov play this Capriccio on a piano. It's... .jauntier...

😍

I take it back.....omg, these are fantastic.

Sehr geehrter Herr Tepper, sie haben ja so Recht. Ich finde Sie toll. Sie haben schon viele Kommentare abgegeben,mit denen ich mich voll identifiziere.

Have you ever heard an electric guitar? I have never heard one that sounds like a harpsichord!

+cellestialX Please don't play them on the piano. :)

How about electronic harpsichord

Zeker, maar Scot Ross blijft wat mij betreft altijd de beste.

Proving you made it all the way to the end ? :)

Good catch!

An old Neupert from the 20th century with 16'8'8'4'

I believe it is the lower-manual 16', coupled with the upper-manual 8' + 4'.

Miguel alonso martinez 😍

reza gholamipour i played that giga

Miguel alonso martinez I really enjoyed your performance.. good job👍👌.. This piece of music reminds me of many memories.. I just love it..

you give a damn or you don't? Either way this is totally irrelevant, just listen!

françois Arnaud That was precisely the point. Nevertheless Bach doesn't exist without players like him. You are wellcome.

Cr Varela We give a damn about your opinion.

a que te refieres ?

ah y a vraiment des nuls parfois