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From: audioglass
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  • Performers, please?

  • Yes a I did notice the voyager sattelite!that part of the composition I mentioned has always been one of my favorite things in music and gives an insight into the true labyrinthine depth of the mind and genius of bach,I think he composed that fully knowing the effect..

  • This is one of my favorite videos ever..I just watched it again and wanted to comment on the brilliance of the people who made this video...all of it is excellent and knowing to right at..that particular special part of the music to go thru bachs eye and out into space and thru the planets is ingenious.

  • @julianforestphoenix Thanks you very much Julian for your comment. I find that special bit so very special too. Did you notice the Voyager satellite at 6:15?

  • why is it "reconstructed"?

  • @Viplexify The original score of the concerto has been lost, but it was subsequently arranged by Bach as the Harpsichord Concerto No.1 in D minor, BWV 1052. On the basis of the latter, it has been reconstructed by Ferdinand David (1873), Ferruccio Busoni (1899) and Robert Reitz (1917), among others. from Wiki

  • I love this! Such a cool video, and great choice of bachs compositions.

  • @ArtyomAndreasyan Thanks for the information. I can now find it on Spotify. I love the reconstructed version!

  • I think that this works quite well for violin, but I would prefer the harpsichord for this concerto. I prefer violin for the other violin concertos

  • The keyboard version is better.

  • This violin transcription sounds much lighter than the harpsichord version. I wonder if it is due to the difference of tonalities, violin vs harpsichord ?

  • Who's the idiot that disliked this?

  • Such a serious piece of music! I still find it incredible!

  • Pero il Violino è sempre ITALIANO!!!!

  • is simple! as Bach no two...

  • So wonderful~ spirit flies...

  • i love bach we learn about him in school and i no how to play that song i love it

  • That's funny. I've been playing violin for a long time yet for the past year or so I haven't played much all. Instead, I'm trying to play this concerto on the piano. I only have 1 year background playing piano when I was a kid so it's quite the endeavor. Anyways, YOU'RE TELLING ME I COULD HAVE JUST PLAYED THIS ON MY VIOLIN THIS WHOLE TIME?!?!?

  • Bach wrote BWV 1052 for harpsichord and strings. His cantata BWV 146 opens with another version of the 1st movement, scored for organ, strings & oboes. But both keyboard versions derive from a lost Bach violin concerto.

    This is an modern reconstruction, based BWV 1052, of what the violin original MIGHT have sounded like.

    Bach didn't write any concertos for piano, so you're already off track if you're trying to play BWV 1052 on piano.

  • Good point as this is a hypothetical modern reconstruction on how it might have been written.

    I would like to add that most Violin pieces that Bach arranged into Harpishord Concerti are originally one tone higher.

    Also true, for the Organ part arranged from a violin piece such as the Sinfonia to Bach's Cantata 29

    Which raises the question, shouldnt this piece reconstructed in E minor?

  • Good point about the key; that assumption was followed in reconstructing the lost violin original for BWV 1064. But in cases where we have the violin original, the transposition down a tone was apparenlty done to allow the top note of the violin original (e''') to fit the top note of the harpsichord (d'''). Since we don't have the violin original for BWV 1052we don't know that transposition was needed to fit the harpsichord compass.

  • @wcbroccoli the melody seems lighter and more natural when played in e or other keys... d minor makes it a bit sluggish I think

  • In some of Bach's violin concerto-to-harpsichord concdertos transcriptions, he actually thinned out the string texture to allow the harpsichord to stand out. So it's possible the violin original for BWV 1052 had a richer, or at least different. string accompaniment. We can already see differences in details of both solo and ripieno scoring between harpsichord and organ versions of the same concerto. And not just the left hand part.

  • Many parts in this piece the violin sounds out of tune

  • no they don't

    learn how to listen

    and what is in tune, anyway, according to great tuning specialist bifi34?

  • From the begin to 2:27 it goes smoothly but then from 2:28 till 3:10 WOW you don't hear that ?? Then from 3:20 till 3:22 . I can give you more parts if you want. I am a big Bach fan and listen daily to his beautiful music.

  • @bifi34 listening again and again and no, those parts are not out of tune. baroque tuning is not the same as nowadays. and from listening me too to a lot of bach music, and baroque music all alike, either it's not out of tune, either all the music I listen to (which is a lot) is out of tune...

    still, we won't get to the end of this, since we both seem not to hear the same thing...

    but anyway. judging by what he can do in the movement, do you really believe he would allow himself to be untuned?

  • Violin players practice long hours partly to train their fingers to land in the right places or else the instrument will sound out of tune. So this violin good tuned but the player..... Listen again and again it is very very clearly

  • @bifi34 I listen again and again, and I recognize what you are saying is out of tune, but I maintain that it's not

    our modern ear is not a good referrent for baroque music

    and if you listen to good baroque interpret, such as ll giardino armonico, you will hear many passages such as this one, which are "out of tune"

    they're tuned expressively to extend the interpret wish of emotion for a particuliar passage

    that's how I learned it, so I may be wrong, still

  • best version out there. Amazing to listen to. none other lays it down like this version. Full of raw power. its perfect! As Zvax puts it "tuned expressively"

  • BTW, this is not a period instrument ensemble. Except for the token harpsichord, these are modern instruments. And all, even the harpsichord, are tuned to A440.

    Historically, Baroque ensembles tuned to various pitches, ranging from a 1/2 step above A440 to a 1/2 step to a minor 3rd below A440. But the pitch an ensemble tunes to has absolutely nothing to do with whether it sounds in tune.

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  • @bifi34 It could be your ears are used to equal temperatment. However, I played some Bach in the well tempered tunings on a yamaha clavinola, and felt that the music was "out of tune." Aural memory.

  • "Equal temperament" doesn't define what is or isn't in tune. It's merely a compromise tuning system that allows pianos to sound more or less in tune in various keys, at the expense of having certain intervals out of tune.

    A violinist might play out of tune, but even when he's playing "in tune" he's not playing in equal temperament unless he's doubling a piano tuned to equal temperament.

  • My post in context referred to aural memory. After a lifetime of playing in ET, playing in other temperaments "sound" out of tune.

    Equal Temperment is the common name for a system (Equally Mistuned). I could have said ET 12 TET or EDO. Splitting hairs.

    An Gb or F# are different notes on a violin, but with the standard keyboard (and ET) they are enharmonic, played on the same sharp key.

    Violinist must temper their parts, don't forget the Pythagorean comma.

  • I doubt anyone "remembers" to sing in equal temperament unless he's forced to sing along with a piano. The singer naturally adjusts his intonation to fit in with the ensemble, to make chords sound in tune. We viol players know that even if our strings are true & perfectly tuned & our frets perfectly positioned, our viols won't automatically sound in tune; we have to listen & dynamically adjust finger placement/pressure to play in tune. Some viol players even spit frets for enharmonic tuning.

  • @Renshen1957 Well put. Clear and to the point.

  • If string players did not take account for the Pythagorean comma, string instruments playing a note (such as an A) 7 octaves higher than the same note played lower would be out of tune. Also, not only keyboard instruments have compromised tunings due to their construction, fretted string instruments and most Brass instruments (except slide trombones) for example.

  • The intonation of fretted strings can be varied by placement of finger relative to the fret and/or finger pressure. Good viol players do this routinely. Good brass and wind players also adjust intonation.

    Pythagorean tuning is just another tuning system (temperamet). And like ET, is does not establish what is "in tune" or "out of tune." It simply served a pre-Renaissance aesthetic of *theoretical* tonal perfection.

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  • Bach!, please, save ours souls! I believe in you.

  • I wish I knew more about classical, but I do know this much..... it's powerful and lovely. And Audioglass....... amazing video. Beautiful piece of art. I'll be going to the Pensacola Symphony Orchestra at the Sanger Theater this spring and summer. I'm a blues musician, but soul is soul.... and classical has tons of it! :)

    Keep Smilin'

    JE

  • Thanks for the comment about the vid. Your the first to mention it! yay!. I really loved making the vid coz I love this tune. especially the part at 5:50 onwards. Bach was beyond imagination and still is today. With authentic and honest perseverance anyone can amount to such a colossal depth.

  • Hi, No this is the solo violin, I played this piece, and the violin plays the double stops, most thirds and sixts, and u play the high on two strings and between these double stops some open strings . Indeed not easy but it's playable.

  • Hi, Thanks for the info. Also 6:34 is pretty incredible. Im guessing 1 violin again?

  • @audioglass Yup thats a moderately difficult technique. It's hard to get going but easy to maintain. It requires cordination in bouncing the bow...but thats the thing, gravity is not a co-ordinated thing, fortunately it is predictable though with training.

  • @akm5176 Thanks for the deep insight! I don't actually play violin very much at all but, surprisingly it made sense to me.

  • I don't know man.. Gould version is probably the best i've ever heard. The solo sounds so much more exciting with the piano playing it.

  • I feel as though I have discovered not only Bach, but a whole deal more!

    thanks

  • OMG this is some extreme music!

    Can someone tell me if the soloist part from 2:22 to 3:09 is played by only one violin? (because that part it seems too difficult to play with a violin)

  • Im not sure my self, But It does sound difficult! Im sure I can hear another violin?

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  • im playing this song right now. its on one violin, and its the most annoying part of the song

  • Hi, thank you for the video. Does anyone know whose this transcription for violin of BWV 1052 is?

  • This is a nice but sedated version and pales in comparison to the version conducted by Sir Neville Marriner, piano by Andrei Garinov. It is the most dynamic performance of BWV 1052 I have ever heard. The strings section is played with passion and excellence. I have been unable to find that version anywhere so, I emailed the "Academy of St Martin in the Fields Chamber Orchestra" which Sir Neville Marrimer founded. Hopefully, they can tell me where to get that version.

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  • The Amsderdamse Bachsolisten did a version of this reconstruction back in the late 80's I think. I liked that version the most, does anyone know where I can find that one? Not the one with Thomas Zehetmair in 1994, but an older one.

  • its this Concerto for harpsichord and strings

    not violin although it is thought to have been composed based on a lost Violin concerto

  • I prefer this to the piano, and of course it's way better than the harpsichord.

  • Nothing is better than the harpsichord

  • some people swear by the harpsichord. it's just not my thing, though.

  • to scordatura - HI! personal taste rules....

    I feel this one as perfectly fitting a violin rendition,but are there a few fairly impressive piano renditions though.

    Put aside the amazing 4 harpsichords concert

    after Vivaldi,here I go for the harps nodoubt,

    I prefer pianos being used in all Bach harps/orch.concertos eventhough I often listen

    to the original harps.renditions as well.

  • Yes! I´m discovering Bach in my later years. And I am more and more fascinated! In the 7tys I listened more to Händel, Beethoven, Mozart or Vivaldi. Now Bach is the greatest Composer for me ......ever!

  • @camposi He is certainly incredible!

  • @audioglass

    right right right! Especially this composition is mega hammer!

  • wow, first exposure to this piece, thanks

  • For an interpretation that sounds more like Bach than Brahms, try this

    BACH: Violin Concerto BWV 1052 & Double Concertos for harpsichords, recorders, oboe and violin - Akademie für Alte Musik, Berlin - Harmonia mundi

  • You give the name of conductor and soloist but omit the name the ensemble?

  • Harpsichord? Piano? Violin? Hard to choose...it sounds marvelous in any of them.

  • abandeli: Hard to choose? Without a thought I choose Harpsichord first, Violin second, and the Piano not at all!

  • As to the question of who the soloist is-- I believe Thomas Hengelbrock is a conductor. I'm not familiar with Henk Rubingh's playing, but I'm fairly certain this soloist is Rainer Kussmaul.

  • I love this piece; good recording! It is my favorite Bach concerto ever. I played it on piano for my senior recital more or less ripping off Trevor Pinnock's interpretation.

    Was it originally scored for violin or keyboard?

  • I'm not entirely sure? I think the harpsichord version is a transcription of the apparently lost violin concerto?! I found this info from the net. So unconfirmed really. Also the main theme has been adapted to BWV146.

  • Yes, it only exists as a harpsichord concerto. It is likely to have been transcripted from a violin concerto (that is lost) and this is a modern reconstruction of it. No one actually knows if it was a violin concerto, but the harpsichord part is so violinistic it seems likely.

  • Thanks for the insight!

  • All but one of Bach's harpsichord concertos is a transcription of one of his earlier concertos for one or more melodic instruments. In some cases, the original survives.

  • BWV 146 is the cantata "Wir muessen durch viel Truebsal in das Reich Gottes eingehen".

    The sinfonia of the cantata is based on the 1st movement of the lost violin concerto. The sinfonia is scored for organ, strings, oboes and continuo. The 2nd movement of the violin concerto is also used in a choral movement of the cantata. The harpsichord concerto version came later. Evidently Bach was quite fond of this (lost) violin concerto.

  • This is a reconstruction of the lost original.

    It was reconstructed from the harpsichord version, which added an independent part for the left hand.

  • The section towards the end is perhaps the greatest thing in existence.

  • Hey It's great , Who did the reworking?

    (It's very nicely done, although , it is a rework of a rework by Bach (even a rework of a rework of the rework of a violin concerto (By Bach?))

    Brilliant Preformance!

  • I always loved this music, especially played by Glenn Gould, but this is a violin version. Very unique of re-arranging! I am a violin player myself, and I can certainly say this is one of the best arranged I have ever listen!

  • wow... very interesting, sounds great with the violin as the "lead" instrument

  • BWV1052 is harpsichord concerto.

  • Indeed it is. But, in this case violin is used. Of which I much prefer. I think the harpsichord version is a transciption of the apperently lost violin concerto. also I think the main theme has been adapted to BWV146.

  • Thank you

  • HI audioglass! This is a great rendition:

    may I know who's it by ?

    Can't wait...silk sounding,powerful and appropriate time.

    Thx a lot for posting this gem by JSB.

    P.S.did Nigel Kennedy record it ?

  • Hi indigoblue555,

    Im not sure exactly who it is, as the CD case says that it could be either

    Rainer Kussmaul

    Henk Rubingh or

    Thomas Hengelbrock

    If the cd case is in repective order of track and order of violinist then it muct be Thomas Hengelbrock.

    Its not Nigel Kennedy. I am wondering if he has not done this one yet because this version is so damn good??

    But if he did I think it would be explosive! I look forward to that very day! I love this piece! its incre3dible!

    Thanks for posting.

  • HI audioglass! thx for info -

    superb rendition on my personal taste -

    I've got several recordings but this one sounds heavenly to me.

    Great choice audioglass.Cheers|

  • Nigel Kennedy has done this. I have the recording, burned onto a memorex CD. I got it from a friend at school. I have the recording at v0 quality, i'm sure the flac is out there somewhere.

  • to JohnWittle- thx.for info -

    I guess Kennedy's rendition can match the ones posted to YT - abs.brilliant -.

  • Originally for violin and string orch.-

    what a beauty - chills =

  • Lol, this is exactly the same version i have on my cd xD

    Im pretty sure about that xD

  • Pure beauty!!! Congrats! This is a wonderful tribute to Bach!!!

  • Thanks. This tune is unbelievable to me. I cant begin to worship it enough!!

  • I know exactly what you mean and feel! Brilliant beyond words!!!

  • parfait! merci pour cette video!

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