J.S. Bach. BWV 542. Ton Koopman plays Fantasia and Fugue in G minor. Waalse Kerk.

J.S. Bach. Fantasia and Fugue in G minor. BWV 542. Waalse Kerk in Amsterdam. Ton Koopman at the Christian Müller Organ (1734).

Category:

Music

Tags:

• JS
• Bach
• BWV
• 542
• Fantasia
• and
• Fugue
• in
• G-minor
• Ton
• Koopman
• Waalse
• Kerk
• Amsterdam
• Orgue
• Christian
• Müller
• Organ
• Orgel.
• Organo
• Kerkorgel

[alipitogen]

Koopman presses the last drop of tension out of the prelude here. I have so little heard those suspensions brought to their fullest hair-tearing 'seeringness' that I'm inventing words. Did Bach write write this fugue so that no organist could attack it at a proper speed without losing control however slightly?I have yet to hear it played at this proper pace without the sensation somewhere of a line not quite finished before the next has to begin. Could Bach do it? Thrilling performance.

[sotiris0171]

Incredible virtuosity but I would prefer some parts in the fantasia played on a softer stops combination (positief). However, this is a very original approach and not the standard Walcha imitation like almost everybody does.

The fuga is extremely well done but I cannot help headbanging at 1/8 beat, so it is bit jumpy, or "hakkerig" as we would say in the Netherlands. The ornaments are some times "too much" but they certainly are strategically placed. In conclusion, 95/100

[fossosejore]

Ammiro la grande tecnica di Koopman ma non le sue interpretazioni. Personalmente ritengo che sia la peggior versione del 542 che abbia mai sentito

[aalbert2603]

razend knap gespeeld,

maar ik wordt er gek van, sorry

[paradoxicus]

¡Impresionante!.Reconozco mi debilidad por H.Walcha.

[trabalhosmanuais]

@sotiris0171 baroque music need to be filled with ornaments... the baroque is that... fill empty places! in the music fill longer notes!

[sotiris0171]

@alipitogen Dear alipitogen, I agree with you. Maybe I am a bit too technocratic in music and probably I believe too much that by keeping a reasonable tempo while accentuating the structure will automatically lead to a perfect performance. It is obvious that we need some suspense and virtuosity but it is so difficult to keep things under control. So I have lipitero DNA, insufficient to integrate emotions and math into a single action.

[alipitogen]

@sotiris0171 I agree with you about the fugue. At that tempo there nearly isn't room for the decoration . At so many moments it seems to have to get out of the way. But I have to say I love when someone makes it edgy even if accuracy suffers for the sake of getting us on the edge of our seats. It reminds me of a couple of Lazar Berman "Appassionata" recordings that I have heard. Some musicians have that unpredictable quality and I think they are often more loved because of it .

[gerazio1]

@leonboelmann

Da Pavarotti a Virgil Fox, sono in molti ad aver sacrificato un po' di aulica purezza per contribuire allo spettacolo e iniziare molti ad amare una musica che diversamente non conoscerebbero mai.

[organ67]

Il tuo commento sembra quello dei consigli delle chiese dove per cui Bach lavorava!.. Quando nessuno capiva le audacità della sua fantasia... Poi, piaccia o no... Koopman ti da una carica di energia e ti trasmette quello che in genere gli altri non fanno.

[organ67]

@leonboelmann

Interessante il tuo commento. Potresti postare una tua interpretazione?