I've always loved the double violin concerto - it is the score for Concerto Barocco, which was my favorite ballet to perform. I somehow hadn't heard the second movement reworked for harpsichord - loved that bit you sampled with the "plinky" harpsichord notes over the held strings. The sweet and retiring harpsichord continuo in the violin version of the 2nd was always so moving to me, underneath the intertwining violins -- here's a bit of what is (I think) an especially slow version, danced by Paris Opera Ballet -- the footwork is clean and you can see where the choreographer really played with the continuo rhythm.
Again, thank you for encouraging me to listen to these! I've known the oboe and violin version of 1060 for many years now; incredible piece. I think that version "works" much better, especially in the slow movement where the oboe lends 'cantabile' qualities. 1062, likewise, I've known for many years as 1043. As a matter of fact, I believe it was one of the first pieces (by Bach or anyone) I encountered when I first started listening to classical music about 10 years ago. It remains one of my favorites by him, especially the iconic Largo. 1063 was a hidden gem for me. I've never heard it and really enjoyed it. That 3rd movement intro reminds me a little of the gavotte from orchestral suite 4 (can't wait to read your write-up on those). And last but not least, the unbelievable 1065. Might I mention the piece "after" which this was written is my favorite Vivaldi piece? That initial theme is addictive and irresistible. I wonder if Bach thought: original concerto, 4 violins = transcription, 4 harpsichords? In any case, I really love both versions.
I have CDs from secondhand stores to thank for most of my introductions. I picked up a couple called "Best of Baroque Music" and "Famous Baroque Concertos" for starters. From there, I went into Bach, Vivaldi, Handel, Albinoni, Corelli, etc. I also picked up one called "Great Symphonies" featuring: Tchaikovsky's 6th; Mozart's 'Jupiter'; Haydn's 'Surprise'; Schumann's 'Spring'; Beethoven's 9th (2nd movement); and Dvorak's 'New World'. What a selection!
PS RE 4-hand piano music - I award a special spot to Schubert's F (F#?) minor fantasia written for Caroline Esterhazy and himself.
Gah, I loved the concertos for three and four harpsichords as a teenager, I think because it’s just such a grand visual imagining four keyboards at the center of an orchestra. Now, I can’t imagine choosing to sit down and listen to these concertos over his other works. 🤣
There’s plenty of things I loved in high school that no longer resonate — mostly the more big and flashy stuff (Emerson Lake and Palmer is the first thing that comes to mind…)
As usual he brings out hidden notes and harmonies long lost for simple listeners like me. I had also heard them around a trillion times in harpsichord and of course violin. Bach can be more Italian than Italy when he wants.
These recordings will be new to me. Thanks for sharing. Throughout this project I’ve seen how idiosyncratic many of Goulds choices are — not bad, just really unusual.
Well, firstly, Gould was always obsessed with fugues since a little child, to the extent that he considered the preludes and toccatas a little trivial and...childish. So I think his perspective has always been to try and show us the hidden melody lines in the fugues, possibly sacrificing elegance or beautiful tempo. But he always did it with utmost respect to the music itself. I am 100% sure Bach would be totally delighted to hear these, sometimes bizarre-sometimes lovely, interpretations. I think David Fray has my most favourite versions of the piano concertos, combining surprising tempi, lovely way of accentuating phrases but also finding a way to gouldily separate the voices. I think the technique for this is to use rather different strength in each finger, which is just enormously hard and really impressive-even in guitar.
I've always loved the double violin concerto - it is the score for Concerto Barocco, which was my favorite ballet to perform. I somehow hadn't heard the second movement reworked for harpsichord - loved that bit you sampled with the "plinky" harpsichord notes over the held strings. The sweet and retiring harpsichord continuo in the violin version of the 2nd was always so moving to me, underneath the intertwining violins -- here's a bit of what is (I think) an especially slow version, danced by Paris Opera Ballet -- the footwork is clean and you can see where the choreographer really played with the continuo rhythm.
https://www.youtube.com/watch?v=mSpb75mZHcA
Will check this out shortly!
Again, thank you for encouraging me to listen to these! I've known the oboe and violin version of 1060 for many years now; incredible piece. I think that version "works" much better, especially in the slow movement where the oboe lends 'cantabile' qualities. 1062, likewise, I've known for many years as 1043. As a matter of fact, I believe it was one of the first pieces (by Bach or anyone) I encountered when I first started listening to classical music about 10 years ago. It remains one of my favorites by him, especially the iconic Largo. 1063 was a hidden gem for me. I've never heard it and really enjoyed it. That 3rd movement intro reminds me a little of the gavotte from orchestral suite 4 (can't wait to read your write-up on those). And last but not least, the unbelievable 1065. Might I mention the piece "after" which this was written is my favorite Vivaldi piece? That initial theme is addictive and irresistible. I wonder if Bach thought: original concerto, 4 violins = transcription, 4 harpsichords? In any case, I really love both versions.
Yeah there must have been some deliberate choice in Bachs instrumentation after Vivaldi.
You picked some great gateway pieces, and it makes sense that those led you to keep exploring deeper into Bachs catalog and others’ too.
I have CDs from secondhand stores to thank for most of my introductions. I picked up a couple called "Best of Baroque Music" and "Famous Baroque Concertos" for starters. From there, I went into Bach, Vivaldi, Handel, Albinoni, Corelli, etc. I also picked up one called "Great Symphonies" featuring: Tchaikovsky's 6th; Mozart's 'Jupiter'; Haydn's 'Surprise'; Schumann's 'Spring'; Beethoven's 9th (2nd movement); and Dvorak's 'New World'. What a selection!
PS RE 4-hand piano music - I award a special spot to Schubert's F (F#?) minor fantasia written for Caroline Esterhazy and himself.
Gah, I loved the concertos for three and four harpsichords as a teenager, I think because it’s just such a grand visual imagining four keyboards at the center of an orchestra. Now, I can’t imagine choosing to sit down and listen to these concertos over his other works. 🤣
There’s plenty of things I loved in high school that no longer resonate — mostly the more big and flashy stuff (Emerson Lake and Palmer is the first thing that comes to mind…)
I love this (annoyingly not well known) live recording of Glenn Gould
Bach - The Keyboard Concertos / Presentation + New Mastering (Century's recording : Glenn Gould)
https://www.youtube.com/watch?v=VhWyP0YNwGU
As usual he brings out hidden notes and harmonies long lost for simple listeners like me. I had also heard them around a trillion times in harpsichord and of course violin. Bach can be more Italian than Italy when he wants.
These recordings will be new to me. Thanks for sharing. Throughout this project I’ve seen how idiosyncratic many of Goulds choices are — not bad, just really unusual.
Well, firstly, Gould was always obsessed with fugues since a little child, to the extent that he considered the preludes and toccatas a little trivial and...childish. So I think his perspective has always been to try and show us the hidden melody lines in the fugues, possibly sacrificing elegance or beautiful tempo. But he always did it with utmost respect to the music itself. I am 100% sure Bach would be totally delighted to hear these, sometimes bizarre-sometimes lovely, interpretations. I think David Fray has my most favourite versions of the piano concertos, combining surprising tempi, lovely way of accentuating phrases but also finding a way to gouldily separate the voices. I think the technique for this is to use rather different strength in each finger, which is just enormously hard and really impressive-even in guitar.