I'm really sorry, but this is a rather terrible and depressing rendering I'm afraid; actually even not an interpretation at all, more or less just notes without any articulation, form, shape or structure :-( and without much direction. Either everything legato, or quite ridiculously short. This doesn't have to do much or even anything with Bach :-/ Please have a listen to contemporary harpsichordists on period instruments ;-) Expand your frame of reference, give it a try: enjoy some refined Bach on beautifully sounding instruments... :-)
@Cervello Liquido true, nobody sounds like him... perhaps that could be a sign as well? I would be curious to read about qualities you attribute to him as a harpsichordist. Personally I just hear a mathematical performance without much understanding of the music,but I would be interested to hear counter-arguments.
DR. Richter was not only a fine conductor but he was alo a great interpreter of many baroque and classical composers. Furthermore, he was a tremendously talented keyboardist as these CZcams videos demonstrate.
Absolutamente maravilloso !....después de escuchar esto, el mundo ya no parece un lugar tan horrible. Bach siempre nos rescata !. Gracias por compartir. Saludos desde Uruguay.
Una pacatezza di gesti davvero impressionante, pare che Karl Richter diventi inseparabile dalla musica che eseguisce. Le emozioni paiono sussistere solo nella sua mente, ma quante emozioni sprigionano dalle sue dita! La migliore esecuzione di questa meravigliosa partita! Richter sa parlare all'anima, non come tanti pianisti che vogliono essere brillanti a tutti i costi, anche quando la natura della musica non lo vuole o certi clavicembalisti che pur suonando su strumenti migliori di questo cembalo anni Sessanta riducono quello che suonano a un pietoso piattume senz'anima.
Karl Richter was duribg his time one of the greatest Bach interpreters alive. After all, he played for a time at Leipzig Thomas Kirche as a child organ prodigy, so he was a natural inheritor of Bach spirit. His music was faithful to the score, letting expression flow from the music, not trying to impose an expression onto the music. His knowledge of Bach production was impressive. Why could anyone have any doubt regarding his significance? My hypothesis is three pronged. First, he was a leading Bach interpreter during his initial career. He gave concerts of.most of the great Bach works, offering clear, definite views of an up to then only partially understood composer. His renderings of the Passions, the B mass, and the brandenburgers were eye opening. The problem was he became involved in an evolution and rivalry among the "original instrumentalists" such as Harnoncourt and "Traditionalist German symphonic conductors" (Klemperer at al.). Richter was neither. He was a profoundly respectful admirer of Bach and his interpretations were extremely respectful of the scores. He let the music flow and emerge from the notes, the way Bach did. In this sense, Richter was a leader and has become in my opinion more modern that many of his detractors. Richter is outside of controversies. His recent 100 cd box is a demonstration of his enormous contribution to Bach understanding. He is above the fray., My second hypothesis is that he became trapped in Germany's history (1927-1981). He could not be excepted of the conflicts and historical upheavals of his time. The third explanation is perhaps his rigidity and serious appearance. He was characterized as "stony" or "marmoreal". He conducted by indicating the tempo, adding no expressivity or dancing with his body movements. This third characteristic I admire particularly.
I want to precise some facts about KR biography: as a child he studied in Freiberg (where he could practice on the wonderful Silbermann organ in the Cathedral) and Dresden, at the Kreuzgymnasium, where he became a member of the famous Kreuzchor. After passing his final exams at the State Academy of Music in Leipzig, in 1949 he was appointed Thomas organist at the Thomas Kirche where Bach was Kantor for 30 years. In 1951 he fled his native Saxony and the DDR for always, starting a new, brilliant career in Munich.
@@annamcancarini6953 Grazie mille. Your comment was most illuminating. I always suspected a political conflict underlying the very adversarial opinions regarding Karl Richter. The fact that he rejected the system and fled from the DDR explain a lot.
A question: Was Karl Richter the best Bach interpreter ever? Another question: Is Richter equally excellent in the clavicembalo, the organ, and the full orchestra and double choirs of St Matthew Passion? I tend to answer affirmatively, but it would be nice to hear from other Bach addicts.
How about you take a look at Sviatoslav Richter playing the well-tempered klavier. That is quite extraordinary. Or perhaps, Rosalyn Tureck? Do not underestimate Glenn Gould either. Or, depending on your taste, Gustav Leonhardt - if you can appreciate the rubato. But to return to the first: Sviatoslav. Now that's really something, imho. I think that's the best I've ever heard.. Keep coming back to him. But yes, this Karl Richter is very good as well. His organ Pasacaglia.. Wow ;-)
@@danielbeetsma6118 You are quite right. You may also add Tatiana Nikolayeva as top interpreter of Goldbergs. Even Arrau had an excellent rendering during 1952. My point was that Richter was also tops in organ, and conducting cantatas and the biggies, the Mass and the Passions.Thanks for your comment.
Every artist interprets according to his personality and personal understanding. I happen to like Richter and glad to enjoy rather than bemoan his interpretive skills.
Един безспорно голям познавач на Бах и неговата музика. Велик изпълнител на клавесин и орган, а също така и всепризнат диригент. За жалост напуска замния си път твърде млад(15.10.1926-15.02.1981). Светла му памет!
In my little life, born on the 15th of August 1965, now 57, i was very lucky to be able to listen to any kinds of music from great artists : rock, pop, reggae, funk, international variety and crooners, french variety (i was born a froggy), punk, hard rock, blues, mambo, Jazz, African music, Morna and Foro from Cape Verde, Italian variety and classical, Andalousian classical and pop Spanish songs, American Indian music, Indy traditional and modern, Brazilian Bossa and Samba to traditional Fado from Portugal, Gregorian, Irissh Celtic Gaellic, Japanese traditional, Ravel , Debussy, Rameau, Royer, Scarlatti, ... anything ... you name it ... One thing i can understand now : this is all of the music coming from Nature/God/Creator of this universe. This is All Love ♥ czcams.com/video/eJ4naGDkNSY/video.html
Too fast! The Sarabande is just right though because he slows down a fraction. Of course the harpsichord can and should be played faster than the piano, which Bach never knew, but even so, contrast between the dance movements is still important. The Menuet e.g. follows on from the Sarabande; which should be slower (?) not forgetting that the Gigue is obviously last and fast?
I love his playing, but to me at least, the music suffers due to the revival harpsichord. I prefer exact or near copies of originals, but yes, I do know that these were very popular. Nonetheless... it seems like a shame to me.
'Revival' harpsichords are even more colorful, lively and delicate (because they are not recorded with the mics attached to the plucking mechanism). While some harpsichords sound beautifully, they are most often recorded so that you hear extremely distinctly the plucking mechanism which I find unnerving. And most often the performers use so much rubato, so many thrills that obscure the structure of Bach's music. Richter's Neupert model takes inspiration from German harpsichords but uses different materials and a far richer register which gives quite an orchestral sound. And you can appreciate it fully only on CD. I can't understand all the criticism that these instruments attract. I trust much more the performer than the sole instrument! At 11:30 you have a sound that is similar to the lute-harpsichords that Bach himself loved experimenting with. While in most recordings you have the same monotonous and irritatingly plucking sound over and over for the whole performance.
I like him a lot, and I am Bach. So that says something :D
K. Richter è stato uno dei più grandi interpreti di J. S. Bach. Fantastico.
Unforgettable Karl Richter, the best Bach's interpreter, we miss you, Maestro!
Ja, man kann kaum verstehen, das solche Künstler sterben!
I prefer Dinu Lipatti with Bach! :D
I'm really sorry, but this is a rather terrible and depressing rendering I'm afraid; actually even not an interpretation at all, more or less just notes without any articulation, form, shape or structure :-( and without much direction. Either everything legato, or quite ridiculously short. This doesn't have to do much or even anything with Bach :-/ Please have a listen to contemporary harpsichordists on period instruments ;-) Expand your frame of reference, give it a try: enjoy some refined Bach on beautifully sounding instruments... :-)
@Cervello Liquido is that a joke? 😀
@Cervello Liquido true, nobody sounds like him... perhaps that could be a sign as well? I would be curious to read about qualities you attribute to him as a harpsichordist. Personally I just hear a mathematical performance without much understanding of the music,but I would be interested to hear counter-arguments.
DR. Richter was not only a fine conductor but he was alo a great interpreter of many baroque and classical composers. Furthermore, he was a tremendously talented keyboardist as these CZcams videos demonstrate.
BWV 825
0:31 Prelude
1:52 Allemande
5:00 Courante
8:08 Sarabande
11:29 Menuet
13:45 Gigue
Thank you dude
演奏する姿も絵になって、気品に満ちて、輝いています。
The perfect architecture of the music brought to life by the perfection of the performance of it. An unmatched combination.
Wonderful! Glad his playing was shown.
perfection....
Karl, der Große!!!
Absolutamente maravilloso !....después de escuchar esto, el mundo ya no parece un lugar tan horrible. Bach siempre nos rescata !. Gracias por compartir. Saludos desde Uruguay.
素晴らしい❗素晴らしすぎて涙が出ます。もちろん嬉し涙です。本当に有り難うございます。
Una pacatezza di gesti davvero impressionante, pare che Karl Richter diventi inseparabile dalla musica che eseguisce. Le emozioni paiono sussistere solo nella sua mente, ma quante emozioni sprigionano dalle sue dita! La migliore esecuzione di questa meravigliosa partita! Richter sa parlare all'anima, non come tanti pianisti che vogliono essere brillanti a tutti i costi, anche quando la natura della musica non lo vuole o certi clavicembalisti che pur suonando su strumenti migliori di questo cembalo anni Sessanta riducono quello che suonano a un pietoso piattume senz'anima.
Anche quando dirigeva era impeccabile. Non solo un piacere per l'udito ma anche per la vista.
Great work,Mr.Richter!!!
Tears... Grazie maestro 😍
Karl Richter was duribg his time one of the greatest Bach interpreters alive. After all, he played for a time at Leipzig Thomas Kirche as a child organ prodigy, so he was a natural inheritor of Bach spirit. His music was faithful to the score, letting expression flow from the music, not trying to impose an expression onto the music. His knowledge of Bach production was impressive. Why could anyone have any doubt regarding his significance? My hypothesis is three pronged. First, he was a leading Bach interpreter during his initial career. He gave concerts of.most of the great Bach works, offering clear, definite views of an up to then only partially understood composer. His renderings of the Passions, the B mass, and the brandenburgers were eye opening. The problem was he became involved in an evolution and rivalry among the "original instrumentalists" such as Harnoncourt and "Traditionalist German symphonic conductors" (Klemperer at al.). Richter was neither. He was a profoundly respectful admirer of Bach and his interpretations were extremely respectful of the scores. He let the music flow and emerge from the notes, the way Bach did. In this sense, Richter was a leader and has become in my opinion more modern that many of his detractors. Richter is outside of controversies. His recent 100 cd box is a demonstration of his enormous contribution to Bach understanding. He is above the fray., My second hypothesis is that he became trapped in Germany's history (1927-1981). He could not be excepted of the conflicts and historical upheavals of his time. The third explanation is perhaps his rigidity and serious appearance. He was characterized as "stony" or "marmoreal". He conducted by indicating the tempo, adding no expressivity or dancing with his body movements. This third characteristic I admire particularly.
I want to precise some facts about KR biography: as a child he studied in Freiberg (where he could practice on the wonderful Silbermann organ in the Cathedral) and Dresden, at the Kreuzgymnasium, where he became a member of the famous Kreuzchor. After passing his final exams at the State Academy of Music in Leipzig, in 1949 he was appointed Thomas organist at the Thomas Kirche where Bach was Kantor for 30 years. In 1951 he fled his native Saxony and the DDR for always, starting a new, brilliant career in Munich.
@@annamcancarini6953 Grazie mille. Your comment was most illuminating. I always suspected a political conflict underlying the very adversarial opinions regarding Karl Richter. The fact that he rejected the system and fled from the DDR explain a lot.
素敵な曲。
Wunderbar.
Impresionante...
Karl Richter hace honor al más grande compositor de toda la Historia. Magistral.
¡ Oh ! qué poder omnímodo tiene este grandilocuente intérprete a la hora de desplegar todo el haz musical de divina belleza eterna.
I love his hair
I want see him with J.S. Bach wig.
@@LighthalzenSS :D
yes, the music is hidden in his hair
@@LighthalzenSS My barrister friend used to play with his wig on. V funny.
GRACIAS INFINITAS POR TAN BELLA MUSICA Y VIDEO!!
Il Maestro!
MARAVILLOSO..GRAN TESORO..GRAXIEEE!!!¡¡
genius
This is amazing!
Thank you!
A question: Was Karl Richter the best Bach interpreter ever? Another question: Is Richter equally excellent in the clavicembalo, the organ, and the full orchestra and double choirs of St Matthew Passion? I tend to answer affirmatively, but it would be nice to hear from other Bach addicts.
How about you take a look at Sviatoslav Richter playing the well-tempered klavier. That is quite extraordinary. Or perhaps, Rosalyn Tureck? Do not underestimate Glenn Gould either. Or, depending on your taste, Gustav Leonhardt - if you can appreciate the rubato. But to return to the first: Sviatoslav. Now that's really something, imho. I think that's the best I've ever heard.. Keep coming back to him. But yes, this Karl Richter is very good as well. His organ Pasacaglia.. Wow ;-)
@@danielbeetsma6118 You are quite right. You may also add Tatiana Nikolayeva as top interpreter of Goldbergs. Even Arrau had an excellent rendering during 1952. My point was that Richter was also tops in organ, and conducting cantatas and the biggies, the Mass and the Passions.Thanks for your comment.
Every artist interprets according to his personality and personal understanding. I happen to like Richter and glad to enjoy rather than bemoan his interpretive skills.
@@ruthanneschnell3364 I completely agree. Thanks for your comment.
@@danielbeetsma6118 I'm may be wrong, but didn't S. Richter play the Well-tempered Clavier on piano and not on harpsichord?
Един безспорно голям познавач на Бах и неговата музика. Велик изпълнител на клавесин и орган, а също така и всепризнат диригент. За жалост напуска замния си път твърде млад(15.10.1926-15.02.1981). Светла му памет!
Karl Richter was born to play Bach, and Bach's compositions were born to be played by Karl Richter.
No... luckily not...
O construtor desse cravo do vídeo foi mestre da mulher que me ensinou a construir cravos.
Eu queria um
Not to be rude or anything but I think he is not letting the music sink in in the sarabande by hurrying along everything.
Quanti maestroni sui commenti dopo chissà la realtà?
In my little life, born on the 15th of August 1965, now 57, i was very lucky to be able to listen to any kinds of music from great artists : rock, pop, reggae, funk, international variety and crooners, french variety (i was born a froggy), punk, hard rock, blues, mambo, Jazz, African music, Morna and Foro from Cape Verde, Italian variety and classical, Andalousian classical and pop Spanish songs, American Indian music, Indy traditional and modern, Brazilian Bossa and Samba to traditional Fado from Portugal, Gregorian, Irissh Celtic Gaellic, Japanese traditional, Ravel , Debussy, Rameau, Royer, Scarlatti, ... anything ... you name it ...
One thing i can understand now : this is all of the music coming from Nature/God/Creator of this universe.
This is All Love ♥
czcams.com/video/eJ4naGDkNSY/video.html
13:45 oh yes
Der er lidt barokmusik over dette stykke, men det lyder rigtig godt.......
Back in the '60s, I thought this was wonderful-- now I know better.
11:29 Menuet
11:30
Too fast! The Sarabande is just right though because he slows down a fraction. Of course the harpsichord can and should be played faster than the piano, which Bach never knew, but even so, contrast between the dance movements is still important. The Menuet e.g. follows on from the Sarabande; which should be slower (?) not forgetting that the Gigue is obviously last and fast?
Bizarre sound. Piano? Harpsichord? Pianochord? Harpsiano?
It's a harpsichord!
I love his playing, but to me at least, the music suffers due to the revival harpsichord. I prefer exact or near copies of originals, but yes, I do know that these were very popular. Nonetheless... it seems like a shame to me.
'Revival' harpsichords are even more colorful, lively and delicate (because they are not recorded with the mics attached to the plucking mechanism). While some harpsichords sound beautifully, they are most often recorded so that you hear extremely distinctly the plucking mechanism which I find unnerving. And most often the performers use so much rubato, so many thrills that obscure the structure of Bach's music. Richter's Neupert model takes inspiration from German harpsichords but uses different materials and a far richer register which gives quite an orchestral sound. And you can appreciate it fully only on CD.
I can't understand all the criticism that these instruments attract. I trust much more the performer than the sole instrument!
At 11:30 you have a sound that is similar to the lute-harpsichords that Bach himself loved experimenting with. While in most recordings you have the same monotonous and irritatingly plucking sound over and over for the whole performance.