esecuzione professionale molto vitale di un organista che conosce tutto dell'organo e del modo di eseguire la musica barocca per organo. Bravissimo a Ton Kopman.
@@Kugelblitz2007 That link no longer works. Unfortunately, CZcams ate my post when I tried to post an alternative link, but if you google for "organ in St. Jakobi in Lübeck", a valid page for this will come up as one of the first results.
Pues es que es una decoración hasta cierto punto habitual me parece. Igual creo que el organo de Tlacochahuaya en Oaxaca también esta decorado similarmente.
If i am not mistaken they are only letfovers from an old organ which does not exist any more in the church of St Agustin in Morelia, Mexico. I was repairing the organ which they have now and this pipes are in some kind of side galery as part of an art collection.
Of course the play is very technical but I think it is against the fashion of organ playing a few centuries ago. The fashion was undoubtly the huge expression of very impressive music, not a exhibion of technical skills explored by the organist. This latter fashion is developed in the 19th century.
Den bisherigen Meinungen stimme ich nicht zu. Das zu schnelle Tempo verschmilzt zum Einheitsbrei. Bis der Hörer so richtig zum Genuss kommt, sind die 3 Teile schon durchgespielt und vorbei. Das ist sehr schade!
I like it but the chaconne if for me too fast. Ton Koopman is a great player . That he is...Ton Koopman is Ton Koopman. We know that Koopman chooses fast tempi, that is his right and anybody knows that the choice for this fast tempo by Koopman was not chosen in the 18th century. Koopman likes this fast tempi, nothing wrong with that.
@@RiccardoP1983 Well, the acoustics of a church (rather soupy in the Marienkirche), speech of pipes, and to a degree the action of an organ certainly are limiting factors for the tempi, regardless of 17th or 21st century. On the other hand, human boredom sets the lower bound :)
Ascoltando 3 anni dopo il primo commento, mi pare troppo veloce il modo di suonare la fuga e del preludio non gradisco quella registrazione così borgatara( come si dice a Roma quando c'è troppa confusione). Inoltre l'eccessiva velocità cancella ciò che un organista diplomato potrebbe ascoltare di interessante perché manca la declamazione. Lascio supporre cosa non potrà percepire chi non è organista concertista ma anche se fosse violinista o pianista.
Dieterich Buxtehude (en allemand : [ˈdiːtəʁɪç bʊkstəˈhuːdə]. né vers 1637 à Helsingborg ou Buxtehude ou Oldesloe et mort le 9 mai 1707 à Lübeck, est un musicien, organiste et compositeur allemand d'ascendance danoise. Établi à Lübeck, l'une des villes les plus actives sur le plan musical en son temps, il compose pour la liturgie, mais aussi pour des concerts spirituels ou profanes plaisant au public local, notamment les Abendmusiken, veillées musicales de l'Avent dont il fait une institution qui se perpétue jusqu'au xixe siècle. L'un des musiciens les plus reconnus en son temps, il entretient de fructueuses amitiés musicales, comme avec Johann Adam Reinken, et attire de nombreux élèves parmi lesquels on compte Nicolaus Bruhns et sans doute Jean-Sébastien Bach. Son œuvre, dont une partie importante nous est parvenue, compte parmi les plus riches d'Allemagne pour la génération située après Sweelinck et Schütz et avant Bach, avec celles de Reinken et de Pachelbel. Cette œuvre est devenue un classique du répertoire d'orgue. En ce qui concerne les nombreuses pièces de musique vocale, elles ont commencé à retrouver la faveur des interprètes et du public autour des années 1970, grâce, notamment, aux recherches effectuées autour de la musique baroque, dans les années 1960-1970 et avant, par les musicologues et les interprètes de ces périodes aussi bien qu'actuellement.
Qui è tutto straordinario: musica, strumento, interprete, acustica... 🎼🎵🎶
🍀🍀🍀🍀🍀
God is glorified in the heavenly music of Buxtehude! Wonderful piece of music!!!!!!!!!!!!
witziger Schluss! mit dem überraschenden etwas leiseren Ton nach der Tirade! Gefällt mir sehr!
One of music unsung heroes.
Buxtehude, Gott hab ihn selig. Exzellent, Ton Koopman, exzellent. Vielen Dank.
Sometimes Ton Koopman just goes full genius... This is one of those occasions ;)
esecuzione professionale molto vitale di un organista che conosce tutto dell'organo e del modo di eseguire la musica barocca per organo.
Bravissimo a Ton Kopman.
The high pitch North German may be "thinner" but is sure robust on this instrument. Priceless Schnitgers. My heart sings.
OMG! This is Ton Koopman at his best! What an incredible musicianship, always surprising an above al: NEVER mainstream! Love It!
Mesmerizing .
I can see why Bach admired Buxtehude..
The artwork on the pipes looks almost as if somebody was anticipating the Nutcracker . . . .
Koopman is a genius but the modified meantone is a wonderful for this music too. The same music on the equal temperament would be dead.
I fear no man, but that pipe
*Sounds first bar from BuxWV 137*
It scares me
Bravo bravo bravo brilliance grandiose fantastic music
Бесподобный орган, бесподобная музыка, бесподобный исполнитель!
Thank you Ton Koopman! This is brilliant!
Very NICE Playing,Mr.Koopmann..Respekt!
Impresionante Ton Koopman
so fresh and saucy! love it!
Genial music
Excellent. Great fan of Buxtehude. Nice performance although a little fast for me.
Seems like symphony
Ein Hoch auf Matthias Dropa!
4:17 to end
Can I ask where the picture is taken? The pipes look stunning!
I'm not quite sure, but it looks like the big organ in St. Jakobi in Lübeck (North Germany)
www.st-jakobi-luebeck.de/index.php/die-orgeln
@@Kugelblitz2007 That link no longer works. Unfortunately, CZcams ate my post when I tried to post an alternative link, but if you google for "organ in St. Jakobi in Lübeck", a valid page for this will come up as one of the first results.
Is it weird that the pipes look like Buxtehude?
Esos tubo estan en Exposicion en la iglesia de San Agustin en Morelia no?
Sì
Pues es que es una decoración hasta cierto punto habitual me parece. Igual creo que el organo de Tlacochahuaya en Oaxaca también esta decorado similarmente.
Can you tell me where is the organ in the picture? Is it the one ind the descryption?? ty
If i am not mistaken they are only letfovers from an old organ which does not exist any more in the church of St Agustin in Morelia, Mexico. I was repairing the organ which they have now and this pipes are in some kind of side galery as part of an art collection.
is grotesquerie a word?
Now that's just creepy.
Of course the play is very technical but I think it is against the fashion of organ playing a few centuries ago. The fashion was undoubtly the huge expression of very impressive music, not a exhibion of technical skills explored by the organist. This latter fashion is developed in the 19th century.
do you have any primary sources in mind?
Den bisherigen Meinungen stimme ich nicht zu. Das zu schnelle Tempo verschmilzt zum Einheitsbrei.
Bis der Hörer so richtig zum Genuss kommt, sind die 3 Teile schon durchgespielt und vorbei. Das ist sehr schade!
I like it but the chaconne if for me too fast. Ton Koopman is a great player . That he is...Ton Koopman is Ton Koopman. We know that Koopman chooses fast tempi, that is his right and anybody knows that the choice for this fast tempo by Koopman was not chosen in the 18th century. Koopman likes this fast tempi, nothing wrong with that.
Too fast compared with what? Certain not with tempos in Buxtehude's era.
@@RiccardoP1983 Well, the acoustics of a church (rather soupy in the Marienkirche), speech of pipes, and to a degree the action of an organ certainly are limiting factors for the tempi, regardless of 17th or 21st century. On the other hand, human boredom sets the lower bound :)
Ascoltando 3 anni dopo il primo commento, mi pare troppo veloce il modo di suonare la fuga e del preludio non gradisco quella registrazione così borgatara( come si dice a Roma quando c'è troppa confusione). Inoltre l'eccessiva velocità cancella ciò che un organista diplomato potrebbe ascoltare di interessante perché manca la declamazione.
Lascio supporre cosa non potrà percepire chi non è organista concertista ma anche se fosse violinista o pianista.
È il modo di suonare di Ton Koopman, solo che pur tenendo una certa velocità riesce a sostenerla perfettamente.
@@cromorno8749 Tanto di cappello alla tecnica ma, francamente, mi pare un modo di suonare piuttosto isterico.
@@alessandromanni9218 eh, più di qualcuno dice così, ma più che isterica, personalmente, la vedo come vitale
@@alessandromanni9218 ad ogni modo maestro, congratulazioni per il suo curriculum, ammirabile!
影片
Dieterich Buxtehude (en allemand : [ˈdiːtəʁɪç bʊkstəˈhuːdə]. né vers 1637 à Helsingborg ou Buxtehude ou Oldesloe et mort le 9 mai 1707 à Lübeck, est un musicien, organiste et compositeur allemand d'ascendance danoise. Établi à Lübeck, l'une des villes les plus actives sur le plan musical en son temps, il compose pour la liturgie, mais aussi pour des concerts spirituels ou profanes plaisant au public local, notamment les Abendmusiken, veillées musicales de l'Avent dont il fait une institution qui se perpétue jusqu'au xixe siècle.
L'un des musiciens les plus reconnus en son temps, il entretient de fructueuses amitiés musicales, comme avec Johann Adam Reinken, et attire de nombreux élèves parmi lesquels on compte Nicolaus Bruhns et sans doute Jean-Sébastien Bach. Son œuvre, dont une partie importante nous est parvenue, compte parmi les plus riches d'Allemagne pour la génération située après Sweelinck et Schütz et avant Bach, avec celles de Reinken et de Pachelbel. Cette œuvre est devenue un classique du répertoire d'orgue. En ce qui concerne les nombreuses pièces de musique vocale, elles ont commencé à retrouver la faveur des interprètes et du public autour des années 1970, grâce, notamment, aux recherches effectuées autour de la musique baroque, dans les années 1960-1970 et avant, par les musicologues et les interprètes de ces périodes aussi bien qu'actuellement.