J. S. Bach: Prelude and Fugue in Eb Major BWV 552 | Bálint Karosi | Richards & Fowkes Op. 5

[@alessandroperucca6011]

Bravissimo e grazie ! Chiunque interpreti il Sommo con questo rigore e questa disciplina, riesce a ricomporre l’integrità e la bellezza della nostra vita interiore che spesso, purtroppo, tende a disgregarsi. ❤️

[@arnoldramming7491]

Thank you for all of your videos, but especially the ones of JS Bach's music. I'm a second career church organist; 35 years as a civil engineer, now living my pipe-dream job as a church organist. I recently challenged myself to play a JS Bach piece for my postlude each Sunday for one year. That started with First Sunday of Advent, Nov 29. Your videos give me ideas of new pieces for me to learn and how to better perform the pieces I already know. Thank you very much.

[@majathomi3021]

Immer schon habe ich mir gewünscht, Sie würden diese Bach-Werke einmal auf KZbin spielen...und heute darf ich diese wunderbare Musik zufällig er-leben. Ich danke Ihnen sehr herzlich.

[@Contrapunctus1984]

Man that double trill at the end

[@ESaboHowGravityWorks]

Bravo. Excellent.! And no page turner.... The next Biggs? Listened with headphones. Perfect stop selection. All clear separation, especially with pedal.

[@himmerod9117]

what a pleasure to hear the prelude not in an up-to-date-interpretation: as a french ouverture! this piece is an organ-prelude by Bach, inspired by the style of a french ouverture, that's a very great difference.

[@vedqiibyol]

In "up-to-date-interpretation" you mean, basic Plenum with very loud and ear piercing sets?

[@PfadiHH]

If there is joy and hope in music, it can be found here!

[@stevewallschlaeger1379]

Really appreciate your imtrrptetation and offering of Bachs St Anne prelude and fugue. Very nice job indeed.

[@freddyharvey2405]

My favourite Bach organ piece and you crushed it! Fab interpretation

[@幸子幸子幸子]

Hearing this music , slowly lifts me up ,thank you !!

[@ericwillson3328]

We should have this every minute of every period of time.

[@garywait3231]

An impressive performance on a spectacular new organ, well suited to the fireworks of this composition.

[@ChalieChaplin]

Outstanding performance!!!

[@jofido]

Listened to this performance several times. Wonderfully done. Thanks you so much.

[@williemoller5630]

What a lovely performance.

[@stevewallschlaeger1379]

Really nice treatment of this. Evenness energetic and measured intensity. Every bit a nice speed what a beautiful instrument

[@Jack.333]

Nice Job I like it From Cleveland, Ohio Thank You

[@Stella81360]

St. Anne !

[@Sathrandur]

Full points for the last page turn.

[@vulgivagu]

Amazing how the left hand camera view picture is slightly distorted on the bass notes. Not sure whether it is a light tripod or the sound waves are actually having an effect on the video camera.

[@g.k.failla9389]

Quite possible. (The Flentrop organ at the Catholic Cathedral here can make the building vibrate when at full power). From Chicago, U.S.A.

[@monsieurgrigny]

What can you say? Magnificent Balint!!

[@АлександрЯрков-ш2з]

Bravo bravo bravo super super super wow wow wow

[@lucaciotti7850]

Meravigliosa

[@matts.3761]

I love the chord at 4:18 with the temperament.

[@vedqiibyol]

Would like to hear it, maybe also play this on Prelude on the new organ of Chartres when it will be done!

[@charlessiegler6303]

Excellent performance as always. Well played Balint 👍. When is your next organ demo? Can’t wait to see what’s next.

[@danburns79]

Fantastic!

[@tubeohamba-tube3139]

hello ~~~ nice meet u look so good 👍👍

[@KaCzMaRiXDee93]

Świetnie zagrane :)

[@KravchenkoAudioPerth]

Great performance Balint! Nice registration. It served the lines of music not an concept or abstract idea you attempted to force. The tonal balance was pleasing to listen to. Your pace kept the prelude and the fugue growing organically. Not a monster organ. But a nicely thought out instrument. And I got camera shaking reeds! made me smile! thanks for your hard work in the performance. It is not an easy piece. Thanks for sharing it!

[@Sathrandur]

Far too many organs lack a 16' reed in the pedal. They add thunder and excitement and power and awe. I don't think an organ can be tonally complete without pedal reeds, although I do appreciate the situation of many smaller instruments. But surely if there is room for fifteen stops there should be room for a trumpet on one of the manuals and a 16' reed on the pedal, even if the resonators are half-length.

[@jozsefmakai9194]

Nagyszerű!Köszönöm Szépen!

[@grahaml6668]

It's a pleasure to see you not jumping among the keyboards at every change in mood of this piece. Well done. Be nice if the organ had a more reverberant room to play into!

[@g.k.failla9389]

Am I mistaken, or does that organ sometimes sound like a harpsichord? A very powerful one. Fascinating. Added note on 4/30/22: After hearing him play the pedal clavichord, I now why I "heard a harpsichord". From Chicago. U.S.A.

[@stephenmyers7298]

Great performance. I didn't know Harry Potter played the organ...

[@Nicolas-zb9uw]

What do you want , magic is magic !

[@bifeldman]

What a treat.

[@charlottewhyte9804]

prefer the Gillian Weir version ,try it ,it,s very good too

[@geiryvindeskeland7208]

Charlotte Whyte, be nice to Balint Karosi. He belongs to the HIP-performers who make attempts to bring this old music closer to the original style. Gillian Weir together with all too many others don't care for restoring.

[@cliveso]

I'd like to hear your views on the interpretation of the slurs over the dotted rhythm figures in the Prelude. In my view, the slurs do not necessarily imply legato, so various degrees of detachedness are possible. But I don't think shortening the dotted quavers by effectively inserting a semiquaver rest is the intention (so you get something approaching Dvorak's Humoresque). This seems also very un-French for French Overture type writing.

[@bkarosi]

Couperin le Grand that is what I did in my previous recordings. I made this recording as to see and hear what if I play those slurs quite literally.

[@bobh5087]

A wonderful rendition. But why no 8' Principal in the Pedal registration?... 🤔 C'est curieux.... I prefer to use Flutes 8' 4' 1' in the (uncoupled) Positiv sections, just for contrast and to give everyone's ears a "breather" from the GT Mixture stop. Mais c'est une question de préférence.... I add the 32' Kontraposaune on the final pedal entrance (at low A-flat) with the 8' & 16' manual Reeds + Great Scharff + Positiv & Swell full Plenums (16'-Mixtures) coupled to Great and Pedal. 💥

[@fiskfan1999]

If I may make a guess just using what I know about baroque-style organs, it is because the trumpet 8 in the pedal is loud enough on its own, so the Octave 8 is not needed, to save wind. Some times on baroque-style organs the reeds are strong enough in the fundamental (german-style baroque) that a principal of the same pitch would not change the sound.

[@latinscholar4]

William, I agree with your assessment of why no principal 8. It is not needed and would only overload the registration. I commented similarly in Mr. Karosi’s performance of The Toccata in F Major by Bach. Registrations for this present performance. Respectfully submitted, Ronald Davis

[@bobh5087]

@@latinscholar4 I disagree that the 8' Pedal Principal is not needed/unnecessary. And winding certainly wouldn't be a problem nowadays either. A Principal Chorus applies not only to the manual registrations but to the Pedal registration as well: Principals 16' 8' 4' + Mixture. Reeds (32' 16' 8' 4') add much aural punch and "spice" of course, but they would never replace the essential and necessary Principal Chorus foundational tone. I think Mr. Karosi is misguided in this regard - and I occasionally don't care for his sometimes quirky and unsettling registration choices.... although he's a consummate performer and improvisor.

[@geiryvindeskeland7208]

Bob H, I am sorry for my inadequate English. I believe that Mr. Balint Karosi belongs to the H.I.P. musicans. Bob H, quote: "I add the 32' Kontraposaune on the final pedal entrance(at low A-flat)....." The low A-flat that Bach wrote is "wrong", it should be a B-flat. The listeners expected a B-flat, so the A-flat instead was a big surprise to the public, no need to add anything.

[@geiryvindeskeland7208]

Bob H, quote: "And winding certainly wouldn't be a problem nowadays either." I think that Mr. Karosi belongs to the HIP-musicans. If so, he can not think "nowadays" i need to ask what was possible in Bach's own lifetime.

[@TurtleFL]

When was the swell added?

[@henryharesdene4164]

Lovely delivery - BUT (and this applies to many performances) - when you have an instrument with the ability to change the 'colour' of the registration - why ot do so?? (probably because it's difficult to change in flight... However, with three manuals and pistons you can do what you like (in theory)...

[@williemoller5630]

Can you do it better? I do not find your name on KZbin with the organ piece!

[@geiryvindeskeland7208]

Henry Haresdene, I am sorry for my inadequate English. I believe that Mr. Balint Karosi belongs to the HIP-musicans. They make attempts to bring the music closer to the original style, and he is welcome to do so, because they are not too many.