J. S. Bach: Ricercar a 6 from the Musical Offering BWV 1079 Silbermann Organ Freiberg Balint Karosi

[@WMAlbers1]

It must be a life-enriching experience to be able to play on all those historical organs.

[@OCCA]

lovely

[@mikefitzpatrick1213]

Thanks for this, BK. Love those Silbermann organs! 👍

[@charlessiegler6303]

I was wondering when we’re going to hear the Silbermann again. It still sounds amazing!

[@handavid6421]

thank you.

[@limitstoprogress]

Thank you, Balint, superb performance! This sounds like meantone, very nice!

[@LorenzoFiorio]

Damn, I never noticed that from around 2:10 to 3:00 it sounds almost exactly the same as BWV 572 Fantasia in G Major's 2nd mvt. I mean, you can always excuse Bach ripping off himself as he is the greatest and that Fantasia particularly is divine :)

[@jwyatt631]

Wonderful. Great music played by a master on a fine instrument.

[@KravchenkoAudioPerth]

This never gets old. Well done ! Mark

[@indemidova]

Bravo!

[@Incredible_Piano]

Amazing🎉

[@bkarosi]

Thanks 😄

[@NorbiBerlin]

Vielen Dank für das großartige Spiel dieses besonderen Orgelstücks, das auch so einen fantastischen Schluss hat, dass es mich immer wieder ergreift. Und auch sehr schön und mit Abwechslung registriert und die Manuale gewechselt, einfach große Klasse, ich bin begeistert🤗🤗🤗. Weiterhin viel Freude und alles Gute🍀🙏 mit den besten Grüßen aus Berlin🙋🏻‍♂️😊

[@fburton8]

Incidentally... your video was timely for me as I very recently watched the Gresham College lecture by Milton Mermikides on "The Divine Trickery of J.S. Bach" in which he talked about the Musical Offering.

[@fburton8]

Magnificent!

[@jozsefmakai9194]

KÖSZÖNÖM SZÉPEN!

[@antoninopirrone2541]

❤❤❤

[@thelittlestorylady2980]

❤😊

[@noemiserra3366]

Quants records... milyen templom az?

[@tonysouter8095]

It doesn't work harmonically when there's a 16-foot stop on the manuals: that causes tenor II to go beneath the bass on about six occasions, destroying the real bass line.

[@bkarosi]

In this composition with six parts, the two lower voices often cross. Moreover, the piece is designed to be playable manualiter. Playing passages with the pedal is entirely up to the performer. Your comment does not make sense for the above reasons, and also because of the fact that my choice of the Posaune in the pedal has more 16' definition than the manual 16' bourdon.

[@tonysouter8095]

@@bkarosi "In this composition with six parts, the two lower voices often cross." Exactly my point. When they do cross, tenor II becomes the new bass line: it wrecks the harmony. "the piece is designed to be playable manualiter." Um, your source for that? [But logic would do.] "my choice of the Posaune in the pedal has more 16' definition than the manual 16' bourdon". Try it without 16' on the manual, and WITH 16' on the pedals. It's the only way to preserve the acoustical (real) bass line throughout. Take bar 71, for example (one of about five instances): with 16' on every part, your real bass line is Ab-F-Ab: yuck-it's directionless; with 16' only on the pedals, your bass line is a long Ab-intended. Try without the mud on the manuals and you'll see the difference. Apart from all of this, with six parts the lower voices crowd each other in some places: a 16' is most unsuitable for this.

[@bkarosi]

it is a manualiter piece. I also play it on the harpsichord. All six voices on a 16' is fine!😂

[@tonysouter8095]

@@bkarosi Your source for your opening claim? It won't work unless the bass line has a 16' and no other part has a 16'. You haven't responded to my points about bar 71.

[@bkarosi]

@@tonysouter8095kzbin.info/www/bejne/nJvbfKxppbVnZ9ksi=u0hQGE1xBywfrlyD

[@Carlos-t5v5g]

Would love to hear it played on that pedal clavichord