Скачать с ютуб J.S. Bach: "Kommt, ihr Töchter" arr. for organ & performed by BSG at Methuen, 5/2010 в хорошем качестве

J.S. Bach: "Kommt, ihr Töchter" arr. for organ & performed by BSG at Methuen, 5/2010

I revere the opening chorus of the St. Matthew Passion (BWV 244) as the greatest movement ever composed by anyone. The faithful hearing it often credit it to God, who, in the person of Jesus, inspired almost all of Bach’s, work, particularly the Matthew Passion, which the late Craig Smith called the greatest achievement of all humanity. To attempt to describe either in this small space would be heresy; full 3-hour performances abound here. The depth, intensity, grandeur, and raw power of grief, lamentation, and redemption wrought through counterpoint and harmony in this movement alone defy our ability to imagine what a human being can conceive and execute. It transcends all music. I have known this movement for almost 60 years, over time so well that I could sit down at the organ and “play it” without score at will, as I do here. This is no small feat for a movement scored for two orchestras of strings and woodwinds, two mixed choruses, and a third of boy sopranos. And, like a jazz player, I do so slightly differently every time (but the bass never varies from Bach's—the key to understanding Baroque music!). As in all competent choral music, the text and message drive every note and gesture. A fine text and translation (by Pam Dellal) is here http://www.emmanuelmusic.org/notes_tr..., and my further notes and lauds (to the movement) here: https://bernardgreenberg.com/Scores/8... .) This arrangement is for three manuals and pedal. The resources of the magnificent 1862 Walcker “Boston Music Hall Organ” now in the Methuen Memorial Music Hall (http://www.mmmh.org) in Methuen, MA, are equal to and necessary for what I have wrought. The performance is from May, 2010, a concert I gave which was given to me as a 60th birthday present by my employer at the time, Basis Technology. My touchstone “Matthew” performance is that of 1959 of the late Mogens Wöldike. I have never encountered another attempt to render this on the organ, although I was once told that Felix Mendelssohn, with whom I share much, once did so. There is no PDF available, largely because I “fake” the antiphonal-orchestra arpeggio/pizzicato section at “All’ Sünd’ hast du getragen” differently every time. This is not Baroque organ music, but the greatest Baroque chorus played on a high-Romantic organ in a Romantic manner. Jim Allard was responsible for recording at Methuen. Despite my fluffs and dysfunctional internal metronome, this is the summit of my organ-playing. Spero ut vobis placet.