Posted on 09/25/2023 10:51:29 AM PDT by CharlesOConnell
It seems it should be the opposite, that Mozart should be grafted onto Bach. But in this instance, I can't hear any player of the Gigue from Bach's French Suite No. 5, playing it with any vision of how it should sound, so fast that they just seem to want to get through it so their teachers, who assigned them the piece, will get off their backs. (It seems like they all hate the piece, as if they're escaping from hell while being dished out a dose of castor oil.)
My vision is for the French Suite No. 5 Gigue to sound like it's being played by a mounted post-horn player on a fox hunt. The big, monstrous fox, as it appears to the chickens, is now getting his comeuppance during the fox hunt. The jolly fox hunters need some music, this is it.
In the sample, the theme from the Rondo of Mozart’s Horn Concerto No. 4, is played a couple of times, then the Gigue from the Bach French Suite No. 5 is arbitrarily grafted onto the Mozart, both as to the key (transposed from G to Eb) and the tempo, slowed down from 140 to 121.
Bach French Suite No 5 Gigue grafted onto Mozart Horn Concerto No 4 Rondo
Now, blend them together in counterpoint. THAT would be something.
Can’t read right now.
I’ll be Bach.
I thought the Beatles already did that..............
Get Bach!
Get Bach to where you once belonged!.............
Listened attentively a couple of times. I agree with you that the two themes could make for a jolly counterpoint and interplay between them. But I think grafting the Mozart theme into the more complex Gigue would be the way to go. 6/8 (12/16) is such a happy place....
Jolly ho!
Thank you. Listening to the Bach takes me out of this world, into a better time.
Bring in the Moody Blues.
When I first started studying Bach, it was under the shadow of all those Glen Gould recordings. Then I discovered Andras Schiff.
There seems to be a backing off from the school of velocity for velocity's sake of late (Bruce Liu for example) which I think is a good thing.
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