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This isn't right

saundersbp

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This 60 year old video is the closest I've heard an accordion sounding like an organ both in tone and more importantly style of playing
A lot of things should prejudice me:
i.e.
- general naffness of playing organ music on an accordion, especially by Russians, who have their own amazing unique original accordion repertoire we seldom hear.
- this in particular is the most over exposed piece, and we are told by musicologists is almost certainly not by Bach.

And yet despite its familiarity it is also brilliant and original - whoever actually wrote it. It may be the age of the recording, but the player and the sound doesn't feel quite of this world, not something I've heard often. Perhaps this was a lesser known side of Captain Nemo. We are certainly not on terra firma here and its magical, verging on the transcendent..
 
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Lovely. I’m currently trying to teach myself this piece, though contentiously with a Stradella twist!

For a much more recent version, that astounded me with the quality of the sound, have a look at this bandoneon player:



Whether really by Bach or not it is an astonishing piece of music. That even speaks to non classical enthusiasts.
 
Wow! I would also commend to anyone wishing to hear a totally convincing accordion rendition of organ music Ihor Pavlyk playing Bach's Fantasia and Fugue in G minor, BWV 542. It's on You tube, along with his other, impressive videos. I guess you need a pretty beefy box/bayan to make it work, though.
 
That is really quite impressive. I listened to the start, it sounded good but I expected it to fall down when the low bass notes come in. But no, an excellent rendition!
 
That is a beautiful sounding instrument. Amazing what is possible with free reeds.
It may be because of better sound quality recording, but I think this is the most impressive organ sound from an accordion / bayan that I've heard. Performance is pretty good too!

 
Lovely. I’m currently trying to teach myself this piece, though contentiously with a Stradella twist!

For a much more recent version, that astounded me with the quality of the sound, have a look at this bandoneon player:



Whether really by Bach or not it is an astonishing piece of music. That even speaks to non classical enthusiasts.

I had the same impulse as you to link Constantini, but his older recording, in my opinion much better.



Anyhow, this guy is my personal favourite free reed player currently. Especially if you consider, what a mess of random buttons a bandoneon is.
 
Somewhere out there in the great woodland of Bach's musical legacy is a piece of music for all musicians. Many will marvel at the majestic beeches and oaks that are the great organ works, while others will appreciate the flowing stream of his Orchestral Suite No 3 in D major. Yet again, some will want to gaze at the endlessly overlapping canopy of broad leaves as the sun breaks through and marvel at his Art of Fugue. Like I say, I think there is something for everyone. For me, every January whenever I am out walking I keep a watchful eye for the first snowdrops to arrive. To me these are the sign that spring is on it's way. Whenever I hear a very particular piece of Bach it brings these little winter flowers to mind. In the Six Little Preludes for Klavier (BWV 933 to 938) there is only one piece for me, and that's number 934 - nothing else will do. It is so crisp and delicate and it's almost never played on accordion. I have yet to hear a rendition on our instrument to do it justice, but I think it could be so beautiful...

934:

 
Somewhere out there in the great woodland of Bach's musical legacy is a piece of music for all musicians. Many will marvel at the majestic beeches and oaks that are the great organ works, while others will appreciate the flowing stream of his Orchestral Suite No 3 in D major. Yet again, some will want to gaze at the endlessly overlapping canopy of broad leaves as the sun breaks through and marvel at his Art of Fugue. Like I say, I think there is something for everyone. For me, every January whenever I am out walking I keep a watchful eye for the first snowdrops to arrive. To me these are the sign that spring is on it's way. Whenever I hear a very particular piece of Bach it brings these little winter flowers to mind. In the Six Little Preludes for Klavier (BWV 933 to 938) there is only one piece for me, and that's number 934 - nothing else will do. It is so crisp and delicate and it's almost never played on accordion. I have yet to hear a rendition on our instrument to do it justice, but I think it could be so beautiful...

934:


Very nice the way there is so much movement in the bass side, I can picture you out walking in the woods. You have snowdrops in January in the Highlands? Thanks!
 
Are your Door County snowdrops much later?
Yes, generally they appear around late February or early March. But it all depends on the snow. Back in the day it was not unusual to have full snow cover and freezing temps into March, but it seems the snow is leaving earlier and earlier. Now, for example, we have only patchy snow left, and it has not gone below 0 (-18C) at all this winter. Could be next January we will see the snowdrops.
 
I should clarify that where I live I haven't yet spotted snowdrops, but I have seen them fairly nearby. However, what I have finally spotted is a good accordion rendition of BWV934, or the little snowdrop prelude as I know it.

Riccardo Centazzo - maestro organist, classical accordionist and player of epic trills:



If I had to be ultra critical, the tone of the Zero Sette/Bugari is slightly nasal compared to, say a Victoria or Scandalli, but it has lots of character.
 
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I should clarify that where I live I haven't yet spotted snowdrops, but I have seen them fairly nearby. However, what I have finally spotted is a good accordion rendition of BWV934, or the little snowdrop prelude as I know it.

Riccardo Centazzo - maestro organist, classical accordionist and player of epic trills:



If I had to be ultra critical, the tone of the Zero Sette/Bugari is slightly nasal compared to, say a Victoria or Scandalli, but it has lots of character.

I don't like the squawkiness of the left hand. I also find the articulation of the right hand somewhat too detached. There is no question that regarding the skill the player can run circles around me. I'd just wish for different instrument and artistic choices.
 
I don't like the squawkiness of the left hand. I also find the articulation of the right hand somewhat too detached. There is no question that regarding the skill the player can run circles around me. I'd just wish for different instrument and artistic choices.

On the other hand, I enjoyed the clarity of his coupler choices; they are reminiscent of the smaller pipe organs found in country churches and something, I have read, with which J.S. Bach was very familiar.
The 'bounciness' in this interpretation brought back many memories of the little chapels and churches of my early experiences.
 
On the other hand, I enjoyed the clarity of his coupler choices; they are reminiscent of the smaller pipe organs found in country churches and something, I have read, with which J.S. Bach was very familiar.
The 'bounciness' in this interpretation brought back many memories of the little chapels and churches of my early experiences.
Maybe that's the problem I have? This might have been played for/in church acoustics but recorded close-captured. Adding back a church reverb to the recording might make it sit better with my hearing. I need to try this.
 
I would say both are valid points (dak and Ffingers) regarding the artistic choices made. The only thing I might add is that the performance is, in my view, a serious attempt to "interpret" the piece. It's no accordion parody - it's the real deal.
 
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