http://www.mediafire.com/file/7pwbxbrtx...%20Air.wav

http://www.youtube.com/watch?v=iehscct7lJI

Happy Easter everyone!

Speaking on graves, here another "Spinning on Grave" piano video:

http://www.youtube.com/watch?v=4xng_QbhHGY

It have some quite nice "Bach in jazz moments", but the jazz feeling changes too much in some segments, becaming almost pure Bach, and then fast get back to jazz.

Ok... now back to a more orthodox approach in a adaptation for piano only:

http://www.youtube.com/watch?v=A_AtdOYbVmE

I think there are more formal adaptation for piano.

Pianoteq could include a option for foot controller, creating more voices, making possible to play piano very close to the original Bach composition for organ.

What about this idea?

It remamber the polemic of film colorization.

B&W it's a art, but a well applied color over some classic images can be  nice too.

This version of one of Satie's Gymnopedies has some merit, at least to me (why he tagged them with this name escapes me).

It was a midi file performed by a jazz pianist that has been discussed briefly on this forum.  I rendered it to wave/mp3.

http://www.box.net/shared/1t4phlphmi

Because I like this rendition, I searched and tracked down the other two Gymnopedie compositions which I've rendered to wave and burned to a CD to listen to when I'm travelling.  So in some cases, the argument put forth by Beto has merit.

Glenn

but think about this: would a comedy vaguely inspired by, say, "Romeo & Juliet" make people go for Shakespeare's original afterwards? Really? ;-)

As I wrote: this is JUST my very personal opinion about it.

Peace and love :-)

I think the composer's originals must be respected for recitals na other classic or orthodox presentations. 
Every time a adaptation, or a too personal interpretation would be presented, it should clear say that is a adaptation, a modification.

But I still think some adaptations, like Vanessa Mae use to do, help to cget attention from young people to classic music. Maybe after heard the adaption they try to search for the original.

Have a nice W.E. !

35 years ago I think that any slight modification in a musicof a famous composer would be take as offensive.
Times change.

Yes, times do change, and that's definitely a good thing.  The academic world (regardless of nation, though some are/were more rabid than others) was on a "preserve the composer's original intentions at all costs" kick for about the past 40-50 years.  I'm very happy to see this attitude's stranglehold on the (especially classical) music world relaxing in the past decade or so, because unless the composer is alive and involved, I think that this concept approaches absolute rubbish.  (Even if the composer's involved, rubbish may result;  I can't stand how Stravinsky conducts his own works, but I'm very happy that more talented conductors can work wonders with the man's excellent music.  On the other side of the coin, I derive very little pleasure from listening to how Mravinsky conducts Shostakovich, despite the conductor's famed reputation, because I think that the composer himself had better ideas for how his music should sound, which Mravinsky disregarded.)

Now, I'm all in favour of having "references" which best demonstrate a composer's or performer's true intentions, but the grass doesn't stop growing just because of this reference point.  Music's a living, breathing thing (or, more precisely, we humans are [mostly] living, breathing things which experience music), and this applies just as much to rock & jazz as it does to the "re-creating" (read:  bringing to life) of works which comprise the "classical" genre. 

Yes, I want to hear how Papa Bach envisioned (and performed!) his music, but I also want to hear more than that.  All the truly "great" works (and even many mediocre ones) have multiple things to say to us, and different experiences are required to squeeze all the juice from the lime (so to speak).

You'll always have mavericks who want to "do it their own way," and the results will vary (just as much as people's tastes!), but I am much more interested in hearing different "takes" on a piece than listening to the same static conception over and over and over again -- even more boring is hearing different people strive for the same static conception!  (You should see my Bruckner symphonies collection:  I've compiled it with the express purpose of hearing as many different takes on the same works as is possible in this day and age.  I clearly prefer some to others, but I have no set standards.  After listening, I have only one ultimate criterion:  was the experience rewarding, or did I enjoy what I just heard?  )

And this is completely a person's right -- I agree, the "original" has many merits.  (And, in my case, I prefer the "original" 1,000 times better than orchestrations of the piece, especially the Stokowski version -- I greatly admire the man, but I just don't like some of the tomfoolery in which he engaged with certain works.  I'll take the "original" -- or even the "ragtime" version above! -- over Stokowski's version any day!!!)

35 years ago I think that any slight modification in a musicof a famous composer would be take as offensive.
Times change.

Here's a sample of her improvisation skills on Beethoven - highly romantic style and a tango: http://www.youtube.com/watch?v=j5egyD1240Y

First, OK, who cares if it's from JSB or not, but if you listen to other pieces like the italian concerto, you'll have to admit that JSB could write pieces in very different styles, so, why not this toccata?

Second, as a composer myself, I would certainly not be happy that someone else would play "with" my score this way. OK, JSB didn't have an electric guitar, but he knew very well, however, how to write for lute! He even wrote the same piece (in another tuning) for keyboard (petit prélude in Cm) and lute (the same, but in Dm). So...

Next, am I against all improvisation? Certainly not! As a matter of fact, I'm improvising a lot myself, and, for the record, I also wrote 5 concertos and each time, I was hesitating to write or not the "cadenza", leaving it up to the soloist or not... Finally, I wrote them all, but letting a lot of freedom to the musician as well.

I simply think we should keep our respect for the composers. But I'm maybe too much of a purist here, for example I find the piano (original) version of Mussorgsky's "pictures at an exhibition", much, much better than Ravel's orchestration! ;-)

Just my opinion anyway...

Well... who knows what Bach would made if had a guitar back then...