I believe this chaconne was composed as a lament and tribute to Bach'a wife whom he found to be dead and already buried on his return from a journey. It is the only piece of its kind and length among the solo sonatas and partitas and was written around the time of his wife's death. I wonder if this great soloist felt as I do, she plays with such passion and sensitivity and deep feeling.
This speculation enhances the piece, thank you. I believe that she too must have come upon the possibility, or perhaps she simply senses how it should be played from feeling the composition as a whole.
First, in the 70's, the period performance was still more of a movement. Most main stream performers largely followed the romantic approach from the previous generation. Second, I always have an issue for pushing period performance too much. While it's academically interesting and worthwhile, and music students would definitely have to study them, in the end how an individual performer interprets a certain music is up to them, and shouldn't be judged as stylistically right or wrong. If period performance should be be all and end all, why should it only be applied to Baroque? Piano, for example, in Mozart, Beethoven and Listz's time were all very different instrument in each composer's respective time. Why isn't it more common to play them in historic instruments? Or more compellingly, we do have recorded documents from late 19 and early 20C works, some even by composers themselves. They clearly demonstrate they were stylistically very different from the modern interpretation across the board, be it in piano, violin and especially vocal music. Why don't we follow them more rather than take them as mere historic novelty as most people seem to nowadays? Period performance was a necessary antidote to overt romanticisation of Baroque music in the previous generation. But I don't agree that's the only legit way to perform Baroque, or any period of music for that matter.
“On one stave, for a small instrument, the man writes a whole world of the deepest thoughts and most powerful feelings. If I imagined that I could have created, even conceived the piece, I am quite certain that the excess of excitement and earth-shattering experience would have driven me out of my mind. If one doesn’t have the greatest violinist around, then it is well the most beautiful pleasure to simply listen to its sound in one’s mind.” - J Brahms
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Thank you 🙏 wow… I close my eyes and imagine in the audience for such an incredible performance.
정경화 선생의 음악을 들으면 칼날 위를 걷는 것 같은 느낌이 느껴짐
듣는 사람으로 하여금 긴장을 늦출 수 없게 만드는 그런 음악
정말 귀한 영상이네요
공유해주셔서 감사합니다🌈🧧
This is really rare video!
Thank you very much for this video
Wow. Fantastic. You really honored Bach with your playing.
You did a remarkable job with this. Thank you!
Thanks for sharing
THANK YOU!! Been looking for this for months!! It's too bad the original video got deleted but I'm glad you reposted it. Your channel is the best!
I understand, I waited for 20 years to find this vídeo! She is amazing❤
Bravo!
I believe this chaconne was composed as a lament and tribute to Bach'a wife whom he found to be dead and already buried on his return from a journey. It is the only piece of its kind and length among the solo sonatas and partitas and was written around the time of his wife's death. I wonder if this great soloist felt as I do, she plays with such passion and sensitivity and deep feeling.
This speculation enhances the piece, thank you. I believe that she too must have come upon the possibility, or perhaps she simply senses how it should be played from feeling the composition as a whole.
Thanks for sharing! ♥
옛날 영상이라 음질은 안좋은게 좀 아쉽네요. 젊은 시절의 연주이니만큼 중후한 맛은 없지만 젊었을 적의 날카로운 감각이 느껴지는 연주인 것 같습니다
정경화 교수님은 흠 잡을 때가 하나 없는 제일 위대한 분이시다
🇰🇷🇰🇷🇰🇷👍🙂😊🙏🙏🙏
She plays like romaticism music carrying too much emotion.
First, in the 70's, the period performance was still more of a movement. Most main stream performers largely followed the romantic approach from the previous generation.
Second, I always have an issue for pushing period performance too much. While it's academically interesting and worthwhile, and music students would definitely have to study them, in the end how an individual performer interprets a certain music is up to them, and shouldn't be judged as stylistically right or wrong.
If period performance should be be all and end all, why should it only be applied to Baroque? Piano, for example, in Mozart, Beethoven and Listz's time were all very different instrument in each composer's respective time. Why isn't it more common to play them in historic instruments? Or more compellingly, we do have recorded documents from late 19 and early 20C works, some even by composers themselves. They clearly demonstrate they were stylistically very different from the modern interpretation across the board, be it in piano, violin and especially vocal music. Why don't we follow them more rather than take them as mere historic novelty as most people seem to nowadays?
Period performance was a necessary antidote to overt romanticisation of Baroque music in the previous generation. But I don't agree that's the only legit way to perform Baroque, or any period of music for that matter.
“On one stave, for a small instrument, the man writes a whole world of the deepest thoughts and most powerful feelings. If I imagined that I could have created, even conceived the piece, I am quite certain that the excess of excitement and earth-shattering experience would have driven me out of my mind. If one doesn’t have the greatest violinist around, then it is well the most beautiful pleasure to simply listen to its sound in one’s mind.” - J Brahms
왠놈의 광고가 음악의 흐름을 난도질하게 자주 삽입되었는가! 이 영상의 치명적 결함이다!