Thank you for watching, we hope you enjoyed! Like and share the video and subscribe to get an update when volume 2 is live! Tracklist: Partita in C Major, GWV 101: 0:00:00 I. Praeludium 0:01:43 II. Allemande 0:05:29 III. Courante (I) 0:08:23 IV. Courante (II) 0:10:21 V. Sarabande 0:13:31 VI. Menuet 0:16:50 VII. Rigaudon en rondeaux Partita in C Minor, GWV 102: 0:19:53 I. Allemande 0:24:22 II. Courante 0:26:38 III. Sarabande 0:28:53 IV. Rigaudon en rondeaux 0:30:38 V. Gique Partita in D Major, GWV 103: 0:36:35 I. Allemande 0:39:31 II. Courante 0:42:23 III. Sarabande & double 0:45:59 IV. Air 0:47:58 V. Loure 0:51:17 VI. Menuet 0:52:53 VII. Chaccon Partita in D Minor, GWV 104: 1:00:32 I. Allemande 1:05:51 II. Courante 1:08:30 III. Sarabande & double I-II 1:13:56 IV. Menuet Partita in E-Flat Major, GWV 105: 1:15:33 I. Allemande 1:20:34 II. Courante 1:22:51 III. Sarabande & double 1:25:37 IV. Menuet 1:28:20 V. Loure 1:32:34 VI. Gique Partita in E Major, GWV 106: 1:37:58 I. Allemande 1:41:52 II. Courante 1:45:30 III. Sarabande 1:47:30 IV. Menuet 1:48:44 V. Gique Partita in E Minor, GWV 107: 1:52:32 I. Allemande 1:55:52 II. Courante 1:58:07 III. Sarabande 2:01:43 IV. Air en menuet & double 2:05:11 V. Menuet 2:07:18 VI. Air 2:10:05 VII. Gique Partita in F Major, GWV 108: 2:12:10 I. Allemande 2:15:23 II. Rigaudon en rondeaux 2:18:19 III. Menuet I-II 2:24:20 IV. Sarabande & variatio I-II-III-IV 2:35:41 V. Air 2:37:59 VI. Gique Partita in D Major, GWV 701: 2:42:09 I. Allemande 2:46:19 II. Courrante 2:48:37 III. Rigoudon 2:50:00 IV. Sarabande 2:53:48 V. - 2:56:30 VI. Menuet 2:57:58 VII. - 2:58:34 VIII. - 3:01:55 IX. - 3:02:46 X. Chaconne Partita in F Major, GWV 140: 3:08:02 I. Allemande 3:10:47 II. Courrante 3:12:48 III. Sarabande 3:14:46 IV. Air 3:17:11 V. Menuet Partita in G Major, GWV 141: 3:19:05 I. Allemande 3:22:21 II. Courante 3:25:03 III. Sarabande 3:28:13 IV. Minuet I-II 3:30:48 V. Gavotte I-II en rondeaux 3:33:36 VI. Gigue Partita in C Major, GWV 128: 3:35:12 I. Praeludium 3:35:37 II. Allemande 3:38:51 III. Courante 3:40:37 IV. Sarabande 3:42:04 V. Menuet 3:43:16 VI. Sarabande & 3 variations Aria in D Minor, GWV 822: 3:49:59 I. Aria 3:52:10 II. Double Partita in A Major, GWV 147: 3:53:58 I. Allemande 3:58:08 II. Courante 3:59:52 III. Sarabande 4:02:17 IV. Double 4:03:52 V. Air (I) 4:05:00 VI. Menuet I-II 4:08:01 VII. Air (II) 4:09:15 VIII. Air (III) 4:13:47 IX. Gigue Partita in G Major, GWV 146: 4:16:22 I. Allemande 4:19:04 II. Courante 4:21:08 III. Sarabande 4:22:27 IV. Gavotte 4:23:46 V. Menuet 4:25:42 VI. Gigue Partita in C Major, GWV 805: 4:26:50 I. Allemande 4:30:17 II. Courante 4:34:17 III. Sarabande 4:36:22 IV. Gigue Partita in C Major, GWV 129: 4:40:57 I. Allemande 4:44:26 II. Courante 4:46:39 III. Sarabande & 3 variations 4:51:21 IV. Gigue Partita in A Major, GWV 849: 4:53:48 I. Prelude 4:54:44 II. Allemande 4:57:24 III. Courante 4:58:36 IV. Sarabande 5:00:45 V. Aria Partita in G Major, GWV 142: 5:02:12 I. Praeludium 5:04:20 II. Allemande 5:09:15 III. Courrante 5:12:20 IV. Menuett 1 & 2 5:14:42 V. Air alla polonese 5:16:42 VI. - Partita in C Major, GWV 130: 5:22:59 I. Allemande 5:25:28 II. Courante 5:26:56 III. Sarabande 5:28:26 IV. Menuet 5:29:54 V. Gigue 5:30:52 VI. Aria I-II 5:33:46 VII. Menuet I-II
For my money, TH-cam is the greatest invention since the television. The endless GREAT music on here is a music lovers delight. I am in constant heaven. Great stuff!
Christoph Graupner (* 13. Januar / 23. Januar 1683 in Kirchberg; † 10. Mai 1760 in Darmstadt) war ein deutscher Komponist und Cembalist. Das Gemälde : "Parforcejagd am Großen Woog", unbekannter Maler, 1. Hälfte des 18. Jahrhunderts, (c) Jagdschloss Kranichstein bei Darmstadt
As a dedicated aficionado of the harpsichord I was naturally delighted when I saw this new post from Brilliant Classics. Graupner was highly prolific and this complete set of his harpsichord music is a very welcome addition to the legacy of recorded harpsichord music. Beautiful music beautifully performed and recorded. Thank you, Brilliant Classics! PS - I just ordered a copy of this set from a seller on Amazon. Can't wait to add it to my collection.
Beautiful music beautifully played. The instrument sounds like an original, or one built to the original specifications. I had never heard of Graupner, so this recording is an extra special treat. That's one major blessing of the modern recording industry that we forget about. Great artists from the past who have been forgotten get another hearing. Salieri after the film AMADEUS came out is an example. Saint-Saens wonderful ORGAN SYMPHONY (NO. 3) is another example. Hyperion's wonderful series on the Romantic concerto is yet another example.
Serra Negra-São Paulo 23°/16 Listening to Graupner with great satisfaction, because the sound of this instrument is wonderful, pleasant music with a day blessed by God.
Né à Hartmannsdorf près de Kirchberg en Saxe, Graupner reçut sa première instruction musicale de son oncle, l'organiste Nicolaus Kuester. Il le suivit à Reichenbach. Graupner fit des études de droit, comme beaucoup de compositeurs de son temps, à l'université de Leipzig. Il acheva ensuite son éducation musicale sous la houlette de Johann Schelle, puis de Johann Kuhnau, titulaires successifs du poste de cantor de la Thomaskirche (l'église Saint-Thomas). En 1700, il partit pour Hambourg, fuyant l’invasion de la Saxe par les Suédois. En 1705, il fut engagé comme claveciniste par l'opéra am Gänsemarkt de Hambourg, dirigé par Reinhard Keiser - Georg Friedrich Haendel y était alors violoniste. Il composa plusieurs opéras qui reçurent un accueil très favorable de la part du public : Didon (1707), Hercule et Thésée, Antiochus et Stratonice, Bellérophon (1708), Samson (1709). Le landgrave Ernest-Louis de Hesse-Darmstadt ayant entendu des œuvres de sa composition lui proposa en 1709 un poste de musicien à son service. Dès 1711, il devint maître de chapelle de la cour. Cette même année, il épousa Elisabeth Eckardt, la fille d'un pasteur. En 1722, il fut candidat au poste de cantor de Saint-Thomas de Leipzig, poste que convoitait également Johann Sebastian Bach. Son employeur l'incita à lui faire décliner l'offre, en lui proposant une augmentation significative de ses émoluments qui étaient déjà importants. Les autorités de Leipzig durent se contenter d'engager Bach, convaincues d'avoir dû renoncer au meilleur… Ainsi Graupner termina sa carrière au service de la cour de Hesse-Darmstadt. À la fin de sa vie, il fut atteint de cécité tout comme ses prestigieux confrères musiciens Johann Sebastian Bach et Georg Friedrich Haendel. Il mourut en 1760 à Darmstadt, ville où il a passé la majeure partie de sa vie.
mille grazie Brilliant Classics E Fernando De Luca, sono un fan delle vostre interpretazioni da diversi anni e abbonnato del vostro conto qui su youtube. In bocca al lupo per il vostro futuro e i vostri lavori. saluti da Salisburgo !
First of all thanks for providing this. Now, I have listened to vol. 2 first and then come back to this and my opinion has developed that Graupner’s style is hmmm, well a little limited. I mean to say that I think this work fine as background music but after several hours, I note that Graupner uses the climbing up and down the scale thing A LOT at sometimes to the detriment to other aspects of his music, such as melody. I can still enjoy it, but at the end of the day, have got to consider both its strong and weak points. It must be said though that 2:53:49-2:56:28 (Holy Moly!) is as abrasive as any punk rock that was ever recorded. Was he having a laugh at our expense or was he trying to assault his listeners? I have never heard anything quite like it in (c)lassical music.
This video manages to explain why Bach's "Well Tempered Clavier" [ parts I and II ] are such masterpieces. Graupner gleaned some basic rules from it, but completely missed the essential creative inspiration that Sebastian Himself embodied within it. Fair enough : Graupner did better than I could ever have done in (somehow) trying to learn the real magic from it.
So these are suites of dances and not preludes and fugues as in the WTC. Try listening to Bach's French Suites and Partitas for comparison and would love to hear your thoughts:)
@@falernoducande1961 Thank you, where can one read more about Marpourg's temperaments? I only found information about his "I" temperament online, nothing about his "III" temperament. I assume these would be considered "well temperaments."
let's say it's a temperament that starts from the classic mesotonic to 1/4 of a syntonic comma. with 4 pure thirds C/E- D/F#- F/A- G/H the narrow fifths 1/4 of a comma are the diatonic ones while the others are some slightly narrower than the pure ones and others slightly wider
@@falernoducande1961 Thank you for the explanation. The purity of the thirds I hear in this recording reminds me much more of quarter-comma meantone than any "well temperament" I have heard, which usually sound much closer to the modern 12-tone equal temperament most of us are used to. Here, each key has a distinctive flavor, and the tuning sounds clearly more unequal than equal, which I wouldn't say is the case with Vallotti temperament (if that's the one most historically informed performers use to play Bach's keyboard music).
I too was immediately thinking this is not the sound I expected from my harpsichord listening. It is either the instrument or the temperament. The warmth in the chords and arpeggios is just not there for my ear. I will have to pass. Nice pieces though.
Thank you for watching, we hope you enjoyed! Like and share the video and subscribe to get an update when volume 2 is live! Tracklist:
Partita in C Major, GWV 101:
0:00:00 I. Praeludium
0:01:43 II. Allemande
0:05:29 III. Courante (I)
0:08:23 IV. Courante (II)
0:10:21 V. Sarabande
0:13:31 VI. Menuet
0:16:50 VII. Rigaudon en rondeaux
Partita in C Minor, GWV 102:
0:19:53 I. Allemande
0:24:22 II. Courante
0:26:38 III. Sarabande
0:28:53 IV. Rigaudon en rondeaux
0:30:38 V. Gique
Partita in D Major, GWV 103:
0:36:35 I. Allemande
0:39:31 II. Courante
0:42:23 III. Sarabande & double
0:45:59 IV. Air
0:47:58 V. Loure
0:51:17 VI. Menuet
0:52:53 VII. Chaccon
Partita in D Minor, GWV 104:
1:00:32 I. Allemande
1:05:51 II. Courante
1:08:30 III. Sarabande & double I-II
1:13:56 IV. Menuet
Partita in E-Flat Major, GWV 105:
1:15:33 I. Allemande
1:20:34 II. Courante
1:22:51 III. Sarabande & double
1:25:37 IV. Menuet
1:28:20 V. Loure
1:32:34 VI. Gique
Partita in E Major, GWV 106:
1:37:58 I. Allemande
1:41:52 II. Courante
1:45:30 III. Sarabande
1:47:30 IV. Menuet
1:48:44 V. Gique
Partita in E Minor, GWV 107:
1:52:32 I. Allemande
1:55:52 II. Courante
1:58:07 III. Sarabande
2:01:43 IV. Air en menuet & double
2:05:11 V. Menuet
2:07:18 VI. Air
2:10:05 VII. Gique
Partita in F Major, GWV 108:
2:12:10 I. Allemande
2:15:23 II. Rigaudon en rondeaux
2:18:19 III. Menuet I-II
2:24:20 IV. Sarabande & variatio I-II-III-IV
2:35:41 V. Air
2:37:59 VI. Gique
Partita in D Major, GWV 701:
2:42:09 I. Allemande
2:46:19 II. Courrante
2:48:37 III. Rigoudon
2:50:00 IV. Sarabande
2:53:48 V. -
2:56:30 VI. Menuet
2:57:58 VII. -
2:58:34 VIII. -
3:01:55 IX. -
3:02:46 X. Chaconne
Partita in F Major, GWV 140:
3:08:02 I. Allemande
3:10:47 II. Courrante
3:12:48 III. Sarabande
3:14:46 IV. Air
3:17:11 V. Menuet
Partita in G Major, GWV 141:
3:19:05 I. Allemande
3:22:21 II. Courante
3:25:03 III. Sarabande
3:28:13 IV. Minuet I-II
3:30:48 V. Gavotte I-II en rondeaux
3:33:36 VI. Gigue
Partita in C Major, GWV 128:
3:35:12 I. Praeludium
3:35:37 II. Allemande
3:38:51 III. Courante
3:40:37 IV. Sarabande
3:42:04 V. Menuet
3:43:16 VI. Sarabande & 3 variations
Aria in D Minor, GWV 822:
3:49:59 I. Aria
3:52:10 II. Double
Partita in A Major, GWV 147:
3:53:58 I. Allemande
3:58:08 II. Courante
3:59:52 III. Sarabande
4:02:17 IV. Double
4:03:52 V. Air (I)
4:05:00 VI. Menuet I-II
4:08:01 VII. Air (II)
4:09:15 VIII. Air (III)
4:13:47 IX. Gigue
Partita in G Major, GWV 146:
4:16:22 I. Allemande
4:19:04 II. Courante
4:21:08 III. Sarabande
4:22:27 IV. Gavotte
4:23:46 V. Menuet
4:25:42 VI. Gigue
Partita in C Major, GWV 805:
4:26:50 I. Allemande
4:30:17 II. Courante
4:34:17 III. Sarabande
4:36:22 IV. Gigue
Partita in C Major, GWV 129:
4:40:57 I. Allemande
4:44:26 II. Courante
4:46:39 III. Sarabande & 3 variations
4:51:21 IV. Gigue
Partita in A Major, GWV 849:
4:53:48 I. Prelude
4:54:44 II. Allemande
4:57:24 III. Courante
4:58:36 IV. Sarabande
5:00:45 V. Aria
Partita in G Major, GWV 142:
5:02:12 I. Praeludium
5:04:20 II. Allemande
5:09:15 III. Courrante
5:12:20 IV. Menuett 1 & 2
5:14:42 V. Air alla polonese
5:16:42 VI. -
Partita in C Major, GWV 130:
5:22:59 I. Allemande
5:25:28 II. Courante
5:26:56 III. Sarabande
5:28:26 IV. Menuet
5:29:54 V. Gigue
5:30:52 VI. Aria I-II
5:33:46 VII. Menuet I-II
Wish to hear harpsichord concertos by him.
Thank you!
For my money, TH-cam is the greatest invention since the television. The endless GREAT music on here is a music lovers delight. I am in constant heaven. Great stuff!
Christoph Graupner (* 13. Januar / 23. Januar 1683 in Kirchberg; † 10. Mai 1760 in Darmstadt) war ein deutscher Komponist und Cembalist.
Das Gemälde : "Parforcejagd am Großen Woog", unbekannter Maler, 1. Hälfte des 18. Jahrhunderts,
(c) Jagdschloss Kranichstein bei Darmstadt
As a dedicated aficionado of the harpsichord I was naturally delighted when I saw this new post from Brilliant Classics. Graupner was highly prolific and this complete set of his harpsichord music is a very welcome addition to the legacy of recorded harpsichord music. Beautiful music beautifully performed and recorded. Thank you, Brilliant Classics! PS - I just ordered a copy of this set from a seller on Amazon. Can't wait to add it to my collection.
He WAS prolific!
❤adorabile
Beautiful music beautifully played. The instrument sounds like an original, or one built to the original specifications. I had never heard of Graupner, so this recording is an extra special treat. That's one major blessing of the modern recording industry that we forget about. Great artists from the past who have been forgotten get another hearing. Salieri after the film AMADEUS came out is an example. Saint-Saens wonderful ORGAN SYMPHONY (NO. 3) is another example. Hyperion's wonderful series on the Romantic concerto is yet another example.
Gracias ... voy a por el volumen 2 , de lo demas creo que todo esta dicho . ARTE , CALIDAD Y CANTIDAD ... que mas se puede pedir !!! 👏👏👏
Serra Negra-São Paulo 23°/16 Listening to Graupner with great satisfaction, because the sound of this instrument is wonderful, pleasant music with a day blessed by God.
More like blessed by Graupner, isn't it?
Tem fabricante de cravo no Brasil. Você sabia disso?
Aqui em São Paulo tem quatro fabricantes.
Der Klang dieser Musik ist einfach schön,danke dafür.
Ya'll post so many bangers on here. Makes my day so much better, thanks!
Né à Hartmannsdorf près de Kirchberg en Saxe, Graupner reçut sa première instruction musicale de son oncle, l'organiste Nicolaus Kuester. Il le suivit à Reichenbach. Graupner fit des études de droit, comme beaucoup de compositeurs de son temps, à l'université de Leipzig. Il acheva ensuite son éducation musicale sous la houlette de Johann Schelle, puis de Johann Kuhnau, titulaires successifs du poste de cantor de la Thomaskirche (l'église Saint-Thomas). En 1700, il partit pour Hambourg, fuyant l’invasion de la Saxe par les Suédois.
En 1705, il fut engagé comme claveciniste par l'opéra am Gänsemarkt de Hambourg, dirigé par Reinhard Keiser - Georg Friedrich Haendel y était alors violoniste. Il composa plusieurs opéras qui reçurent un accueil très favorable de la part du public : Didon (1707), Hercule et Thésée, Antiochus et Stratonice, Bellérophon (1708), Samson (1709).
Le landgrave Ernest-Louis de Hesse-Darmstadt ayant entendu des œuvres de sa composition lui proposa en 1709 un poste de musicien à son service. Dès 1711, il devint maître de chapelle de la cour. Cette même année, il épousa Elisabeth Eckardt, la fille d'un pasteur. En 1722, il fut candidat au poste de cantor de Saint-Thomas de Leipzig, poste que convoitait également Johann Sebastian Bach. Son employeur l'incita à lui faire décliner l'offre, en lui proposant une augmentation significative de ses émoluments qui étaient déjà importants. Les autorités de Leipzig durent se contenter d'engager Bach, convaincues d'avoir dû renoncer au meilleur…
Ainsi Graupner termina sa carrière au service de la cour de Hesse-Darmstadt. À la fin de sa vie, il fut atteint de cécité tout comme ses prestigieux confrères musiciens Johann Sebastian Bach et Georg Friedrich Haendel.
Il mourut en 1760 à Darmstadt, ville où il a passé la majeure partie de sa vie.
…Marvellous spirit of the age,…
ハープシコードはたまに聴きます ゆっくりした曲は心が整います
❤eccellente
Really beautiful playing! So many things to express from little nuances to orchestral effect in this incredibly varied music. Bravo!
mille grazie Brilliant Classics E Fernando De Luca, sono un fan delle vostre interpretazioni da diversi anni e abbonnato del vostro conto qui su youtube. In bocca al lupo per il vostro futuro e i vostri lavori. saluti da Salisburgo !
Wonderful harpsichord and very pleasant to listen to! I am really enjoying this. Thanks for creating and sharing this video.
🥂Thank you! Happy New Year!🍾
Hermosa música. 🤭😘
GREAT
First of all thanks for providing this. Now, I have listened to vol. 2 first and then come back to this and my opinion has developed that Graupner’s style is hmmm, well a little limited. I mean to say that I think this work fine as background music but after several hours, I note that Graupner uses the climbing up and down the scale thing A LOT at sometimes to the detriment to other aspects of his music, such as melody. I can still enjoy it, but at the end of the day, have got to consider both its strong and weak points. It must be said though that 2:53:49-2:56:28 (Holy Moly!) is as abrasive as any punk rock that was ever recorded. Was he having a laugh at our expense or was he trying to assault his listeners? I have never heard anything quite like it in (c)lassical music.
❤
beautiful music, but the picture of the poor stag being cornered in the water is very disturbing!
This video manages to explain why Bach's "Well Tempered Clavier"
[ parts I and II ] are such masterpieces.
Graupner gleaned some basic rules from it, but completely missed
the essential creative inspiration that Sebastian Himself embodied within it.
Fair enough :
Graupner did better than I could ever have done
in (somehow) trying to learn the real magic from it.
So these are suites of dances and not preludes and fugues as in the WTC. Try listening to Bach's French Suites and Partitas for comparison and would love to hear your thoughts:)
The wtc was mostly pedagogical without real inspiration.People take that work too seriously.Those graupner suites are mostly dance ones
Is it performed in meantone temperament?
Marpourg III
@@falernoducande1961 Thank you, where can one read more about Marpourg's temperaments? I only found information about his "I" temperament online, nothing about his "III" temperament. I assume these would be considered "well temperaments."
let's say it's a temperament that starts from the classic mesotonic to 1/4 of a syntonic comma. with 4 pure thirds C/E- D/F#- F/A- G/H the narrow fifths 1/4 of a comma are the diatonic ones while the others are some slightly narrower than the pure ones and others slightly wider
@@falernoducande1961 Thank you for the explanation. The purity of the thirds I hear in this recording reminds me much more of quarter-comma meantone than any "well temperament" I have heard, which usually sound much closer to the modern 12-tone equal temperament most of us are used to. Here, each key has a distinctive flavor, and the tuning sounds clearly more unequal than equal, which I wouldn't say is the case with Vallotti temperament (if that's the one most historically informed performers use to play Bach's keyboard music).
No. It is in a nice tone. It is not at all mean.
Excuse me. What is the name of the painting? Thanks.
Whats the title of the album cover artwork?
@Miguel Velásquez ¡Gracias!
Hi, do you know to which music publisher we can find these partitas for harpsichord solo?
try IMSLP
I don't find the link to Apple Music?!?!
Где партита 804?
This instrument sounds too harsh for my taste. A sweeter sound is more to my taste. The music is fine.
I too was immediately thinking this is not the sound I expected from my harpsichord listening. It is either the instrument or the temperament. The warmth in the chords and arpeggios is just not there for my ear. I will have to pass. Nice pieces though.
As a harpsichordist myself I love how this instrument sounds, but I understand that we all have our preferences:)