(Grigory Sokolov | 1995 | Live) Bach: 8 Preludes & Fugues from Das Wohltemperierte Klavier, Book 2
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- เผยแพร่เมื่อ 31 พ.ค. 2024
- Not known to many today, but like Feinberg (previous video) Sokolov has traversed the entire Well-Tempered Clavier as well - a project which took him 8 years to complete 1990-1997. Despite that I love them both Sokolov's Bach is in many ways everything Feinberg's is not. Objective, structured, stable, and with deep thought and learning behind the notes - but nonetheless equally creative and imaginative, and benefiting from two generations worth of development in Bach playing. Sokolov can in some sense be thought of as an evolution and union of Gould's mind and Gilels' aesthetics. His Bach rests largely on Gould's ideas of objectivity, form, and characterization of voices, but in Sokolov's hands the music is shaped by a more down to earth playing style, with a richer sound and a more varied range of touch which makes even these little academic studying pieces spring to life in a way they rarely have elsewhere. And that astonishing intelligence of his playing. Has Bach's voice writing ever danced and spoken as gracefully as it does here? The music sounds of divine profundity on the one hand, and worldly warmth and playfulness on the other. Not a bad description of Bach's own musical personality, making me feel we're on to something here.
This recording comes from a damaged DAT and omits the initial C major Prelude as well as small parts from the ones in D major and E-flat minor. One day I might get round to patch it with a cassette recording my index tells me I also have of the broadcast - but it is not this day.
Johann Sebastian Bach
Das Wohltemperierte Klavier, Book II
Prelude & Fugue No.1 in C major, BWV 870
00:00 - II. Fugue in 3 voices
Prelude & Fugue No.2 in C minor, BWV 871
01:46 - I. Prelude
04:03 - II. Fugue in 4 voices
Prelude & Fugue No.3 in C-sharp major, BWV 872
06:10 - I. Prelude
07:36 - II. Fugue in 3 voices
Prelude & Fugue No.4 in C-sharp minor, BWV 873
09:46 - I. Prelude
17:01 - II. Fugue in 3 voices
Prelude & Fugue No.5 in D major, BWV 874
19:17 - I. Prelude
21:48 - II. Fugue in 4 voices
Prelude & Fugue No.6 in D minor, BWV 875
25:38 - I. Prelude
27:09 - II. Fugue in 3 voices
Prelude & Fugue No.7 in E-flat major, BWV 876
29:07 - I. Prelude
31:40 - II. Fugue in 4 voices
Prelude & Fugue No.8 in E-flat minor, BWV 877
34:20 - I. Prelude
37:59 - II. Fugue in 4 voices
Grigory Sokolov, piano
Source: Radio Broadcast
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Его игра дает такое наслаждение от музыки Баха. Как будто сам Бог ведет его руку.Спасибо!
Grigory Sokolov, one of last generation Great Soviet School legends! Legend himself alive!!! Bow with the biggest admiration!!! His art is the greates gift in classical music for us!!! ❤❤❤🌹🌹🌹
The Great Russian School was a thing long before the Soviet Union
This eight preludes and fugues happen to be my personal favourites amongst the 48, and I practice them most. could listen to Sokolo's interpretation all the time, it's so crispily and energetically played and well-thought about.
Poetry. In perfect balance between knowledge of die Aufführungpraxis and the highest aesthetic taste.
In my opinion, the best performance of the genius Bach cycle
Согласна!
とても感じ入る演奏と思いました。とても興味深く心地良い演奏と感じます。バッハの曲が大好きです。素敵な演奏に感謝します。
この出会いを与えてくれた、youtube にも感謝です。
ありがとうございます。
Thank you … so much … specially in 2023 !!!
Incredible. There is so much to learn. And just enjoy. Thanks
Sokolov's mastery of ornamentation, holding everthing together in strict time, is simply mindblowing. If you play these preludes and fugues you know what I mean. Listening to the top keyboard artists' Bach also throws interesting light on Bach's genius itself. No other composer I know of works with so many different instruments and performance styles.
I'm calmly concentrated and listen the Master of 20th & 21st century 😔🤫
I have to put Ravel up there.
Thank you christian for this upload.l sokolov is an absolutely beautiful pianist. Such focus and musicality . There are so many interpretations of these lovely pieces but sokolov s touch is a joy to listen to.. many thanks..
Phenomenal. It's so far from the pedantic, dutiful ritualistic stuff you hear from some many pianists. By far my favourite Bach playing since Gould.
precise, but not pedantic
@@mattprout8872 In comparison Gould was much more pedantic, with his machine-like playing. After a couple of Preludes&Fugues you got completely saturated. Great technique but Bach is more than showing off. Sokolov knows that.
The best, Sokolov -- wie immer. Jeszcze nie słyszałem, aby cokolwiek było boring w jego wykonaniu. Lord sy danke!
Bach's priceless gift is ever as alive as it is there. I'm realizing by now there's to be something true about your words. I'm not kidding. These things we generally don't know how to put in words. There's some deficiency preventing us to do so. Then people like you unfold the mystery. Thank you.
Music and playing that is the nearest thing to Heaven on Earth. Glorious.
Это космос!
I wish he would programme Bach again.
Thank you so much. I had not heard this recordings before and despite having listened to Sokolov almost daily for a number of years I still had to pinch my arm in order to establish that I was not dreaming. His Bach playing really often is unbelievable good. It would be so nice to hear the remaining parts of WTC 1 too. As far as I know only BMW 846- 853 are on record.
Sokolov!☺
I love your choices & reading your commentaries. thanks a lot
Thank you Claudine, it's always appreciated to hear from you.
God he really is the best isn't he?
Yes
@@Jordan-jx3sxOh,God.
Depends what is "the best " in universal art of Music
Thank you.
🌹🙏🌹
Awesome thank you 🙏
Did you guys hear C sharp major no. 3? he completely transforms the prelude and infuses it with the idea Siloti uses to transcribe Bach's B minor prelude but still adheres to Bach's score except accentuating each fourth note on the right hand and he completely renders the prelude unrecognizable!!
Glorious...!
Лучший пианист в мире!
Je viens de découvrir cette merveilleuse et sublime interprétation grâce à vous Christian. Merci infiniment pour ce très beau partage!
Best of All.
thank you!
Maravilloso...aunque sin video
The preludes and fugues of the WTK are anything else than "little academic studying pieces". They are a journey into the unknown, namely to all tonalities which in Bach's time didn't even have the names that we're using today.
They are little academic studying pieces. They were conceived precisely as that.
Who said that?
Bach. He used them as teaching material with his students, and wrote on the title page that this is their intended use. The first book was moreover part of his application for the post of Thomaskantor in Leipzig, provided specifically as an illustration of his ability and experience as an academic.
@@christian-johansson Unfortunately, Bach can't help himself, and creates pieces that transform even academic exercises into eternal verities. Except for maybe the Coffee Cantata. No, even that :)
Thank you so much for uploading this. This a great source of inspiration.
As your comment is to me. Thanks, Paul.
@@christian-johanssonObviously, the great masters of the masters are J.S. Bach and Grigory Sokolov but I'm very impressed by your intro text on the heading of this page and the recording quality of this contribution. There are probably more than 20 very decent recordings of WTC by various pianist, but what we are hearing in this Sokolov recording is unparalleled, such deep human beauty. Thank you very much Christian.
@@PaulVanBladel The intro text is incredible really. Very well said
Sublime
神に出逢いました!
I met God!
his is such a revelation. Lazar Berman once said that in conservatory kids would challenge each other to play Bach by transposing them into any of the 24 keys and racing. I think this is explains partially why Sokolov's Bach can be this good.
wonderful, but I differ with the argument against Feinberg. His subjectivity is superior. It expresses the concreteness of each voice as a subject confronting other concrete subjects, not just a sequence of soundwaves mixing with other such sequences in a universe of infinitessimally connected wavelengths of sound.
In this, I agree with Spengler's argument on what makes counterpoint and classicism (Greek, not modern) great. That doesn't mean that the more "faustian" modern science and classicism and romanticism, with their greater focus on harmonization and filler notes, are not also great, or are degenerate, as Spengler and Heidegger and the Nazis thought. Clashing and counterpoint are only one part of life and greatness. Anything insisted on by itself to the exclusion of everything else is prone to degeneration.
Wow
Why does the D Major prelude fade out mid-way through?
Yeah, what a shame!
it is explained in the introduction
Explained in the side notes.
One can only hope for a celibidache-esque stash somewhere of this god's work that might be found, before or after his death ...
❤
It is time that Sokolov realised that Bach's preludes (and fugues) written for organ, harpsichord or lute should not be played in the same way. They all need to be adapted and specific if they are to be played on the piano. The days of Litz or Rachmaninov turning them into acrobatic encore pieces are over.
А изображение полагается?
Yes. This is audio only.
Sokolov….più unico che raro
N 8 has a hole in the prelude. Very difficult prelude. He choose the best tempo.
It is in D sharp minor, not e flat minor
There are a few interpretations I prefer over Sokolov’s (e.g. Anderszewski’s Diabelli Variations) but most of the time Sokolov is so convincing and makes you want to hit repeat. The prelude of BWV 873 here is easily the slowest of all interpretations, an epic treatment, like Sviatoslav’s Prelude of Schubert’s G major sonata D.894
Generally I find the slow movements in Sokolov's Bach to be his weak point, in that by keeping his analytical guard he often becomes static, making them a tour de force in tension, concentration and form, rather than musical or interpretative thinking. This extends even to his patented Bach/Siloti Prelude, where I personally find Gilels to be far more beautiful. Nevertheless, perhaps it's since I've become used to them over 25 years, but there is a certain devotion and consistency to playing them like Sokolov does. I am happy he doesn't resort to romanticism. But the only example which springs to mind where I really love it is in Reincken's Hortus Musicus.
Very odd playing.
Good playing, but historically very uninformed. He plays many mordents with a full tone which is historically wrong. In baroque music, you have to play the mordent with semi tones in 99% of the cases.