This interpretation very closely matches the tempos and phrasing I chose, back when I played the nylon string guitar in the 1980's. Very refreshing to hear this rendition.
this triple movement suite works so well. Bach's ethereal prelude is beautiful in the first bar in its descending harmonic architecture and then this very pensive soul searching fugue using the same elements however ascending, and then the finale , the allegro which echos the prelude in a rush . i think Nakamura plays this piece clean and mean.
So beautiful - I used to play that on the classical guitar. Haven't played it for years This beautiful performance inspires me to pick it up again and make it ones again part of my repertoire...
I find this to be very beautifully played - timing, space and general atmosphere. Bravo, and thank you for posting this. Also, the sound truly blooms under your fingers, something only rarely achieved. Compliments, als, to Bruce Kennedy on s fine instrument. Again, my compliments. Peter Watchorn, Cambridge, MA (USA)
You should take out Handel's Suite Number 8 in F minor. I think that along with this are the best works for harpsichord or piano. Thanks for this version. Very big.
The conspicuous lack of ornaments in the prelude seems like a missed opportunity to me. Since the harpsichord does not allow shaping of tonal contour like the piano, ornaments can be used instead. A simple mordant on the 2nd b flat in the bass, for instance.
Plus it'd be quite in line with the time period. Performers ought to ornament Bach/Baroque music more; it'd make it even better and even more fun to hear every performer's interpretation (on any instrument)
@@ogorangeduck In the prelude, I add a mordent to the second bass note where the bass is repeated 3 times, except for the opening of the piece (there are a few places where I don't use the mordent). Other places, I add an octave in the bass where it makes sense (on a harpsichord, it would be linking manuals). Typically, if I am playing something on the piano, I don't add as many ornaments, because you can "decorate" the music using tonal contour, which isn't available on a harpsichord. But before I work on a piece, I listen to piano versions, and most particularly, harpsichord versions, played by renowned harpsichordists and Bach scholars. They usually overdo the ornaments, but I take note of all the ideas, and then pair them down to the ones I think are most compelling. The objective is to lead the listener to an understanding of what is happening in the music. So, for instance, an accelerating trill on the 3rd of the 4-note subject in the C# minor fugue (WTC Book I No. 4) makes it easier to identify the subjects and answers, so you are leading the listener to hear subject, answer, subject, answer, countersubject, second countersubject, etc. using the ornaments. Otherwise, because the volume is flat on a harpsichord, it is hard to pick it out (you will note that I do NOT do this in my harpsichord video performance of the piece, only because I simply took the piano performance and replaced the soundtrack with a harpsichord). On the piano, however, you can use tonal contour to bring a voice out, so the trill isn't necessary and just gets in the way.
This interpretation very closely matches the tempos and phrasing I chose, back when I played the nylon string guitar in the 1980's. Very refreshing to hear this rendition.
Prelude: 0:00
Fugue: 3:13
Alegro: 9:42
this triple movement suite works so well. Bach's ethereal prelude is beautiful in the first bar in its descending harmonic architecture and then this very pensive soul searching fugue using the same elements however ascending, and then the finale , the allegro which echos the prelude in a rush . i think Nakamura plays this piece clean and mean.
...amateur? My congrats!!!!
Beautifully played, well chosen tempos, correct and warm interpretation, perfect rendition. A pro performance at all.
this deserves six stars out of five
The greatest interpretation! 🙏
Nice! ありがとう
So beautiful - I used to play that on the classical guitar. Haven't played it for years
This beautiful performance inspires me to pick it up again and make it ones again part of my repertoire...
Check this classical guitar performance: Goran Krivokapic plays Allegro from BWV 998
いつもギターやリュートで聞いている大好きなバッハの曲です。チェンバロの響きも変わらず素敵ですね。特に、フーガのテーマが随所に出てくるところで、きっちりと際出させている演奏が印象に残りました。ありがとうございます。
meravigliosooooo 👏👏👏
Very well played. Perfect tempo. Absolutely beautiful. Bravo!!👏👏👏👏
First time I hear this on the harpsichord, very nice. What a masterpiece!!!
Superb
thank you very much . awesome performance 😁
Exquis
Very harmonious. Beautiful.
I find this to be very beautifully played - timing, space and general atmosphere. Bravo, and thank you for posting this. Also, the sound truly blooms under your fingers, something only rarely achieved. Compliments, als, to Bruce Kennedy on s fine instrument. Again, my compliments. Peter Watchorn, Cambridge, MA (USA)
素晴らしい！音楽の喜び（厳しさも）が、伝わってきて、短いながらも充実した時間を体験できました。ありがとうございました。
very nice timings, and as we in germany say: zu wilde Intrepretation
癒されたいです
素晴らしい演奏どうもありがとうございます。ギターでも素晴らしい演奏ができるようになりますように
改めて感動します。ありがとうございます😊大切な宝物ですね。
Très grande musicienne ! Tout est beau . . . le clavecin . . . l'accord . . . Quelle metrise ! ! ! Bravo.
凄い綺麗で大きなチェンバロ!!
これは亡くなった稀代の名チェンバリストのレオンハルト氏の来日公演ために、ギタルラ社（東京古典楽器センター）が発注したという曰く付きの楽器で、レオンハルトが来日するたびにほぼ毎回のように出動し、公演を支えてきた楽器です。この録画の時に、古典楽器センターのチェンバロマイスターさんからもその懐かしいエピソードをたくさん聞かせていただきました。
@@KaoriNakamura ご返信、そして素敵な演奏ありがとうございます。
レオンハルトさん特注だったのですね。弦の下の部分にお花が描かれてこんな大きな
チェンバロ初めて見ました。彼のチェンバロ演奏を聴いた曲は少ないですが
一番好きなのは定番曲ですがバッハ パルティータ第2番ハ短調BWV826です。
もう聴く度感動してます。
ぎくしゃくしたレオンハルトより
この人の方がなめらかで上手いよ
情感たっぷりだし
🙏🙏🙏🙏🙏🙏🙏☺️
❤️💕💕
wow, she can play while asleep.
You should take out Handel's Suite Number 8 in F minor. I think that along with this are the best works for harpsichord or piano. Thanks for this version. Very big.
The conspicuous lack of ornaments in the prelude seems like a missed opportunity to me. Since the harpsichord does not allow shaping of tonal contour like the piano, ornaments can be used instead. A simple mordant on the 2nd b flat in the bass, for instance.
Plus it'd be quite in line with the time period. Performers ought to ornament Bach/Baroque music more; it'd make it even better and even more fun to hear every performer's interpretation (on any instrument)
@@ogorangeduck In the prelude, I add a mordent to the second bass note where the bass is repeated 3 times, except for the opening of the piece (there are a few places where I don't use the mordent). Other places, I add an octave in the bass where it makes sense (on a harpsichord, it would be linking manuals). Typically, if I am playing something on the piano, I don't add as many ornaments, because you can "decorate" the music using tonal contour, which isn't available on a harpsichord. But before I work on a piece, I listen to piano versions, and most particularly, harpsichord versions, played by renowned harpsichordists and Bach scholars. They usually overdo the ornaments, but I take note of all the ideas, and then pair them down to the ones I think are most compelling. The objective is to lead the listener to an understanding of what is happening in the music. So, for instance, an accelerating trill on the 3rd of the 4-note subject in the C# minor fugue (WTC Book I No. 4) makes it easier to identify the subjects and answers, so you are leading the listener to hear subject, answer, subject, answer, countersubject, second countersubject, etc. using the ornaments. Otherwise, because the volume is flat on a harpsichord, it is hard to pick it out (you will note that I do NOT do this in my harpsichord video performance of the piece, only because I simply took the piano performance and replaced the soundtrack with a harpsichord). On the piano, however, you can use tonal contour to bring a voice out, so the trill isn't necessary and just gets in the way.
I think more overlegato would be a great touch for this piece to bring out the arpeggios and to make the harpsichord more resonant. Nice performance.
A heresy??!! What need is there to ornament what God intended?