I played sections of this in high school on vibraphone of all instruments, following the chain of Lautenklavier - lute - guitar - keyboard percussion. Fond memories.
Wunderschöne und detaillierte Interpretation dieser perfekt komponierten Suite für Lautenklavier in verschiedenen Tempi mit schimmerndem doch warmherzigem Klang des technisch fehlerlosen Cembalos und mit sorgfältig kontrollierter Dynamik. Wahrhaft intelligenter und unvergleichlicher Musiker!
This is my favorite suite of Bach's. I've never heard it on anything but a guitar or lute before though. Sounds great on harpsichord. Thanks for uploading it. From what I've read about the lautenklavier, tonally it is almost indistinguishable from a lute. But I'd still like to hear it played on one, and actually see it played too.
From Yo Tomita's PhD thesis: "In Bach's Weimar period, the price of 480 thick sheets (1 Ries Doppel-Papier) was 2 fl. 6 gr. This figure may be compared to Bach's basic salary 250 fl. per annum at the time".
If, as is widely accepted, the manuscript was copied by the elder Krebs, Johann Tobias (1690 - 1762), relatively early in the eighteenth century, it seems likely that the rubric "aufs lauten werck" was added rather later, as the vogue for the lautenwerck in Germany seems to have been in the middle years of the century. Might it have been added by J. T.'s son, Johann Ludwig Krebs (1713 - 1780), who was taught and esteemed by Bach in his later years, when he would have had the lautenwercken left when he died. It seems unlikely that Bach had a lautenwerck in 1710-1717, posited by Wolf as the period in which J. T. Krebs copied the "Praeludio con la Suite", or that he would have composed the work with that instrument in particular in mind.
Lewis: do you know the date of Bach's reported interaction with Zacharias Hildebrandt concerning the Lautenwerck? Like BWV 997 and BWV 998, this work seems to remain low in tessitura (although BWV 997 is written out with the upper voice an octave higher than I think it should be performed (I play the upper parts down an octave, where I think it sounds correct)). And how many of these survive in tablature? Regards, PW
@@peterwatchorn411 Thank you for this Peter. The reference in Adlung to Bach's lautenwerk made by Zacharias Hildebrandt is to its having been heard in Leipzig in about 1740. I don't know of a recorded interaction between the two specifically in connection with that instrument. They were acquainted from the 1720s; we might reasonably conjecture that the earliest likely date might be 1727, when Hildebrandt went to Leipzig to restore part of the organ of the Thomaskirche at Bach's instigation. Of course, we can't be certain that Bach didn't have a lautenwerk earlier than that, but I'm skeptical that he would have had one in his late twenties or early thirties, the apparent time of copying of this suite by the elder Krebs. (In 1985 I tried to make a partly conjectural reconstruction of Hildebrandt's instrument, with two gut-strung registers and a brass-strung 4ft.) I will add a note about the works surviving in lute tablature shortly, but I'll need to check some details. Most of the tablatures are relatively late; they don't attest either to Bach having been interested in the lute in 1710-17, or to lutenists having been interested in his music at that time.
@@lewisjones2666 Yes, that's the window I thought: c. 1727-1740. Original Lautenwercks are like pedal harpsichords: descriptions exist but no original instruments. The pedal harpsichord I use is based on the scaling of the 1734 16' Hass. Unlike most of these, the instrument has a normal string spacing, fitting under the main instrument, raised off the floor and connected to the pedalboard by a transfer box (a bit like a Vorsetzer player piano). My dating of BWV 996 would be based on its extreme French-ness (the courante especially). Whenever they were composed, BWV 996-8 are gems, highly effective when played on a good harpsichord. P
@@bartjebartmans The 20th-century instrument depicted there is exceptional in having a huge lute-like body. We might note here that most of the 18th-century descriptions of the lautenwerck indicate that it was essentially harpsichord-shaped, albeit shorter, rather than lute-shaped.
I played sections of this in high school on vibraphone of all instruments, following the chain of Lautenklavier - lute - guitar - keyboard percussion. Fond memories.
Wunderschöne und detaillierte Interpretation dieser perfekt komponierten Suite für Lautenklavier in verschiedenen Tempi mit schimmerndem doch warmherzigem Klang des technisch fehlerlosen Cembalos und mit sorgfältig kontrollierter Dynamik. Wahrhaft intelligenter und unvergleichlicher Musiker!
This is my favorite suite of Bach's. I've never heard it on anything but a guitar or lute before though. Sounds great on harpsichord. Thanks for uploading it.
From what I've read about the lautenklavier, tonally it is almost indistinguishable from a lute. But I'd still like to hear it played on one, and actually see it played too.
There's a video of a lute suite (BWV 997) being played on one here on TH-cam.
Me encantó esta versión para clavecín! 👏🏼👏🏼👏🏼
... the music was already perfect in his head. That is why Bach could write it down almost as printed. His music is universal and unsurpassed.
Amazing, Thanks for the upload as always! I always wanted to arrange these for violin and I think I will after I have finished my current project...
Omg this audio quality is amazing
Delightful!
Here is a really obscure question. How much of an expense for Bach was manuscript paper? He used a huge quantity of it.
From Yo Tomita's PhD thesis: "In Bach's Weimar period, the price of 480 thick sheets (1 Ries Doppel-Papier) was 2 fl. 6
gr. This figure may be compared to Bach's basic salary 250 fl. per annum at the time".
@@lauterunvollkommenheit4344 Thank you!
@@lauterunvollkommenheit4344Maybe his rich employeers paid the papiers off?
If, as is widely accepted, the manuscript was copied by the elder Krebs, Johann Tobias (1690 - 1762), relatively early in the eighteenth century, it seems likely that the rubric "aufs lauten werck" was added rather later, as the vogue for the lautenwerck in Germany seems to have been in the middle years of the century. Might it have been added by J. T.'s son, Johann Ludwig Krebs (1713 - 1780), who was taught and esteemed by Bach in his later years, when he would have had the lautenwercken left when he died. It seems unlikely that Bach had a lautenwerck in 1710-1717, posited by Wolf as the period in which J. T. Krebs copied the "Praeludio con la Suite", or that he would have composed the work with that instrument in particular in mind.
Lewis: do you know the date of Bach's reported interaction with Zacharias Hildebrandt concerning the Lautenwerck? Like BWV 997 and BWV 998, this work seems to remain low in tessitura (although BWV 997 is written out with the upper voice an octave higher than I think it should be performed (I play the upper parts down an octave, where I think it sounds correct)). And how many of these survive in tablature? Regards, PW
@@peterwatchorn411 Thank you for this Peter. The reference in Adlung to Bach's lautenwerk made by Zacharias Hildebrandt is to its having been heard in Leipzig in about 1740. I don't know of a recorded interaction between the two specifically in connection with that instrument. They were acquainted from the 1720s; we might reasonably conjecture that the earliest likely date might be 1727, when Hildebrandt went to Leipzig to restore part of the organ of the Thomaskirche at Bach's instigation. Of course, we can't be certain that Bach didn't have a lautenwerk earlier than that, but I'm skeptical that he would have had one in his late twenties or early thirties, the apparent time of copying of this suite by the elder Krebs. (In 1985 I tried to make a partly conjectural reconstruction of Hildebrandt's instrument, with two gut-strung registers and a brass-strung 4ft.)
I will add a note about the works surviving in lute tablature shortly, but I'll need to check some details. Most of the tablatures are relatively late; they don't attest either to Bach having been interested in the lute in 1710-17, or to lutenists having been interested in his music at that time.
@@lewisjones2666 Yes, that's the window I thought: c. 1727-1740. Original Lautenwercks are like pedal harpsichords: descriptions exist but no original instruments. The pedal harpsichord I use is based on the scaling of the 1734 16' Hass. Unlike most of these, the instrument has a normal string spacing, fitting under the main instrument, raised off the floor and connected to the pedalboard by a transfer box (a bit like a Vorsetzer player piano). My dating of BWV 996 would be based on its extreme French-ness (the courante especially). Whenever they were composed, BWV 996-8 are gems, highly effective when played on a good harpsichord. P
11:45 start of the famous Bourree
Avec la "bourrée" reprise par Jethro Tull :-)
2:47
Is there a difference between Lautenklavier/Harpsichord/Clavichord?
Here is an explanation: en.wikipedia.org/wiki/Lautenwerck
@@bartjebartmans The 20th-century instrument depicted there is exceptional in having a huge lute-like body. We might note here that most of the 18th-century descriptions of the lautenwerck indicate that it was essentially harpsichord-shaped, albeit shorter, rather than lute-shaped.
@@lewisjones2666 As I understand, a Lautenwerk also had gut strings.
@@johnhudelson2652 Yes indeed. Some, like that by Hildebrandt described by Adlung, additionally had a register with brass strings at 4ft pitch.
Does anybody play this on the organ?
По-моему, звучит обычный клавесин, а не лаутенверк.