Merci aux frères Kuijken et à tant d'autres de leur génération qui m'ont ouvert à ce monde de la musique baroque sur instruments d'époque.Cela reste , encore plus aujourd'hui où il faut se recentrer sur de vraies valeurs de civilisation , une source de résilience et de respiration.
Bourree Anglaise is just too much fun. I originally fell in love with the Allemande but the more I listen to the Partita I really just can’t wait to hear the Bourree. ❤️
Los instrumentos originales de la epoca nos muestran una cara muy distinta de la interpretacion moderna, pues fisicamente son la escencia de la estructura autentica, como en esta flauta excelentemente ejecutada en la interpretacion de Bach. Bravo Maestro Kuijken!
Nice speed on this compared to the rushed overly fast one doing the rounds! Update: I've now looked up two more masters, Francois Lazarevitch and Kate Clark and wonder why they all pause after every few notes, eg in this video he pauses twice in the first bar- let's hear Jean Rondeau play this as it is written - running fluidly in time? Looking back at the first one I heard, Martin Root, I see he seems to attempt the running style in which it is written but still puts in some pauses where there are none [which totally upsets his pace] and seems to think 'fast' is going to make up for that, it doesn't. Fast-ish without the pauses is how I think this piece is written,
@@markusgro-bolting3070 I just looked her up, one of the problems I have with the 3 interpretations I've heard are all the pauses they put in when really Bach is running, eg this one has two pauses in the first bar and Kate seems to pause after every few notes! Francois Lazarevitch the same whereas Jean Rondeau I'm pretty sure would play this running without pauses, the way it seems to be written
I'd say, running is really what the "courrante" is for. Literally. The "allemande" in a dance suite has no reason to be rushed and play metronomically. At all. Testaments from flute players of this era (like J.J. Quantz) give clear preseance to inequal timings, breathing, and variety inarticulation for such pieces. It should sound like a "speech". For the remainder, this of course is a matter of personnal taste...
It’s not news that the breathing in this piece is very difficult, but in this performance all I hear is struggling for air. I didn’t feel that listening to Root the other day.
@@osoialncuiq not true. Bach wrote the allemanda with both repetition, thats the AAA'A' allemanda form. Modern flutist don't do the second repetition because they don't want to be boring but Bach wrote both repetitions as any baroque Partita movement
That's what I call "sewing engine music". But I think that is not Mr. Kuijken's problem. The whole partita as such is not appropriate to be played on a flute.
@@alexandrechatty5439 That is right. And somewhere - I do not know where exactly it was - I read that Bach did not give a damn on whether other persons could play his compositions or not. For him it was enough that he himself could play his own pieces. What is more, with a good phrasing you can make breathing easier.
Oh Bach would have been SO PROUD of this recording!
Merci aux frères Kuijken et à tant d'autres de leur génération qui m'ont ouvert à ce monde de la musique baroque sur instruments d'époque.Cela reste , encore plus aujourd'hui où il faut se recentrer sur de vraies valeurs de civilisation , une source de résilience et de respiration.
My favourite performance of this piece. Thank you for uploading it.
Bourree Anglaise is just too much fun. I originally fell in love with the Allemande but the more I listen to the Partita I really just can’t wait to hear the Bourree. ❤️
Quelle belle articulation : propre, nette et douce à la fois.... un son chaud et moelleux comme je l'aime!
exactement. le tempo est très bien, on entend chaque note et ce timbre
Los instrumentos originales de la epoca nos muestran una cara muy distinta de la interpretacion moderna, pues fisicamente son la escencia de la estructura autentica, como en esta flauta excelentemente ejecutada en la interpretacion de Bach. Bravo Maestro Kuijken!
Une beauté supreme!
SIMPLESMENTE MARAVILHOSO ❤
멋진 작곡과 좋은 연주. 아름다운 곡을 듣고 있노라면 행복해집니다.
Es un Maestro de maestros. Formador y pioneros. Él, Bruggen, Hans Martin Linde ....etc hasta hoy, siglo XXI
Suonare sul Traversiere la Partita in la min è una vera sfida ma non per Kuijken che è un grande Flautista!!!
Brother of Sigiswald and Wieland (didn't know him till today). Bravo
Godlike
Fantastico
Klasse
Bum bum tam bum bum
Tam tam
Kunst ist, es eben nicht wie eine Nähmaschine klingen zu lassen. Genau das passiert in dieser wunderbaren Interpretation.
a'=392?
Nice speed on this compared to the rushed overly fast one doing the rounds! Update: I've now looked up two more masters, Francois Lazarevitch and Kate Clark and wonder why they all pause after every few notes, eg in this video he pauses twice in the first bar- let's hear Jean Rondeau play this as it is written - running fluidly in time? Looking back at the first one I heard, Martin Root, I see he seems to attempt the running style in which it is written but still puts in some pauses where there are none [which totally upsets his pace] and seems to think 'fast' is going to make up for that, it doesn't. Fast-ish without the pauses is how I think this piece is written,
Have you ever listened to Kate Clark's interpretation? It is a little bit slower than this one - simply marvellous! 💖
@@markusgro-bolting3070 I just looked her up, one of the problems I have with the 3 interpretations I've heard are all the pauses they put in when really Bach is running, eg this one has two pauses in the first bar and Kate seems to pause after every few notes! Francois Lazarevitch the same whereas Jean Rondeau I'm pretty sure would play this running without pauses, the way it seems to be written
I'd say, running is really what the "courrante" is for. Literally. The "allemande" in a dance suite has no reason to be rushed and play metronomically. At all. Testaments from flute players of this era (like J.J. Quantz) give clear preseance to inequal timings, breathing, and variety inarticulation for such pieces. It should sound like a "speech". For the remainder, this of course is a matter of personnal taste...
Very nice but I prefer Kate Clark. I do not get the music coming through with him, just the notes.
Kate Clark is a fantastic flute player.
agreed! I don't feel the dance like I usually do with Bach
Barthold Kuijken and Kate Clark are two thoroughbred horses!
It’s not news that the breathing in this piece is very difficult, but in this performance all I hear is struggling for air. I didn’t feel that listening to Root the other day.
2:27 p.2
6:00 Corrente
Stefano... lo sai che e' bravo sto Kuijken??? Che intelligenza d'esecuzione!!!
Avoja se è bravo!
Like the performance, though he takes quite a lot of liberty with this wonderful piece.
as with any baroque piece🙄
@@BurntBiscuit99 He added a repetition in the Allemanda part. That some liberty
@@osoialncuiq naturally there's a repeat on the first page, as written
@@BurntBiscuit99 Bach wrote the movement in an AAB format.
@@osoialncuiq not true. Bach wrote the allemanda with both repetition, thats the AAA'A' allemanda form. Modern flutist don't do the second repetition because they don't want to be boring but Bach wrote both repetitions as any baroque Partita movement
That's what I call "sewing engine music". But I think that is not Mr. Kuijken's problem. The whole partita as such is not appropriate to be played on a flute.
It was originally written by J.S. Bach precisely for this instrument.
But it was made for Flute
@@mastinho6761 That is true
@@alexandrechatty5439 That is right. And somewhere - I do not know where exactly it was - I read that Bach did not give a damn on whether other persons could play his compositions or not. For him it was enough that he himself could play his own pieces.
What is more, with a good phrasing you can make breathing easier.
3 sentences, 3 inanities. Highest rate so far.