the counterpoint is incredible in the toccata. you have arpeggiation on one register with harmony accented by mordents on the opposite register then it switches. its so simple but it makes the music so rich. Bach uses this technique to develop an incredible rhythm and flow almost as if the piece were breathing.
Bach always impress me with his phenomenal music. What a timeless piece this is, and extremely difficult to play. The saraband has some of the most complex rhythms and ornamentations of all. Beautiful!
Best performance! 03:32 - 04:06 one of the most beautiful Bach passages ever. I listen to it over and over again but that circle of fifths progression at 4:00 never ceases to overwhelm my emotions!! I've been obsessed with those two measures for a few months now. It's impressive how much time 4 seconds of Bach can take for you to grasp.
This performance of the Gigue is incorrect, in that it is meant to be a slow moving Gigue in common time, similar to the Gigue in the first French Suite. This slow-moving type of Gigue was developed by the French lutenists, particularly Denis Gautier. In this performance the rhythms are played as if the Gigue is in 12/8.
Gerubach, this is a tremendous work of love. I can't fathom the quantity of work and patience you put into these wonderful animated scores. Thank you, very much.
This Piece truly is epic, one of the best of Bach's keyboard output (and, by extension, one of the best of the whole keyboard instruments' Repertoire).
This whole partita is gorgeous! Heavenly intricate music; incredibly beautiful! I cannot get enough of it. I’ve instructed my family to play the Allemande on my cremation! (I’m only 79, so it may take some time 😊)
Gracias Gerubach, tremendo trabajo que te mandas con tus magníficos videos... ¡Qué tal diferencia de calidad! No hay punto de comparación entre las obras de Bach y de los otros músicos. Ese courante me parece muy pero muy misterioso
I feel so pleasured to have a wonderful resource to help my study of this beautiful work on the piano. I will be listening to more videos on your channel!! This was particularly useful for me in terms of interesting time signature and rhythm business in the Gigue. Also really enjoyed the Sarabande, and the fact this is on a harpsichord has really inspired me to learn to play the harpsichord, which I will be doing from September. Thank you so much!
Bach wrote all Masterpieces, However the Toccata is more fascinating of the Corrente if you focus on its depth and anyway if you had listend to all Bach's works for keyboard and for Choral Music you wouldn't have said that :)
Dear Sir the choice of Harpsichord like instrument was really a good one. I can actually hear the ornamentals which are often not audible enough with piano. The Edgy metal on metal sound allows for better understanding of the composition's structure.
The courante... Oh my goodness I've never seen anything like it, it's like aliens showing me alien technology for the first time! I don't know what's more astounding, the fact that people have the ability to play it or the fact a human being created something so amazing.
***** Yes! And the second (last) piece is Bach's Partita No.2 for solo Violin (Piano Version arranged by Busoni) ,I Hope you make a video of this piece (piano version) gerubach
The opening Toccata blends with Fugue so naturally: notice how it first announces the fugue (which is structurally inspired from it), lets it unravel then completes with conclusion. It is impossible to find any other words than pure perfection: beauty condensed at atomic level. Nothing more could be said... The ending Gigue is yet another display of perfection, but from a different angle. Here it's theme and, later, its inversion talking. Probably Bach, if not a composer, would have been an astonishing mathematician with his ability to find patterns in chaos and blend them meaningfully into a rock-solid system. For me, as a programmer, he will always be endless source of inspiration:
The note highlighting in the Corrente is a masterpiece! You're like the cameraman running alongside olympic sprinters. Also, listening closely to the Toccata, I just noticed a fantastic compositional detail. After 5:45, the two-part counterpoint theme from the toccata returns (in 3-part counterpoint) as part of the fugue! Such a cool transition; I never noticed it because it fits into the fugue so smoothly.
Thomas Field I prefer the Toccata, it has that 'inevitable' motion of 'rolling down the hill' or pushing up the hill needing much will power. I have not heard any piece like that ever.
Thomas Field I looked at Gavotte, and did not like on the piano, but whatever the strings used for this rendition was quite beautiful, definitely love to play some parts of it. Gerubach's graphical renditions are quite useful to understand the composition structures and repeatitions, I suspect by looking at these graphical renditions that the composition had several layers, and some layers had gaps which needed to be connected somehow.
For those who wonder about the odd time signature of the gigue, it's like a double 2/2 (crossed C), but I'll agree it looks like a coda sign. I suppose the same engraving piece was used.
Honestly, I consider Trevor Pinnock the harpsichord version of Glenn Gould. Pinnock is the kind of musician that would have made Bach proud to have him play his music.
Thanks sir for your Gurubach service. Never heard this before your channel. I look no further. I love this whole suite, but that Courante just jumped out at me. Bach says, " Ok you want a french dance? Here you go try this out. " Classic Bach all the way through. " So epitome of baroque and totally Bach. I usually don't get sucked into this dance that easy. Ahh... Great!
Genius. Who wrote it? Just kidding. Brilliant in its simplicity. Inspired from on high. Even this performance couldn't dampen the true luster of its original spirit of intent. Would like to hear it played en ensamble. There is so much here. So many voices working en co - operation. Remarkable . Thanks for sharing your understandings... with the unworthy.
I dont know when this opus drifted to Spain and Andalucia, but the first minute of Toccata sounds really much flamenco guitar. German Hubert Käppel transcripted the whole partita succesfully for classical guitar.
The Gigue sounds like 2 fire chariots end up meeting together at tip point touching, a deadly dance in the high sky, while diving down from high altitudes & rising back up. As to say LOOK, the world is being judged!! *Chills *Chills *Chills!!
The Gavotte, "Tempo de Gavotta", is a Gavotte and starts on the third beat. The Gigue is written in a style typical of Bach in found in many of his suites in 4 beats to the bar, but unlike a Gavotte does not start on the third beat. The Gigue is in imitative polyphony (fuge like) which in the b section the thematic material is inverted (upside down). J S Bach knew what he is was doing.
The gigue is played weirdly. For the dotted notes, Trevor plays them correctly, but on the pairs of eighth notes, he swings them like dotted triplets, and where there are two sixteenths and an eighth, he plays them as triplets. He must have been using a different edition of sheet music than what's displayed here.
Just a quick search will reveal Perahia and GG playing 4/2 or 8/4. Bach is capable of writing 24/8 if he wants. Why wouldn't he? I have always found Pinnock to be impeccable and if there is an argument for presenting this in triplet time, fine. I'll settle with creative/interpretive leeway. Or, that the time signature historically stood for both. However, I find it suspicious as I do not, for a second, see any reason to support any argument that Bach made an error, and it has nothing to do with idol worship of the composer. Oh, and I forgot, the time signature means 2 whole notes per bar. If you want to bend the rhythm into triplets, be my guest, fill your boots. Play the piece on upside down, well tempered Campbell soup tins for all I care. Don't argue that it's called a "gigue", therefore by some academic law it MUST be triplets. These movements have names that barely correspond with the original dance or cantabile, especially when it comes to Bach. It's called creativity.
Go and listen to some of Couperin’s gigues. Some are triplet-less! Oh, the horrors, our precious academic rule is violated!!!!!!!! Blasphemy!!!!!!!!!!!!!!! There. Gigues need not contain triplets.
I could hear traces of Christian Pezold's Toccata in B(?) . Once it moves it cannot stop, so there is a sense of rolling down the hill you have to force it to stop. Then there are simpler melodies which are turned into more complex by an Arpeggio.
Is there a reason the performer is playing the 16th note rhythms the same as the triplet rhythms in the Gavotte (not subdividing a dotted eighth-sixteenth figure for example, instead playing it as if it was a triplet)? Is that a stylistic thing?
It’s quite historical. And also a matter of printing in the old days. You got that right in both cases. Publishers never printed otherwise until late in the nineteenth century. But the sixteenth note was definitely meant to go with the third so called triplet note (which should note really be regarded as a triplet). It’s a performing rule in all treatises that runs as late as Schubert, although seldom musicians would dare play Schubert that way, today, even if it works pretty well, in fact (Winterreise). So, the third triplet note goes with the sixteenth note exactly as Trevor plays it here. It’s also revealing, should you come closer to look at the harmony. But it remains a stylistic figure of musical speech indeed. It’s not really related to French style, though, as far as I remember from my harpsichord studies. Read Couperin (The Art of Playing The Harpsichord) to tell the difference. Sorry about my English. It may not be clear enough (not my mother tongue : I’m French - Greetings from Paris !).
+Jer TheJambon Jumping in the middle of this, I think it is quite possible, however it will be far more sophisticated. Our problem these days is retail software and millions of listeners, once we get over that hump many Bachs will be appear and use the software capabilities and advanced synthesizers , and create amazing compositions. There is a problem with the classical music community, that of atavism, but in due time they think differently. I like to thank GeruBach again because his videos make it easy to study such important works.
More sophisticated maybe, but I don't know. For me something from the 21st century that would be able to echo the power of Bach's musicality should not be about the software or synthetizers or whatever. Bach's power, at least to me, dwells in its "simple difficulty". I feel Bach was a clever composer who managed to get complex only by starting from the purest and simplest musical thought. The thing with him is that it sometimes appears as obvious whereas he has that cleverness that makes it way more deep. Someone from the 21st century should focus on that mainly, the musical idea and his way to develop it.
That syncopation is a traditionally French way of playing the harpsichord. In French or French-style harpsichord music the performer is allowed a lot of artistic license regarding note values and ornamentation, often causing the music to sound a lot different from how it's written.
The gigue has a sort of but not really swing feel. The eighth notes give the swing feel but the 2 sixteenth note-one eighth note group sound like eighth note triplets which is odd. I like it though.
Trevor Pinnock is probably the best harpsichordist in the last 100 years. But once you have heard Glenn Gould play this piece, that's it. It's over. He owns it.
It's a medieval time signature equivalent to 9/4. Bach was just using it incorrectly. He might have assumed that since 2/2 is a semicircle with a line through it then this time signature (a full circle with a line through it) must have meant 4/2.
@@barney6888 Your philistinism is showing, sir. Bach was a human being and he made mistakes like any other human being. Since no autograph of this piece has survived, it's also possible that the time signature might have been the mistake of a copyist. Whether it was Bach or his copyist, someone definitely made a mistake somewhere along the line since the Gigue's time signature does not correspond to the way the music is written at all.
+Denny Hamrick, I think the instrument in the gavotte is actually something called a "lute-harpsichord". See here: www.baroquemusic.org/barluthp.html which leads to another page with a sample of its sound here: www.baroquecds.com/740Web.html. And it's really magnificent! First time I heard it, I was like, "What the heck was *that*??"
I have a question, what exactly is the instrument used for the sixth piece of this suite? It's some sort of plucked string isntrument, is it a keyboard instrument?
It's the lute stop. Something like a cloth presses upon the strings and bumps them; they don't sound like metal anymore, more like gut, just as a lute. French harpsichords had this feature at that Era...
I prefer Gould for the first half of the partita (the toccata and fugue up to the courante). But his mechanical, pointillistic approach starts to get really grating on the 2nd half (by the time the gigue comes up I'm well past done). This Pinnock rendition with the harpsichord maintains a warmth and spontaneity that completes the partita for me. Awesome.
the counterpoint is incredible in the toccata. you have arpeggiation on one register with harmony accented by mordents on the opposite register then it switches. its so simple but it makes the music so rich. Bach uses this technique to develop an incredible rhythm and flow almost as if the piece were breathing.
Each day I tell myself, "The only reason I decide to wake up every day is because someone as great as Johann Sebastian Bach walked this earth"
Amen! Most true thing I have heard in a while.
Beautifully said! I feel the same way and yet could not come up with the words!
Listen the Magic ") thank's Bro for post this Incredible piece \B/
Me too. I cannot live without Bach's music.
+Bachlover Same here. Listening to Bach leads you to a unique state of mind which you always want to be on, It's like LSD for me.
I love Bach. He's got a certain flow like a stream of notes flowing with curves and ups and downs.
Bach in German means . . . brook, does it not ?
Bach always impress me with his phenomenal music. What a timeless piece this is, and extremely difficult to play. The saraband has some of the most complex rhythms and ornamentations of all. Beautiful!
The sarabanda makes me shiver in its dramatic beauty.
The fugue of Toccata (mov 1) is one of my favourites pieces of all composers, it is really fantastic, and must be with this Pinnock recording.
Best performance! 03:32 - 04:06 one of the most beautiful Bach passages ever. I listen to it over and over again but that circle of fifths progression at 4:00 never ceases to overwhelm my emotions!! I've been obsessed with those two measures for a few months now. It's impressive how much time 4 seconds of Bach can take for you to grasp.
Wow, exactly the same feeling. That part always moves me to tears.
Me too, some times i like to accentuate the upper voice with the repetitive off beat character. Beautiful progression.
0:18 - 1:10 -- Who else got chills??
this whole partita is an absolute masterpiece by JS Bach and so damn well played by Pinnock
Pinnock is the best Bach cembalist
habadabadaaa Probably tied with someone, but definitely one of the greats.
@@habadabadaaa Leonhardt? Staier?
The rhythm in the Gigue is kinda like Baroque swing
Trevor really spices it up like this.
This performance of the Gigue is incorrect, in that it is meant to be a slow moving Gigue in common time, similar to the Gigue in the first French Suite. This slow-moving type of Gigue was developed by the French lutenists, particularly Denis Gautier. In this performance the rhythms are played as if the Gigue is in 12/8.
Gerubach, this is a tremendous work of love. I can't fathom the quantity of work and patience you put into these wonderful animated scores. Thank you, very much.
So divine, so complete and so time-less. This is true art to me. Thank you!!
This Piece truly is epic, one of the best of Bach's keyboard output (and, by extension, one of the best of the whole keyboard instruments' Repertoire).
Nice fugue in the beginning. Also the high B on this instrument is lovely.
Words cannot describe how excited and happy I was to finally see this partita on your uploads page!! Thanks so much :D
This channel always provides the best performance/version of each of those pieces!!! Just wonderful!!!
This whole partita is gorgeous! Heavenly intricate music; incredibly beautiful!
I cannot get enough of it.
I’ve instructed my family to play the Allemande on my cremation! (I’m only 79, so it may take some time 😊)
Gracias Gerubach, tremendo trabajo que te mandas con tus magníficos videos... ¡Qué tal diferencia de calidad! No hay punto de comparación entre las obras de Bach y de los otros músicos. Ese courante me parece muy pero muy misterioso
I feel so pleasured to have a wonderful resource to help my study of this beautiful work on the piano. I will be listening to more videos on your channel!! This was particularly useful for me in terms of interesting time signature and rhythm business in the Gigue. Also really enjoyed the Sarabande, and the fact this is on a harpsichord has really inspired me to learn to play the harpsichord, which I will be doing from September. Thank you so much!
Possibly my new favourite piece of music.
That Corrente is probably the second best thing I've heard from Bach
+President Aria And what is think you the first best work?
The Chaconne
BWV 596 for me.
And BWV 999... Beautiful...
Bach wrote all Masterpieces, However the Toccata is more fascinating of the Corrente if you focus on its depth and anyway if you had listend to all Bach's works for keyboard and for Choral Music you wouldn't have said that :)
The Corrente is amazing and one of the few pieces that are in a minor key and sound this exciting
How one man can create such a large body of spectacular works of art is beyond my comprehension
Przepiekna błyskotliwa melodyjna ta Partita Bacha dziękuję bardzo
Wasn't expecting a fugue in the middle of the Toccata, what a pleasant surprise
Dear Sir the choice of Harpsichord like instrument was really a good one. I can actually hear the ornamentals which are often not audible enough with piano. The Edgy metal on metal sound allows for better understanding of the composition's structure.
The rhythm of the Sarabande is absolutely crazy.
All I can say is .. oh my god this is pure genius and beautiful.. Damn!!!!!!
2:14-2:30 amazing
Падает занавес и льётся свет! ❤❤❤
The opening Toccata is just the most incredible piece of music I have ever heard. Beyond genius.
The last movement is haunting! So beautiful!
The ornamentals are so essential for this piece to play and sound so beautiful
20:41 just sounds like a stunning Cadenza! Bach always astonishes me with his Sarabandes. Just like what he did in Partita no.4.
The courante... Oh my goodness I've never seen anything like it, it's like aliens showing me alien technology for the first time! I don't know what's more astounding, the fact that people have the ability to play it or the fact a human being created something so amazing.
I've been waiting so long!! That's one of my Piano exam pieces, Great job gerubach
lau wingshun And you're supposed to play the whole piece ?...
***** Yes!
And the second (last) piece is Bach's Partita No.2 for solo Violin (Piano Version arranged by Busoni) ,I Hope you make a video of this piece (piano version) gerubach
Wow, that's impressive. Do your best !
+Winsome Lau Hey, did you pass the exam?
+TheMrSeven The exam will be in Oct
The opening Toccata blends with Fugue so naturally: notice how it first announces the fugue (which is structurally inspired from it), lets it unravel then completes with conclusion. It is impossible to find any other words than pure perfection: beauty condensed at atomic level. Nothing more could be said...
The ending Gigue is yet another display of perfection, but from a different angle. Here it's theme and, later, its inversion talking. Probably Bach, if not a composer, would have been an astonishing mathematician with his ability to find patterns in chaos and blend them meaningfully into a rock-solid system. For me, as a programmer, he will always be endless source of inspiration:
Please listen to Bach's keyboard toccatas, they are all like this. Best music by Bach...
The trasitition of the fugue back to the toccata (recapitulation) is so astonishingly beautiful, I can't help but tear up a bit every time I hear it.
Thank you for everything. Thanks for the amazing works.
The note highlighting in the Corrente is a masterpiece! You're like the cameraman running alongside olympic sprinters.
Also, listening closely to the Toccata, I just noticed a fantastic compositional detail. After 5:45, the two-part counterpoint theme from the toccata returns (in 3-part counterpoint) as part of the fugue! Such a cool transition; I never noticed it because it fits into the fugue so smoothly.
Love watching and listening to this!
Thank you Sir! I could now study and research this piece and surely play myself soon
Thomas Field I prefer the Toccata, it has that 'inevitable' motion of 'rolling down the hill' or pushing up the hill needing much will power. I have not heard any piece like that ever.
Thomas Field I looked at Gavotte, and did not like on the piano, but whatever the strings used for this rendition was quite beautiful, definitely love to play some parts of it. Gerubach's graphical renditions are quite useful to understand the composition structures and repeatitions, I suspect by looking at these graphical renditions that the composition had several layers, and some layers had gaps which needed to be connected somehow.
i hate when people say bach is to cerebral and not emotional. just listen to the beginning of the toccata smh
Thank you very much for your work.
For those who wonder about the odd time signature of the gigue, it's like a double 2/2 (crossed C), but I'll agree it looks like a coda sign. I suppose the same engraving piece was used.
(|) some kind of that I guess
11:58 remember Brandenburg concerto 5 Early cadenza.
Honestly, I consider Trevor Pinnock the harpsichord version of Glenn Gould. Pinnock is the kind of musician that would have made Bach proud to have him play his music.
He really is great and probably more historical than others.
Thanks sir for your Gurubach service. Never heard this before your channel. I look no further. I love this whole suite, but that Courante just jumped out at me. Bach says, " Ok you want a french dance? Here you go try this out. " Classic Bach all the way through. " So epitome of baroque and totally Bach. I usually don't get sucked into this dance that easy. Ahh... Great!
As always, it is hard to understand how a human being can compose such music. JSB is unique.
Bro how come u dare to say (human being) to bach
Genius. Who wrote it? Just kidding. Brilliant in its simplicity. Inspired from on high. Even this performance couldn't dampen the true luster of its original spirit of intent. Would like to hear it played en ensamble. There is so much here. So many voices working en co - operation. Remarkable . Thanks for sharing your understandings... with the unworthy.
He's the consummate "rock star," whose music is always in style.
Lovely Gigue in French rhythm!
Bach surely use some of his most beautiful melodies for this partita, always my favorite, specially by Gould
I dont know when this opus drifted to Spain and Andalucia, but the first minute of Toccata sounds really much flamenco guitar. German Hubert Käppel transcripted the whole partita succesfully for classical guitar.
I love the graphics made to this, gurubach
Wonderfull, what a genius!
Interesting sound in the gavotta.
It is a mechanism called the lute switch that creates that sound
Denny Hamrick it's plucked with rubber or felt or something? Correct me if not.
it's plucked the same as normal, but the lute stop pushes little felt dampers against the strings to give the sound a much quicker decay time
The Gigue sounds like 2 fire chariots end up meeting together at tip point touching, a deadly dance in the high sky, while diving down from high altitudes & rising back up. As to say LOOK, the world is being judged!! *Chills *Chills *Chills!!
I'll never understand why Bach wrote a Partita in which the Gavotta is clearly a gigue an the Gigue is cleary a gavotte. :D
The Gavotte, "Tempo de Gavotta", is a Gavotte and starts on the third beat. The Gigue is written in a style typical of Bach in found in many of his suites in 4 beats to the bar, but unlike a Gavotte does not start on the third beat. The Gigue is in imitative polyphony (fuge like) which in the b section the thematic material is inverted (upside down). J S Bach knew what he is was doing.
The gigue is played weirdly. For the dotted notes, Trevor plays them correctly, but on the pairs of eighth notes, he swings them like dotted triplets, and where there are two sixteenths and an eighth, he plays them as triplets. He must have been using a different edition of sheet music than what's displayed here.
I heard that in baroque music, 'syncopation' is a common way to play, particularly in French music
I noticed it too, the score do not indicate the "French" style
@@geophotoexplorer Freedom of interpretation?
Jan Kubny A gigue is a French dance so maybe that's why
I honestly like it better that way than what is written. Trevor really pulled some strings to give this piece life.
5:56 my ears are begging for a picardy third :(
Love the courante !
Браво
Happy bithday mr. Bach!
Just a quick search will reveal Perahia and GG playing 4/2 or 8/4. Bach is capable of writing 24/8 if he wants. Why wouldn't he? I have always found Pinnock to be impeccable and if there is an argument for presenting this in triplet time, fine. I'll settle with creative/interpretive leeway. Or, that the time signature historically stood for both. However, I find it suspicious as I do not, for a second, see any reason to support any argument that Bach made an error, and it has nothing to do with idol worship of the composer. Oh, and I forgot, the time signature means 2 whole notes per bar. If you want to bend the rhythm into triplets, be my guest, fill your boots. Play the piece on upside down, well tempered Campbell soup tins for all I care. Don't argue that it's called a "gigue", therefore by some academic law it MUST be triplets. These movements have names that barely correspond with the original dance or cantabile, especially when it comes to Bach. It's called creativity.
Go and listen to some of Couperin’s gigues. Some are triplet-less! Oh, the horrors, our precious academic rule is violated!!!!!!!! Blasphemy!!!!!!!!!!!!!!! There. Gigues need not contain triplets.
I could hear traces of Christian Pezold's Toccata in B(?) . Once it moves it cannot stop, so there is a sense of rolling down the hill you have to force it to stop. Then there are simpler melodies which are turned into more complex by an Arpeggio.
Is there a reason the performer is playing the 16th note rhythms the same as the triplet rhythms in the Gavotte (not subdividing a dotted eighth-sixteenth figure for example, instead playing it as if it was a triplet)? Is that a stylistic thing?
I think he does it to show more of the dotted swing French style. I personally love it.
It’s quite historical. And also a matter of printing in the old days. You got that right in both cases.
Publishers never printed otherwise until late in the nineteenth century. But the sixteenth note was definitely meant to go with the third so called triplet note (which should note really be regarded as a triplet).
It’s a performing rule in all treatises that runs as late as Schubert, although seldom musicians would dare play Schubert that way, today, even if it works pretty well, in fact (Winterreise).
So, the third triplet note goes with the sixteenth note exactly as Trevor plays it here.
It’s also revealing, should you come closer to look at the harmony. But it remains a stylistic figure of musical speech indeed.
It’s not really related to French style, though, as far as I remember from my harpsichord studies. Read Couperin (The Art of Playing The Harpsichord) to tell the difference.
Sorry about my English. It may not be clear enough (not my mother tongue : I’m French - Greetings from Paris !).
tempo di gavotta: 23:19. I REPEAT, WE HAVE A 23-19!!!!!
Ooooh finally an opening movement who isn't a fugue.
02:13 - DAMN!
If I did not know this to be by Bach and someone played it for me for the first time, I would have said it is a 21st century composition.
darashayda1 Agree.
+MCTournaments Ryan Why not ?
What do you mean ? Composing such a thing wouldn't be possible in these days ?
+Jer TheJambon Jumping in the middle of this, I think it is quite possible, however it will be far more sophisticated. Our problem these days is retail software and millions of listeners, once we get over that hump many Bachs will be appear and use the software capabilities and advanced synthesizers , and create amazing compositions. There is a problem with the classical music community, that of atavism, but in due time they think differently. I like to thank GeruBach again because his videos make it easy to study such important works.
More sophisticated maybe, but I don't know. For me something from the 21st century that would be able to echo the power of Bach's musicality should not be about the software or synthetizers or whatever.
Bach's power, at least to me, dwells in its "simple difficulty". I feel Bach was a clever composer who managed to get complex only by starting from the purest and simplest musical thought. The thing with him is that it sometimes appears as obvious whereas he has that cleverness that makes it way more deep. Someone from the 21st century should focus on that mainly, the musical idea and his way to develop it.
why he played the gigue so different from the score?
That syncopation is a traditionally French way of playing the harpsichord. In French or French-style harpsichord music the performer is allowed a lot of artistic license regarding note values and ornamentation, often causing the music to sound a lot different from how it's written.
The gigue has a sort of but not really swing feel. The eighth notes give the swing feel but the 2 sixteenth note-one eighth note group sound like eighth note triplets which is odd. I like it though.
Trevor Pinnock is probably the best harpsichordist in the last 100 years. But once you have heard Glenn Gould play this piece, that's it. It's over. He owns it.
I've heard Glenn's fabulous version, but when it comes down to the greatest recording, I prefer this one.
What is that strange looking time signature in the Gigue?? I have never seen it before! Do you know what it means?
Judging by counting the notes, it looks like it denotes 4/2 time. I've never seen it before either.
I am not sure but it seems to me that the gigue is not played exactly as the score the performer is playing all paused fashinon.
It's a medieval time signature equivalent to 9/4. Bach was just using it incorrectly. He might have assumed that since 2/2 is a semicircle with a line through it then this time signature (a full circle with a line through it) must have meant 4/2.
@@talkingtadpole3001 "Bach was just using it incorrectly"
seriously??
I'll believe Bach before any and all other musicians, scholars or hackadumics.
@@barney6888 Your philistinism is showing, sir. Bach was a human being and he made mistakes like any other human being. Since no autograph of this piece has survived, it's also possible that the time signature might have been the mistake of a copyist. Whether it was Bach or his copyist, someone definitely made a mistake somewhere along the line since the Gigue's time signature does not correspond to the way the music is written at all.
Among his other talents, gerubach has an unerring ear for the best performance. I only recently realized that Pinnock is the guy . . .
Trevor Pinnock = World's Fastest Music Player
25:26 : Gigue is fantastic !
Gigue in the form of a fugue. The theme is played 5 times in the first section, 7 times in the second section.
is it just me or is there a fugue going on from 2:13 to 6:00 lol
corrente sounds much better on period instruments than on piano.
+Denny Hamrick, I think the instrument in the gavotte is actually something called a "lute-harpsichord". See here: www.baroquemusic.org/barluthp.html which leads to another page with a sample of its sound here: www.baroquecds.com/740Web.html. And it's really magnificent! First time I heard it, I was like, "What the heck was *that*??"
Nobody does Accelerando like this bloke.
It's like a musical Drag Race Meet.
02:12 . I love this fugal passage
Amazing
Holy pancakes! This is a really good song!
I hate to be the one, but this is a piece, not a song.
@@louiscouperin3731 1) Clearly you do want to be the one. 2) This must be a song because this is my favourite song. Real fans only thhhhpt
@@kylechurch6296 1) Clearly you're trolling. 2) This must be a piece because there's nobody singing except for the voice of the harpsichord.
@@kylechurch6296 there's no singing you dumbass
I have a question, what exactly is the instrument used for the sixth piece of this suite? It's some sort of plucked string isntrument, is it a keyboard instrument?
Harpsichord, like a plucked string ancestor of piano
Oh, it just sounded so different to me I had no idea it was a harpsichord too. Thank you for your answers!
It's the lute stop. Something like a cloth presses upon the strings and bumps them; they don't sound like metal anymore, more like gut, just as a lute. French harpsichords had this feature at that Era...
In his musical testimony Bach basicly reflects order of universal creation of Creator.
incredible
Thank you. What is your next project?
Glenn gould plays this very well.
I think the toccata is one of the most dificult pieces from harpsichord
This toccata is moderately challenging, but not nearly as technically demanding as sections of the bwv 910-916 toccatas.
Who is the performer??? Great performance!!! thank you.
Wallace Choi pretty late but trevor pinnock i think
@@maua2848 Oh thank you..!!
23:20 Tempo di Gavotta
Was this played with a harpsichord??
esta partir a supera a todas, junto con la obertura a la francesa o bwv 831
The Sarabande sounds like a upside down-twisted haunted house lol
2:13 fugue
Gigue semiquavers are a little bit confusing
11:21 bach pedal to the metal
bach makes me feel things
I prefer Gould for the first half of the partita (the toccata and fugue up to the courante). But his mechanical, pointillistic approach starts to get really grating on the 2nd half (by the time the gigue comes up I'm well past done). This Pinnock rendition with the harpsichord maintains a warmth and spontaneity that completes the partita for me. Awesome.
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