Rameau - Suite A-minor 1728
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- เผยแพร่เมื่อ 2 มิ.ย. 2024
- 1:Allemande 0:00~
2:Courante 7:51~
3:Sarabande 12:05~
4:Les trois Mains 15:36~
5:Fanfarinette 20:15~
6:La Triomphante 23:02~
7:Gavotte et Doubles 24:40~
Frederick Hass ( cem )
clavecin is Henri Hemsh 1751 - เพลง
Rameau's music is beautiful beyond any human words...
Спасибо за музыку ! Барокко это
тихая страсть и победа Света над материей, мука и радость! Рамо это совершенство космоса и торжество гармонии!
ЭТО МУЗЫКА РОКОКО!!!⚜😌
@@sergelachantee767 почему Рамо это рококо? В музыке в принципе не принято выделять отдельный стиль рококо. Если уже это и делать, то скорее рококо соответствует "галантный" стиль, в котором писал например Иоганн Кристиан Бах, Галуппи, Чимароза и т.д.
@@t_mm_r А Я ВЫДЕЛЯЮ!!! ТЫ ЧТО НА МЕНЯ КАТИШЬ?🥊
Roccocco is one of Rameaus influences, like the pre-clacissicism before Stamitz and Bocherini.
What magnificent playing. I particularly admired the majesty and surprising tempo at the end of the gavotte and doubles. How he brought this magnificent passacaglia (essentially) home for a splendid and rousing finale. M. Haas is a great maestro, and the authority of his interpretation will be a source of delight for years to come, I am sure.
Рамо это совершенство гармонии , Свет и материя! Это душа гения! Спасибо за музыку !
"Have another glass, my dear. You'll see what I mean."
She’ll finally be able to see that the room they are sitting in warps reality and space time. The painting is right next to the table, however, if you look at the tiles directly behind her, they go off into the distance and make the back wall look really far away.
The best harpsichord suite ever
フェルメールのこの絵を洗浄した状態で観たが、世界最高の絵画だと思った。観るだけで心と知能が開発されていく、知恵の絵だ。
The glass of wine - Johannes Vermeer
Hand-made stained glass panels just like that one are popular again.
Rameau was the trill-master.
Couperin le Grande and the French keyboard school of the era generally. Bach is recorded as not being particularly fond of the fact that hardly a note of French music is free of ornamentation.
This music is glorious. The "Gavotte et Doubles" is so beautiful it almost hurts.
I agree with you. Check out the version and interpretation of Natacha Kudritskaya here on TH-cam. ''Rameau - Suite en la Gavotte et six Doubles / Natacha Kudritskaya'' Prepare for pain.
I feel the same listening to Favorite in six doubles
@@erikvictor Her performance is simply incredible.
Olena Zhukova has a great rendition of this song th-cam.com/video/K-wK-rmFoZY/w-d-xo.html&ab_channel=OlenaZhukova-Topic
The Belgian harpsichordist, Frédérick Haas born 1969 .. studied the harpsichord with a number of teachers, and was awarded solo diplomas at both the Sweelinck Conservatorium of Amsterdam and the Conservatoire Royal de Bruxelles, in addition to a Musicology degree from the Sorbonne. ... Frédérick Haas is professor of harpsichord at the Royal Conservatorium of Brussels.
Thank You !
It is a pity he does not teach at UC Berkeley!
Рамо---это изумруд эпохи,а исполнение,как алмаз,сияющий разными цветами.Слушаешь и понимаешь,что музыка(настоящая!)вечна....
24:40 muero con la Gavotte et six doubles ; la entrada al cielo , maravilla❤ . Rameau es fascinante !! Y la pintura "La copa de vino " , magnífica obra de arte de Johannes Vermeer van Delft . Gracias por compartir tanta hermosura @baroque6hiro . Saludos desde Chile ❤🌺
A very beautiful registering which uses the "notes inégales" of the French harpsichord tradition. This gives a perfume of authenticity without drawing Rameau backwards.
.\
sorry
The gavotte et doubles was so good I had to listen to it twice!
Agreed!!! And I listened to it 3 times. So imaginative!!!!
I listened to it a lot too, thought it only had that effect to me, The last couple of doubles is especially addicting !
+suremate Wonderful interpretation
suremate ほほほ
Such great music, praise Rameau
Absolument splendide. D’une très grande beauté.
Just as I was thinking that Frederick Hass' playing could not get any more brilliant, I got to 31:00 !!! Amazing virtuosity.
Waaaaaay too rushed. He blew it
@@philipbay1548 Do better and put it online.
@@rodthom86 put what online?
What a masterpiece!
I hope the aristocracy Rameau wrote his music for enjoyed it as much as I do. It is fantastic.
he also co-authored an opera with Voltaire. apparently they were friends and would attend the same salons. ;-)
@@psalc1 friends with Voltaire? Then they were just poking fun at everything.
All areas as good as it gets - a special tip of the cap to the recording engineers as the harpsichord is not an easy instrument to record well. Wanda Landowska was particular about which carpets rolled up, which curtains pulled and specific furniture placement and above all, where will the microphone go? In 1952!
To all of the folk who have been commenting on and even bellyaching about the number of "trills" as they put it ... do some homework and educate yourself about trills, turns, mordents, acciacctura, appoggiatura in relation to French baroque practice. The player is expected to extemporise as the performance is much more complex than the written score suggests. An expert like Mr Hass makes it sound easy ... it's not!
Tout simplement magnifique ! Merci.
I'm reading I. Berlin's 'Roots of Romanticism' and hearing Rameau in that context (17th c. Germany v France, Rameau v Bach, worldly music v pious music) is fascinating.
I always think that Rameau is akin to Boucher. Diderot said that Boucher was the greatest living painter but so dishonest. It was the entitlement to sensual delight, to color and taste and texture without moral purpose that offended...and Rameau in his music is as voluptuous and indulgent. I call it a generosity. Keep your high flown Greuze moralities...give me Venus ini pearls!
Excelente.Rameau es un compositor extraordinario.
Die Musik ist Gold. Und so ein tolles Bild aus längst vergangenen Zeiten...
he plays it with a lot of feeling, it's really good.
What a SPLENDID performance
I´ve heard incredible interpretations on the Piano....but this interpretation on the hapsichord is superb, so beautiful you just don´t get tired of hearing again and again and again...
Excellent recording!
Obra magnífica!!!!!!!!!!!!!!! é de uma beleza tamanha !!!!!!!!! Bravo!!!.
BRILLIANT
É excelente e espetacular
Capriccio in B-flat major, BWV 992 written ca 1705 -- Gavotte et Doubles 1728
Vermeer and Rameau... Could there be a better combination between image and sound? Probably not.
Pedro Silva We might add your Tarkovsky and it’d be even more wonderful :)
They didn't live in the same Century.
@@antoinemozart243 You don't say. I thought they were contemporary with Plato and Giotto.
@@zarathustra8789 to associate Wermeer and Rameau is irrelevant as I personally don't see any link whatsoever.
@@antoinemozart243 It's absolutely insignificant that you find the association irrelevant, as I merely expressed my fondness for both's art and joy with the surprisingly pleasant merging.
Very good, surprisingly easy on the hear for the harpsichord imo; and excellent melodic lines. the trills overabundance is weird at first, but strangely pleasant when you're accustomed to it. Very refreshing and not what I thought I would hear !
lol, for sure, the first few minutes strike our modern ears as gaudy and flamboyant, but one becomes accustomed to it quite easily... how many appoggiatura can you can fit into a piece? Exactly this many... it literally "sparkles"; musical "bling" no?
I hear Rameau music since I was 10 and I love it as much as love the music itself. Those trills are the best part of Rameau pieces, they have something special, and i dont know what specifically is. I want to be a hapsichordist, but in my country there are no hapsichordists so, maybe when i grow and go to other place of the world for study it. Anyways, I'm glad you liked this piece and the style of Rameau, is one of the beauties things of Baroque era.
The trills here are what my eyes do to the road at night when I'm driving tired 😄
Thank you!
Very lovely and sensuous. I have played this piece and never tire of it.
EXTRAORDINARY BEATIFUL .
Hermosas piezas del Barroco,me encanta el sonido del clave,gracias por compartirlas saludos
Magnificent, truly MAGNIFICENT..!!
BRILLIANT !!! Tepper Michael.
Courante & Trois Mains - unreal beautiful!!!!!!!
Omg, Fanfarinette, the opening tune to a CBC radio show for so many years!
An ultimate performance. No more needs.
how lovely
My favorite collection about Rameau,,,,,there is not same...
Et merci pour vos repères qui facilitent la réécoute.
needs more trills
C. Arthur Eager
lol....i was being facetious, but OK, i'll give it a try anyway on some other pieces.....dadadadadadad d dum....
C. Arthur Eager
did anyone 'check-de-expiration-date' on this rameau?
I agree, hardly heard any in this recording.
Who is the performer? He is absolutely fantastic!!
Egidio Loi If you are still wondering, this is Frederick Hass performing.
His name is Frédérick Haas (not Hass). He's really fine harpsichordist, special musician!
+felipetavares79 Thank you very much for the information!
Indeed, I have heard many versions of the Gavotte and this might be my favourite, the most virtuous and closest to being flawless, both in terms of speed and expression. I love it!
thanks guys☺
The end is so cool - hard rock of the Baroque age
A beautiful and sonorous harpsichord.
L'allemanda em transmet una pau i una tranquil·litat íntimes, com poques altres peces ho aconsegueixen.
Rameau is so original
30:13
painting caption: "Ok ok dear, I will buy you a harpsichord for your birthday"
et oui composer de telle musique a cette époque est manifique..
Who is playing this wonderfull piece? Is it you,if so it is superb ;-)
listening to this makes me feel Bach French Suites really "make sense" .. I dont know how to say it, they are "corresponding" to the whole ambiance and mood in this Rameau's . thanks!!
Bach was quite limited emotionally considering how much he composed.
Fanflippintastic
Les trillrs et autres ornements sont écrits chez Rameau ?
Gavotte et Doubles : aussi beau que Händel mais mode royal !
Viaggio all indietro
Thank you for publishing this beautiful work and rendition. But it is Frédérick Haas, not "Hass".
Frédérick is a devotee of Ross and so the Allemande is slower than I prefer. The trills are all wonderful but he does have a habit of thinking outside the box and I'm not inclined to the Gavotte.
Courante is unusual!
what is anachronistic?
who's is the painting, please?
Johannes Vermeer, Glass of Wine (1658-61), Gemäldegalerie, Berlin..
Troppo trippo...glggllgglgl!!
画面構成が変わって、すごく見難くなった。希望のタイトルを探しにくくなった。TH-camさんへ
I have never heard the harpsichord sound so good.
It's like listening to Bulgarian chalga but classical
Trilles xcuses
27:20
Good music, connects you to the unknown.
I'm an ignoramus when it comes to harpsichord performance, but I'm assuming that this is mostly performed notes inegales?
Thanks for the upload. Very nice to hear this recording.
By the way, a kind correction, the name of the harpsichord performer is Frederick HAAS.
Best.
What is the painting?
Not as stringy as some recordings. It is hard to tell if I am listening to a piano or a harpsichord.
The Courante is too fast. Part of the reason there are so many ornaments is because the Courante is a slow and stately dance, and the notes can be sustained with them. This tempo isn't nearly as extreme as you can get with other modern performances, but the ornaments still sound cluttered.
Courante means running in French.
@@antoinemozart243 Yes, it does. It also means "a current". But this isn't French language class. The French dance, the Courante, was described throughout the baroque era as a grave dance, sometimes even the slowest of the suite (including the Passacaille, AND the Sarabande). The fast dance is the Italian "Corrente".
The word "Gigue" comes from a Germanic root word meaning "to wish, to desire". Is that what comes to mind when you hear the Gigue?
@@mantictac hahahaha ! Go back to a nurse school ! Courante, a grave dance !!!! Courante Comes from the verb courir meaning ...to run !!!! Hahahaha !
@@mantictacThank you for sharing your knowledge with us. This juvenile fellow hassling you has posted other ridiculous comments over this video, pay no mind to him.
About anachronism, just imagine illustrating some music of, let's say David Bowie with some 19th C illustrations... :)
True, but the Baroque style was never about chronological accuracy... the painting nicely fits the "Affekt" of the suite; I don't think Rameau would even care which paintings people looked at while listening to his work.
WHO IS THAT IDIOT DAVE BOWIE ?
Asinus von Achalm Don't mind. David Bowie is a genius only for geniuses ..
Not 480p, only 360p.
What is anachronistic - the use of a painting by Vermeer (died 1675) to illustrate music from the 18th century.
On this particular occasion it's definitely an expression of good taste.
All this beautiful hapischord music by Rameu thath we have is because of Balbastre work
+bernardo sepulveda
yea...sure....thanks Claude Rameau
Balbastre not invent the harpsichord but took the work of Rameau and transcribed for the harpsichord
Rameau never wrote for the harpsichord
Apology accepted. The truth is not much is known about the life of Rameau, because much of their work was lost ( as was the custom at that time ) have only been preserved operas and other works but nothing for the harpsichord all this is in the Bibliothèque Nationale in Paris , so all the pieces for harpsichord of Rameau we know are transcripts made by his pupil Claude Balbastre .
I believed Rameau wrote and published himself the Premier livre de pièces de clavecin (harpsichord) in 1706, the Deuxième (second) livre de pièces de clavecin in 1724, and the third, called Nouvelles suites de pièces de clavecin, in 1728, and the Pièces de clavecin en concert, and… Here, in France, we consider him as our most important composer for harpsichord with François Couperin.
Barbastre made the transcriptions for harpsichord of his operas, but that's all…
(Sorry for my awful english.)
Yoor hinglish isch mootsch mor better than most of what we bikome to read in this annoious columns
they're both Baroque, that's the explanation - it's just that in music every Era came later than in the other fields :)
yes my love, it's that small... sit down and drink some water my love, you'll feel better... i will make this up to you, i swear!
A bit anachronistic.
Ok, modern ears here so I cannot listen to more than 3 movements of this wonderful suite. The harpsichord, especially when it goes very fast on “Les Trois Mains”, is almost unbearable to my ears. But this is just me, of course. The other “issue” I have with this interpretation is that there are many embellishments improvised into a score which already has plenty, imo, of them. So why “tax” the listener’s ears with constant ornamentations? Makes little sense to me not only as a performer but a listener. However, the playing is flawless and expert so that I cannot argue with.
Carl Bowlby ... About those "embellishments", Huguette Dreyfus, whom I studied with, would tell you to carefully read introductions and treatises, which we extensively did at her class. Early French music was formerly, so Couperin himself says, meant not to be played as it's written. Great freedom of expression is expected from the performer playing Rameau who didn't always filled in what could be imagined by his player. That's the idea of live music : do not play it twice the same way. A harpsichordist, and an organist, must know what to do with what's not specified. In a way Chopin continued the tradition, but then his text had become unbearably impossible to adapt to the spur of the moment.
thierry guffroy hello, and thank you for not “shouting me down” if you know what I mean. Of course I understand the concept of embellishments and do so myself on the organ and piano, but I guess my exception to this interpretation was that they were too much to my ears. Simply a subjective response. I also love Couperin and Rameau’s clavecin music as they wrote it. But if historically they expected more ornamentation than what was written then that’s an issue concerning my own tastes. However, all that said, the music played is beautifully rendered. And yes, yes I have read countless introductions and early books on ornamentation which was never truly agreed upon by all those considered, so there was no one set standard of executing trills, mordents, etc. It’s new to me when you say that Chopin expected embellishments in his music. Is this true?
Carl Bowlby 😊 Trying to say things in just a few words without sounding rude is something I know little about, especially when I am not using my mother tongue, and I certainly did not mean to teach anyone a lesson. Thank you for acknowledging that. Here may not be the ideal place to debate and discuss. I'd be awfully sorry to realize that people would think of me as not interested in everyone's remarks. I am no specialist of Chopin. But the way his music is conceived seems to lead to much more liberty than it looks, perhaps with other means. Then again, the comparison only came from pianists. Let's stick to one style and one instrument for now. Nice talking to you ! (And forgive my English. Hard to be clear when you think in a language and write in another one !)
thierry guffroy yes thank you, it is hard to discuss ornamentation in a format such as TH-cam comments! And may I ask, what is your original language?
Carl Bowlby ... If of any interest, speaking of embellishments, let me give you two examples :
We know that Bach published very little of his complete organ work. Many copies were made by pupils, family and friends, which says a lot on the popularity (or not) of a piece. Take the "Pièce d'orgue" in G Major. The Bach Gesellschaft Edition (I hardly know of a better one) published what seems to be a fair copy in which the counterpoint is left rather "clean". The Neue Bach Ausgabe though later reveled and released a copy with an ornament on each note !!! See !
In his organ chorales, Bach sometimes produced two versions of the exact same one (which he called "Alio modo", another way to play the same thing). It occurs in the Orgelbüchlein and in the Leipzig collection ...
I like to suppose that the idioms Chopin used were just examples, his technique being new, as did Haendel, Bach and ... Rameau ... What do you think ?
Cette interprétation -comparée à celle angélique , subtile, tendre et raffinée mais non dépourvue de brillance et d'émotion de Nathalia Kudritzkaja n' est autre chose qu'une charge de chars lourds destinée aux oreille modernes, rendues insensibles par 60 ans de tamtams, batteries assourdantes, grosses caisses, cymbales, et autres intruments producteurs de bruits dévastateurs pour le tympan et la sensibilité musicale. Il est compréhensible que celà plaise aux belous de tout poils issus de cette subculture du tintamarre ! Ezzo Eberhard II Asinus von Achalm
Vous avez peut-être raison. Mais,pour en juger, il faudrait entendre une interprétation de Nathalia Kudritzkaja au clavecin, si elle existe. Je suis allé écouter sur youtube son interprétation au piano que je trouve certes beaucoup plus riche en nuances. Mais il importe quand même de jouer les musiques sur les instruments pour lesquels elles ont été écrites. Et j'avoue que j'aimerais bien entendre une autre version de cette suite jouée sur clavecin.
Insensé.. l’ornementation est partie intégrante de la musique pour claviers de cette époque là, et la liberté en est laissée à chaque interprète. Je vous en prie, renseignez-vous sur les pratiques d’interprétation fort intéressantes de la musique baroque.