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- เผยแพร่เมื่อ 27 ส.ค. 2024
- Suite 4, Sarabande: The irresistible call of the second measure
Jean-Guihen Queyras takes us on a journey into the secrets of one of the most famous works for cello solo. In this episode, Jean-Guihen examines how Bach explores yet another variation of the Sarabande’s sensuality. His guest is Alexandra Scheibler, Founder and Artistic Director of the Montreal Bach Festival.
Jean-Guihen will be delighted to answer your questions, which can be sent to live@idagio.com.
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Where you apologize for singing too much..is just where you floored me by the immense beauty and diversity of the base line at the end. Thank you for singing it out- it was expressed beautifully and very convincingly. I am so grateful for your generosity, walking us cellists through your thought-processes in the Suites- where else could we find such help except through deep concentration and communion with the spirit of Bach himself. Again so much gratitude and love. Bless you.
Thank you so much for sharing all your wisdom and musicality with us... I learned more about music and Bach in your video’s than from any teacher in my hole career ...
Thank you Jean-Guihen for these explorations -- your observations, recommendations, and enthusiasm have helped me bring some new energy into my amateur (and maybe "not-so-mature", even after nearly two decades now...) playthroughs of the Bach suites. Your interviews are great as well! Happy New Year from the north of Norway.
Wonderful explanation, thanks so much
Amazing lessons. I wish I was advanced enough to practice this beautiful pieces
Why is the second finger hitting the bottom notes (briefly) ABOVE the first finger notation that is written?
For instance the first bar is e flat and b flat continued to the second bar, but you use the second finger quickly which in my view would have to be A natural and E natural before you quickly move back to their flat notations...
I don't understand why? Would be helpful. This is Bach 4 Sarabande