J.S. Bach - Partita in C minor (for Lautenclavier), BWV 997 (c. 1740)
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- เผยแพร่เมื่อ 22 มิ.ย. 2024
- Johann Sebastian Bach (31 March [O.S. 21 March] 1685 - 28 July 1750) was a German composer and musician of the Baroque period. He is known for instrumental compositions such as the Brandenburg Concertos and the Goldberg Variations as well as for vocal music such as the St Matthew Passion and the Mass in B minor. Since the 19th-century Bach Revival he has been generally regarded as one of the greatest composers of all time.
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Uploaded with special permission by performer Peter Watchorn
www.musicaomnia.org
Partita in C minor (for Lautenclavier), BWV 997 (c. 1740)
manuscript by Johann Friedrich Agricola (1720-1774)
1. Preludio (0:00)
2. Fuga (4:12)
3. Sarabande (11:34)
4. Gigue (15:38)
5. Double (18:45)
PETER WATCHORN, harpsichord
Hubbard & Broekman after Ruckers/Blanchet/Taskin, 1990
the Partita in C minor, BWV 997 survives in two distinct sources; one, in lute tablature, lacks the fugue and the final double to the gigue, while the other presents the work with the right hand of the keyboard part notated up an octave from where it is (presumably) intended to sound, reaching f’’’ on the keyboard and presenting problems of range, texture (thin, with a huge distance between right and left hands) and playability, all of which are solved when the work is performed (as here) with the upper voice transposed down an octave. The resulting dark colour reminds us of the French violist da gamba Jean-Baptiste Fouqueray’s keyboard arrangements of his and his father’s music for the gamba - dark, yet
satisfying, despite the low tessitura. The rather unusual sequence of movements: Prelude, Fugue, Sarabande, Gigue-and-Italianate-variation (double) shows a conscious mixing up of French and Italian styles: a French gigue is varied in the Italian style, with vigorous and virtuosic
division figuration (rather than French-style superimposed melodic ornamentation).The fugue is of the da capo type, while the Sarabande closely recalls the final chorus of the St. Matthew Passion, BWV 244, which is itself a French-style Tombeau, cast in the rhythm and displaying
the general affect of a Sarabande. - เพลง
That transition from the gigue to the double is fantastic.
Bach fue es y será la creación musical más perfecta, bella, sublime y cercana a Dios
The Preludio was very moving!
It’s literally perfect. Perhaps the best piece Bach ever created. Like I literally have tears in my eyes.
Wunderschöne und detaillierte Interpretation dieses perfekt komponierten Tastenwerks in verschiedenen Tempi mit schimmerndem Klang des technisch fehlerlosen Cembalos und mit sorgfältig kontrollierter Dynamik. Faszinierend vom Anfang bis zum Ende!
Bach handwriting is so perfect and beautiful
This isn't Bach's handwriting, it is a copy written by Agricola
I haven't heard this marvelous piece for ages. Thank you so much, this is a brilliant performance - again.
Thank you for this. Lovely form start to finish.
More than splendid!!! 👍🏻👌🏻♥️🎵🎼🎶🎼🎼🎵♥️🎵🎵🎼🎼🎶🎼🎵🎵♥️🎵🎼🎼🎶
This pieces for Lautenclavier should be on the standard repertoire for piano
Are we looking at the Master's autograph? Astounding to me how legible and expressive it is. Then couple it with the amazing sound of this instrument. Mmm.
какая Божественная ясность и простота
Love Bach.
I don't know exactly what a Lautenklavier is but it surely sounds better than a harpsichord.
Harpsichord strung with gut strings
This performance is on a harpsichord. It says so in the description…and the lute harpsichord sounds different.
@@JacarandaMusic the lute harpsichord sounds very different.
It might not be written by Bach. Bear in mind his sight was deteriorating rapidly as indeed was Handels and Graupner. If you compare this particular MS with other examples, his hand writing is anything but neat. We do not think he employed a copyist, but might have got CPE to help out now and again.
Lovely instrument used for this recording btw.
On a disconnected aspect of manual writing, most of Telemann’s works were copied by Herr Graupner.
this manuscript is from J.F. Agricola. Compare this with the manuscript of BWV 998. They simply couldn't find the original manuscript
Bach si Dios
Didn’t realize until I played it that the Fugue has a da capo
You had me at Bach
❤❤
👍👍🔥🔥🔥👍❤️❤️❤️
Is the right hand played an octave lower? Gorgeous music.
It is. For some reason the right hand is notated an octave high. If it's played at written pitch it leaves a big gap between the right and left hand and takes the right hand up beyond the usual range of the harpsichord of Bach's day.. PW
Maybe it’s just because the register is too wide?
@@sm30405 Yes, the spacing is highly inconvenient, and occasionally impossible, when the right hand is played at the notated pitch. It also simply sounds strange with the right hand up above the usual harpsichord range of the time (up to e-flat'''), and the bass very low (down to the lowest notes on the keyboard), with nothing in between. I'm certain that is not what was intended. You can compare this with BWV 996 (E minor) & 998 (E-flat major), both of which remain low on the keyboard and are notated at performance pitch. Both works, like this one, have a dark and satisfying quality. My feeling is that there is no doubt that this work is intended to played as it is here, with the right hand taken in the lower octave, rather than where it is notated. PW
Yes. I noticed that. It would take a keyboard with at least a 5 octave range to play the right hand as written.
@@johnhudelson2652 Yes, John. It's a puzzle. But I'm convinced that the right hand should be played down at this pitch - I find the result to be warm, resonant and satisfyingly dark. You can find versions online with the right hand played at that higher pitch - i don't think it works. PW
Is it originally for keyboard or for lute?
The first was Bach and then the others...!!! I think.
Why playing one octave lower? Was it standard notation for lautenclavier to write notes one octave higher in the score?
Agricola offers a neat hand. Now we know everything.
So nice sound ,near the piano and better than klavesin -harpsichord,I think.Thank you.
La Giga no esta lenta. Ademas aunque es una Giga este tipo de Gigas no son para bailar. (Es como un aire de) Bach basaba su composición mas en la retórica. No tanto en la danza.
Works well on most instruments, sign of quality. Typical Bach; mystical, chromatic scales, linear permutations.
Bach is bost
He is playing this prelude much to SLOWLY.
Interpretations and tempi are at the performer's discretion NEVER at the listeners. Unless you have your own rendition. Let's hear it!
Show me the tempo marking before you complain
It is slower than usually what we hear, but it is very beautifully done. Brings out the left hand inner voices very well, giving it more character.
Watch my recording of the prelude: th-cam.com/video/eQxqkNQiN1k/w-d-xo.htmlsi=nVdINsaeOC_14Sqx
Я слышу в этом произведении мелодии современных эстрадных композиторов и,причем, не одну...подворовывают?
La giga está muy lenta,no se puede bailar
It is slow, but I like it. It is good, in my opinion, to have a variety of tempos (tempi? :)) A lot of people tend to play too fast.
This is good BUT PIANO VOICE WILL BE BETTER please thanks alot
No
Nothing is compared to Bach played in a harpsichord.
I don't like the sound of this harpsichord.