Christophe Rousset, Bach French Suite No.2 BWV 813
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- เผยแพร่เมื่อ 20 ก.ย. 2024
- J.S. Bach French Suite No.2 in C minor, BWV 813
1. Allemande
2. Courante
3. Sarabande
4. Air
5. Menuet
6. Gigue
Recorded in Museum of Art in Neuchatel, 2004
On a Harpsichord: Ruckers 1632-1745 (in video)
![HIWWHEE | OHM [Official MV]](http://i.ytimg.com/vi/OJJLtTLqLag/mqdefault.jpg)
Quel style…. Il s’agit là d’une pure merveille de majesté. L’art de s’épancher sans en faire trop…. J’aime imaginer louis Marchand dialoguant avec Jean-Sébastien autour d’un clavier… Christophe Rousset re-crée cette atmosphère toute aristocratique sans rentrer uniquement dans le moule allemand qui n’offre pas tant de libertés. Une emploi très rigoureusement parcimonieux des ornementations dans les doubles…. je tire mon chapeau à l’intelligence et « la juste mesure de toute choses » que le maître de danse Christophe Rousset nous offre ici sous le toucher à la fois viril et gracieusement chaloupé de ce rythme qui s’épanche quelque peu sans jamais déborder. Bravo! … On s’y croirait! Merci pour cette magnifique interprétation (bien française, ou plutôt … versaillaise…. il me semble!).
Sounds better here than on piano
I m glad to read this!
This harpsichord has the clearest, most beautiful sound and engaging listen your favorite Suite doubles.
Bach pure original sound as he composed it. Every note, every chord transport anyone to Heaven. Music in the Castle of Heaven!! (J.E. Gardiner)
Délicatesse, harmonie, belle interprétation, merci à Christophe Rousset !
Dans ce repértoire Rousset n'a pas été dépassé. Ses suites anglaises sont encore plus réussies. Et il y a son Couperin. Un maître, un des meilleurs clavecinistes de notre temps.
Аллеманда 0:02
Куранта 3:36
Сарабанда 5:19
Ария 8:52
Менуэт 10:09
Жига 12:38
A very delicately crafted French suite by Ch. Rousset, who has a great art of ornamentation without any excess or bad taste. GREAT recording!
My friend, it is good to see your comments so frequently. I remember seeing your comments on Mozart's pieces, like the Paris symphony or his piano concerto 23. I am glad someone shares my musical taste!
to You G B. . .yes, i agree !
Beautiful instrument and deeply expressive playing. It grips and transports me.
this sounds sooo elegant
like angel fingers
Precise, pure, rigorous, nothing that does not aim to "perfection"... But, perhaps for enhancing all those worthy qualities, a bit cool and rigid to me, far from the reign of dreams, and even melamcholy (the latter despite Landowska' s decreet that there is no sadness in Bach) this enchanting work uses to lead me... THANKS A LOT FOR THIS BEAUTIFUL GIFT...!
以前就很愛顧爾德的鋼琴版，沒想到大鍵琴版更好聽，愛了愛了。
Bach amaba este instrumento y lo dominaba a la perfección.Desplegaba todo su potencial con maestría,elegancia y belleza inigualables.
Ciertamente,Un comentario muy acertado.
One of the most beautiful Allemandes ever. From his keyboard works i also mention the allemande of the Partita in C minor BWV 826, and from the cello suites, i acknowledge the allemande for the last two suites.
Una hermosura la interpretación!! Excelente el fraseo !! Saludos cordiales desde Patagonia Argentina Fernando Raúl Hidalgo 3°🇦🇷
Спасибо
Beautiful ornaments! Awesome
Dans le domaine du merveilleux 👏
I disagree over the choice of instrument. The sound of this Ruckers is pure magic for me.
Entrancing. There are other instruments to choose from but this comes across quite well.Looking a gift horse in the mouth is an expression that springs to mind.Alistair
wonderful.
Fantastic, dear Ria! Thank you so much for sharing!
Merci !
so wonderfull ! Thank you
Delightful
Great!
Great Ria, alas there is no more a van Asperen Aeolus upload by Trinitrolaissance (the actual one in another channel is bad to listen for the sound)
Thank you very much, dear Maria ! Hugs
ola estive no hospital em tratamento e voltei em casa 70 por cento da humanidade esta pegando cançer nos pulmoes ou nervos ate crianças estou de andador perdi familias e espoza
8:51
why tuned so low?
Tuning for early music is 415 hz
@@danyiluska CAN be ... Could also be different ...
Where is this harpsichord?
The phrasing is very different from that of the piano version. May be this is closer to Unser Vater JS BACH idea. Who knows?
There is no "Piano version". There are many piano interpretations that don't respect the baroque language.
@@kropchik When I wrote "piano version" of course I didn't refer to the composer but to the player. Everyone knows that Unser Vater JS Bach created for harpsichord.
What "piano version"? There are many piano performances of these pieces and many piano editions, but Bach didn't compose any piano version.
@@herrickinman9303 I never wrote "piano version by Bach". Check your understanding. Obviously I mean those who play it in piano. Listen e.g. Andreas Schiff.
@@alvarogarciabarbosa3199 You wrote, "The phrasing is very different from that of THE PIANO VERSION." (Emphasis is mine.) You referred to THE PIANO VERSION as if you believe there is a single authoritative piano version. When you wrote "version," I couldn't tell if you were referring to a published edition (score) or a recorded or live performance.
Now I understand that you really meant that the "phrasing" in this harpsichord performance is different from the "phrasing" in piano performances you've heard. To a pianist, _phrasing_ refers only to dynamics and attack. To a Baroque keyboardist, it also means embellishment or ornamentation.
In Bach's time, no decent keyboard performer would have played just the notes on the page. It was understood that the performer is supposed to improvise embellishments. The harpsichordist in this performance is improvising embellishments in accordance with Baroque performance practice. All harpsichordists worth their salt do this. The result is that no two performances by harpsichordists are alike. You will notice that this harpsichordist doesn't play the repeats the same way.
Contrast that with the typical piano performance. Most pianists are ignorant of Baroque performance practice. They cluelessly assume they're supposed to play exactly what's written in the score, no more and no less, and that the repeats are supposed to sound identical. They only thing they know how to vary is the dynamics, tempo and the 19th special effects of damping and sustaining pedals.
Now you understand why the "phrasing" in this harpsichord performance is different from the "phrasing" in piano performances you've heard. The former is an historically informed performance. The latter are historically clueless, or historically indifferent, performances.
A Rückers Harpsichord isn't the best choice to perform Bach music. A Harpsichord by Mietke, Haas, Zell or Silbermann would be better.
Can you explain why?
Pourriez-vous me dire pourquoi ?
frenchiecocorico1 A grand ravallement of a Ruckers, which this is, is equal to a later German harpsichord in tone, or even better.
@@trashbagsmiley1999 Probably because Ruckers were made long before Bach's time. But I think objecting to Bach played on a Ruckers is rather finicky. I've heard Bach played on a modern "revival" harpsichord and it sounds just fine. Really, you can play Bach on a kazoo and washtub bass and it will still sound great. That's the miracle and magic of Bach!
@@tomfurgas2844 True - sans aucun doute
@@tomfurgas2844 Absolutely right! You CAN'T kill Bach's music regardless of what instruments or pace you choose.
OLA BOM DIA ESTOU ENTRANDO POUCO AQUI ELES TRABALHAM EM CASA COMO ESTAO VOÇES AI