All music examples are taken from Bach's compositions except the last one is by Beethoven. (I omitted the Symphony No. 5 motif.) 01:53 Minuet in G major, BWV Anh. 114 04:12 Sinfonia No. 6 in E major, BWV 792 08:40 English Suite No. 3 in G minor, BWV 808: 1. Prelude 16:26 Prelude in B minor, BWV 869 from Well-Tempered Clavier, Book 1 17:04 "Buß und Reu" from St Matthew Passion, BWV 244 17:34 "Gloria in excelsis" from Mass in B minor, BWV 232 18:28 "Kommt, ihr Töchter, helft mir klagen" from St Matthew Passion, BWV 244 24:37 Variation 5 from Goldberg Variations, BWV 988 27:26 Overture from French Overture, BWV 831 28:12 Allegro from Italian Concerto, BWV 971 31:02 Contrapunctus I from Art of Fugue, BWV 1080 39:19 Presto from Italian Concerto, BWV 971 43:48 Allemande from French Suite No. 5 in G major, BWV 816 48:45 Theme: Vivace from Diabelli Variations, Op. 120
@@jhummelgaard9310 Yes, that's right. BWV Anh. 114 is actually composed by Christian Petzold of the same era and it is included in Notenbuchlein fur Anna Magdalena Bach right now
Schiff is a joke as a pianist; nothing new, nothing profound. He put his audiences to sleep. He has nothing to say. He uses way too much peddle. He has harmed the art of music so much.
Absolutely FANTASTIC, the knowledge, the sense of humor, and the humanity of this men, Got me glued to the chair, a lesson in all directions, Bach, music and loving understanding Thank you for sharing beauty
Yes, he truly is god’s gift to us: not just his musical talent or intellectuality but his gentle & self deprecating humour & kindness. He’s always _very_ kind to his students in master classes, too. A real gent.
Thank you so much for this wonderful discussion! I can listen to András Schiff again and again when he speaks about music and ... when he gives masterclasses!
It’s a great privilege to listen to Andreas Schiff talk about his discovery of Bach, the man and his music as they evolved throughout his life. His humility and recognition that he is a mere servant of the composer is very interesting and that it is his job, as a performer to play and for audience to listen and appreciate. Modesty and greatness are rarely found together. He’s the exception.
My mother sent me for piano lessons and I thought Bach was boring. Only later, when I heard the Italian Concerto, did I think he was worth some serious consideration. I regularly play Bach now, never tiring of his amazing inventions and Inventions. I'm really glad that Mendelssohn resurrected Bach.
indications of his common sense and insights: 08:06 life of a note 08:41 creating an illusion of a crescendo 13:50 the reason of creativity 21:44 ghetto vs mainstream (museum) art 26:55 developing inspiration 41:20 care and love creates responsibility 43:00 spiritualism and music
9 years ago! Schiff is simply wonderful. I listen to his Beethoven sonata lectures repeatedly and with great joy. He remains one of the great performers as well as teachers. A treasure, really.
It is so delightful to watch and listen to Andreas Schiff talk and play Bach. It is a shame the interviewer was so poorly informed. He was embarrassing. But Schiffs dedication, musicality and intellectual understanding on top of his playing is a gift.
8:17 This passage is so very interesting. I've always been a fan of analysing and appreciating different voices entering in fugues for example, but never thought of them in their power to serve as an illusion of a crescendo, and Schiff explains and plays this as good as any. Thank you, András
Always a pleasure, and more, listening to András Schiff talk or play. Preferably both. All he plays and says is with deep intelligence and knowledge. Each time I hear or see him, my mind says, “Oh, how I do love this man!” Thank you very, very much for sharing this discussion with us.
thanks for uploading these, any more you ever find of him from the past or in the future I would love to see. absolutely love hearing his philosophy on music, assuming you do too!
I have a voracious appetite for Bach so a concert featuring all Six English Suites of an evening? I wouldn't mind that at all! Mr. Schiff's recordings of JSB's Keyboard Partitas are among the best. Privileged to catch this interview with such a humble and consummate artiste.
I wish I could be able to visit any of Andras Schiffs concerts, not even Bach, anyway listening to he’s masterpieces at home every day , it’s pure joy to explore Bach . Goldberg Variations would be dreams come true hehehe
Very funny Man. Great sense of Humor. reminds me of a Pianist also from Ungarn, Josef Letmany . my father had Josef in his Bands 60's and 70's . Josef had the very same style being funny . My father and Josef played a lot of classical Pieces.
When Schiff was in Australia in 2017(?) we not only had a full concert in Melbourne, but also an inside look into the master at work: we had, inter alia, the entire Italian Concerto as an encore. It was like we were in his studio listening to a master making music because he loves it and it's part of him. It was a wonderful and memorable evening which included Mendelssohn and Brahms as well as Bach. I also attended his masterclass a few days later. He is an inspirational, direct, honest and wonderful teacher who was encouraging as well as probing in his questions of the students. Watching this, however, I feel that the interview is a somewhat slow and stilted - it is honest and well-intentioned on the part of the interviewer and he appears to have done his research well - but I can't help feeling the whole thing would have had much more nuance and flow had there been a music broadcaster in the chair - or another musician. But this gentle mannered but firm approach on the part of the artist which we saw at the Melbourne masterclass comes through in spite of that, and in his gentle way does not mince words. A very fulfilling and enjoyable 50 minutes on a subject that is dear to the heart of every musician!
Thank you for sharing. I can attest to the sentiments about the concert. I went to see his concerts on three occasions. Not once was I disappointed. Inspired and moved by the music, excited by the fantastic atmosphere which he generally created in the hall and awed by his enormous musical talent. In my opinion, An accomplished musician and he would deny it, a solid virtuosic player. I was amazed at how well he spoke. he has a wealth of musical knowledge and insights and he articulates them so well (it boggles the mind that his recent memoir is more of script of an interview with him than his actual writing since he’s so articulate and must write well). Unlike some musicians, he share his ideas and insights quite generously. Some remarks I don’t agree with but he is honest and can only talk straight. On those occasions, he spoke amusingly and fascinatingly that we were wishing he wouldn’t stop. But then of course he went on to play and he played brilliantly and we thought why even bother talking in the first place!
He knows so much about the music of Bach and music in general that it is scary. He is extremely good as a player but he is an expert on Bach to the point where maybe only Bach could confirm his points or not.
Is there anyone who could tell us what the little samples he plays throughout his talk are? I would like to look some of them up so I can listen to them further. If anyone would do this, thank you.
Liszt's and Busoni's transcriptions are great examples of updates of JSBach works on modern or different instruments, and are no less valuable than the originals. Pedal can be very much welcome too here.
Can you imagine what Bach would do if he was alive now. Just take a performance keyboard like the Casio Privia PX-560 with it's hex layers, splitting the keyboard into four distinct and separate sounds, 256-note polyphony, the ability to create his own sounds, 16 track recorder, 17 types of temperments, a 5.3-inch color touch screen, etc. It would be amazing to see what he could do with that.
@@gazjaz2010 The PX-560 is a stage keyboard. As powerful as any keyboard in the lower $1,000 range. Just FYI. Or actually other people's information as I'm wasting my time with you. LOL
I haven’t finished watching this but….I take what such people say with a pinch of salt. Schiff contradicts himself in another TH-cam video (a masterclass on the Italian Concerto) where he says something like “people say I frown on pedalling Bach….not so”. I have also heard Barenboim say in a Beethoven masterclass that you can crescendo on a single note on piano (artistic licence but he meant it).
I am for using the pedal in Bach - very discreetly - and I am sure he would have used it. I was told once that Mozart had to be played without the pedal and then I read that as soon as the pedal was invented he gave a concert to illustrate its use-. I like the fact that Pianists like Barenboim use the pedal in Bach and sometimes even create a cluster of overlapping notes to createa touch of dissonant harmonies.in the prelude in B falt minor in Bk 1 I feel I have to use tthe pedal to sustain the harmonies.
Don't forget virginals, intermediate between clavichords and harpsichords. A friend built a clavichord from a kit: it is a small box that sits on a table.
Bach was neglected for a while, but it was not only Mendelssohn who brought him back, By then he was the daily bread of Schumann and Chopin and had a profound influence on them , Brahms when he was asked to play ofter played Peludes and Fugues by Bach
every score of bach has hidden gems of how to unlock the work! they also teach baroque improvisation! he is my friend and he's been dead for 300 years. lol
None of his words are without meaning - you dont wast a second of your time. Think about that next time you listen to listen to someone from television -a politician for an example...!
Some seem to think the interviewer is badly informed. But then Mr Schiff explains to us 9:43 that a clavichord plucks the strings… Most certainly a slip of the tongue, of course he knows the difference between a harpsichord and a clavichord.
Schiff is wonderful. He’s articulate, knowledgable and offers far more than is asked for….thank goodness. It’s clear the interviewer is out of his depth. Good interviews are conversations but these questions are just bland, no bouncing of ideas or development of themes.
15:55 To state it differently, there is maybe no God for the universe, but for sure there is one for Music, his name is Bach, and all do believe and belong to his Church.
Well he has wonderful advice about Bach deconstruction and analysis however I can’t agree with the pedal ideal. You cannot play Bach without pedal that is extremely dry. On older instruments as the harpsichord and clavichord the tunings and the nature of the instrument is what gave characteristic sound but the piano does not have these and has its own ability to enhance his works. You practice without pedal yes that is correct but in some spots you should definitely use pedal as sustain did not exist back then often Alberti bass and he HAS to use pedal for fugues and bach counterpoint otherwise you would most certainly have gaps in some of the voices. Pedal is like a spice you use is sparingly and at different amounts depending on the dish or piece in this case. The correct way is to practice without pedal and using the fingers to sustain as much as possible and appropriately sustain certain notes and color but the pedal further enhanced that. I think he uses pedal but there’s just so many people that do abuse the pedal and use it as a crutch which is incorrect technique but I see it all the time.
Well, no, heart has its reasons and it may or eventually should override reason, and in general is no less valuable than classical logic (and here I'm very careful not to claim that emotions are not decribable by logic). Toccate (BWV91x) are for example a great example of improvisations and we can feel that they are a lot lead by emotions, much more that Die kunst der fuge for instance.
Hmmm interesting. I'm at that point where I love Bach but I'm not such a big fan of Beethoven. Some of his stuff that I've heard sounds great but other stuff isn't very appealing to me. I wonder if when I get older I also will start to appreciate it more... And I'm not surprised most music students want to be told exactly which fingers to use when they play. As in all things they don't want to figure things out for themselves, they want to follow the popular leader. But in many cases the popular leader is a fool who leads them all astray. :/ This man here of course doesn't seem to be one of them though. :)
I don't know, an 8 year old Chinese boy playing King Lear would be kinda cool! Anyways, great thoughts by this great pianist. Personally, I'd love to be that 8 year old kid, even though he's seen as a joke :( 47:13
I think you misunderstood a little.Schiff was referring to youth and inexperienced-ness. Doesn’t matter if the kid is Chinese or English. It would be awesome to see an 8 year old doing King Lear to me too but I doubt kids understand anything of it or all of it because of their youth and inexperienced-ness. And some master works do require cumulative experiences and studies to perform them effectively and spiritually which is a fair point, I think.
@@concentusmusicus8714 I understood him actually. I agree with him and yourself. However, to choose the specific adjective "Chinese" is very telling in my opinion. He could have very easily said "8 year old kid" without said adjective. I forgive him: he is not Chinese himself. I do know exactly what he was referring to with regards youth and inexperienced-ness. However, he may not respect the amount of blood sweat and tears that 8 year old Chinese kid put into it, nor, perhaps, does he know much about Chinese culture. I may be mistaken though! And yes, the ethnicity doesn't matter, agreed. Thanks for your reply!
@@milestsue5215 I don't know if he is familiar with Chinese culture. But he's married to a Japanese and quite familiar with Japanese one. It may be that on the look of things, China does produce a substantial amount of child prodigies than any other country (personally, taken into account the size of population and the blooming of western culture I don't see why it should be regarded as an unusual trend at all) and that's why he said a Chinese 8 year old I think. Thanks for the reply too!
@SW II thanks very much! This clarifies my doubts and I appreciate the info! I actually talked to my pianist partner and she further clarified Schiff’s comment, giving deeper context to it. It seems that I had nothing to worry about :)
His special reference to “Chinese” kids is racist in nature. That discounted him as a good musical scholar. Sorry, with all due respect, remark like this only reveals how narrow his mind is.
Yes. He wrote out Les Bergeries for Anna Magdelana in her notebook. But Bach's familiarity with French keyboard music was from the previous generation...Marchand, Le Roux, d'Anglebert. There is reason to believe that Bach did not like Rameau's harmonic and structural concepts.
@@andrewsappel That's fascinating, thank you. What leads you to think Bach didn't like Rameau's harmonic structural concepts? (I am guessing you mean Rameau's Treatise on Harmony rather than his actual music scores?)
I have a memory of CPE Bach or someone saying that Bach was unpleased with Rameau's ideas but I would have to get to my books to be credible. That said...comparing the D major partita's allemande and Rameau's A minor allemande from 1724? they are similarly sensuous, extended...I think they would like each other...
Like the sustain pedal on modern pianos it seems that this constant use of heavy vibrato on bowed instruments is a modern invention. I am a beginner viola player and I have no desire to learn to use it. I would rather concentrate on making the notes sound good just as they are.
How can you interview a great Bach pianist like Schiff and not have knowledge about clavichords? This was a missed opportunity to really probe Schiff's erudition of Bach.
One of USA's top classical "DJ"s comes to a Bach discussion not knowing know what a clavichord is. He should have traded seats with an informed audience member at that point.
which is why I've always long disputed the idea of playing bach strictly without vibrato. It's absolute rubbish. the anti pedaling part is generally correct
Mr. Spurgeon’s habit of asking the same question two or three times, paraphrasing himself, suggesting possible answers, putting words into the mouth of the person being interviewed,is annoying.
Does none ply the clavichord? There are dozens, if not hundreds, of recordings available on clavichord. I feel like only an American person interested in classical wouldn’t know this. Anyone knowledgeable of modern recordings of Bach should know about period performance. There’s the lautenwerck too, BTW.
Generalizations (especially about Americans) are always tricky. Some of the earliest HIP groups actually started in the US (remember the Boston Camerata?) and the current success of the harpsichord owes a lot to American harpsichord builders (Hubbard, Zuckermann, David Way etc). The American early music scene is actually doing very well these days. The host strikes me a a bit ignorant here but I can guarantee you that lots of Americans would know what a clavichord is. And I know of a lot of Europeans who would have no clue. BTW Schiff himself makes the mistake of saying that a clavichord is a plucked string instrument.
@@clavessin12 You're probably right. I'd still bet that the majority of HIP groups are in Europe. Actually, I struggle to think of a good harpsichord recording of the WTC, for example, by an American. Robert Levin uses harpsichord, clavichord and organ on his set and it's a favorite of mine. Who else?
@@begshallots Yes the vast majority of HIP groups are in Europe to the point that lots of US early music performers had to emigrate to Europe to pursue a career. You were asking of harpsichordists and names such as Kenneth Weiss, Skip Sempe, Jory Vinikour, Mitzi Meyerson, Olivier Fortin (if we include Canada) come to mind. Not to forget William Christie obviously or Hopkinson Smith if we include a lutenist.They all have moved to Europe at some point. It is still sometimes the case for the younger generation (think of Lilian Gordis for instance) but things are changing, partly thanks to the Early Music program at Julliard but also to the constant effort through the years of some early music presenters and the fidelity of a very dedicated audience. My point was just that such generalizations are a bit unfair and also probably not so true. And I am not so sure that Europe fares much better in that regard. What is surprising though and probably less common in Europe is that they would choose somebody as ignorant of such things to be the host of an interview with Andras Schiff.
@@clavessin12 I wasn't including Canada. But I also did say Europe so I was vague. There are some pretty well-known Canadians on the list. I wasn't aware that Sempe was American. I love his Louis Couperin. I wish he'd record more Bach but it's a crowded field so I can understand why he pursues the focus he does. Kenneth Weiss is outstanding. His Bach is stellar. I like Vinikour as well. Maybe we can call Rubsam partially American? I think he runs a barber shop somewhere in the U.S.
I heard the clavichord for the first in the Bach-House in Eisenach in the beginning of the 80s. I thought this is a really beautiful sounding, intimate instrument like a singing voice. There are some recordings but live performance not so much because it hardly can fill a small room with sound. The clavichord probably never was a performance instrument and more a one on one experience for players and composers.
All music examples are taken from Bach's compositions except the last one is by Beethoven. (I omitted the Symphony No. 5 motif.)
01:53 Minuet in G major, BWV Anh. 114
04:12 Sinfonia No. 6 in E major, BWV 792
08:40 English Suite No. 3 in G minor, BWV 808: 1. Prelude
16:26 Prelude in B minor, BWV 869 from Well-Tempered Clavier, Book 1
17:04 "Buß und Reu" from St Matthew Passion, BWV 244
17:34 "Gloria in excelsis" from Mass in B minor, BWV 232
18:28 "Kommt, ihr Töchter, helft mir klagen" from St Matthew Passion, BWV 244
24:37 Variation 5 from Goldberg Variations, BWV 988
27:26 Overture from French Overture, BWV 831
28:12 Allegro from Italian Concerto, BWV 971
31:02 Contrapunctus I from Art of Fugue, BWV 1080
39:19 Presto from Italian Concerto, BWV 971
43:48 Allemande from French Suite No. 5 in G major, BWV 816
48:45 Theme: Vivace from Diabelli Variations, Op. 120
No not the first one little Minuet, many piano pieces from the notebook for his wife was not composed by J.S. Bach
@@jhummelgaard9310 Yes, that's right. BWV Anh. 114 is actually composed by Christian Petzold of the same era and it is included in Notenbuchlein fur Anna Magdalena Bach right now
One of those rare geniuses who is in a league all his own as a pianist AND as an intellectual.
Andras Schiff - a gift to us all.
Schiff is a joke as a pianist; nothing new, nothing profound. He put his audiences to sleep. He has nothing to say. He uses way too much peddle. He has harmed the art of music so much.
@@rrrrrr-kb9sbwhat?????
Unfortunately this doesn't last a million hours.. How fortunate we are to have such videos. Thank you very much
You'd need to be one of only a couple of dozen people in history-that's approximately 114 years.
Yes it is wonderful to listen to Andras Schiff 's explanations!
Absolutely FANTASTIC, the knowledge, the sense of humor, and the humanity of this men,
Got me glued to the chair, a lesson in all directions, Bach, music and loving understanding
Thank you for sharing beauty
Yes, he truly is god’s gift to us: not just his musical talent or intellectuality but his gentle & self deprecating humour & kindness. He’s always _very_ kind to his students in master classes, too. A real gent.
Thank you so much for this wonderful discussion! I can listen to András Schiff again and again when he speaks about music and ... when he gives masterclasses!
Absolutely agree!
what a maestro ❤
And again
A brilliant and humble human being, an incredible artist. What a joy to listen to this conversation!
It’s a great privilege to listen to Andreas Schiff talk about his discovery of Bach, the man and his music as they evolved throughout his life. His humility and recognition that he is a mere servant of the composer is very interesting and that it is his job, as a performer to play and for audience to listen and appreciate. Modesty and greatness are rarely found together. He’s the exception.
My mother sent me for piano lessons and I thought Bach was boring.
Only later, when I heard the Italian Concerto, did I think he was worth some serious consideration.
I regularly play Bach now, never tiring of his amazing inventions and Inventions.
I'm really glad that Mendelssohn resurrected Bach.
indications of his common sense and insights:
08:06 life of a note
08:41 creating an illusion of a crescendo
13:50 the reason of creativity
21:44 ghetto vs mainstream (museum) art
26:55 developing inspiration
41:20 care and love creates responsibility
43:00 spiritualism and music
...
The Unsung Heroes of time stamps! Thank you. ❤️
Thank you
What a pleasure to listen to a great musician talk about the greatest music
9 years ago! Schiff is simply wonderful. I listen to his Beethoven sonata lectures repeatedly and with great joy. He remains one of the great performers as well as teachers. A treasure, really.
Love you a lot sir andras when u said we r small servant of great composers …..that’s how humble you are
My teacher once said that there will never be such a great composer like Bach anymore. I believe her more every day.
Thank you for this footage, which I have never seen before. Andras Schiff is always value added. A musical titan.
It is so delightful to watch and listen to Andreas Schiff talk and play Bach. It is a shame the interviewer was so poorly informed. He was embarrassing. But Schiffs dedication, musicality and intellectual understanding on top of his playing is a gift.
8:17 This passage is so very interesting. I've always been a fan of analysing and appreciating different voices entering in fugues for example, but never thought of them in their power to serve as an illusion of a crescendo, and Schiff explains and plays this as good as any. Thank you, András
This man is great! thank you for such a wonderfull and iluminating discussion!
First time I've seen/heard an interview with the great man. Never realised his talents are matched by his charm.
What a blessing!
Wonderful interview. Interesting questions, drawing enlightening answers. Thank you for the program.
Wow! Very informative and very inspiring! Thank you for posting this.
Always a pleasure, and more, listening to András Schiff talk or play. Preferably both. All he plays and says is with deep intelligence and knowledge. Each time I hear or see him, my mind says, “Oh, how I do love this man!” Thank you very, very much for sharing this discussion with us.
thanks for uploading these, any more you ever find of him from the past or in the future I would love to see. absolutely love hearing his philosophy on music, assuming you do too!
Fantastic insights.
I love his performances but I didn't know he is so charismatic.
I have a voracious appetite for Bach so a concert featuring all Six English Suites of an evening? I wouldn't mind that at all! Mr. Schiff's recordings of JSB's Keyboard Partitas are among the best. Privileged to catch this interview with such a humble and consummate artiste.
Very Nice. THANK YOU
I wish I could be able to visit any of Andras Schiffs concerts, not even Bach, anyway listening to he’s masterpieces at home every day , it’s pure joy to explore Bach . Goldberg Variations would be dreams come true hehehe
Really spellbinding. It is fascinating, what he says about Kurtag
Very funny Man. Great sense of Humor. reminds me of a Pianist also from Ungarn, Josef Letmany . my father had Josef in his Bands 60's and 70's . Josef had the very same style being funny . My father and Josef played a lot of classical Pieces.
A long time advocate for the performance of baroque music on instruments of the period.
When Schiff was in Australia in 2017(?) we not only had a full concert in Melbourne, but also an inside look into the master at work: we had, inter alia, the entire Italian Concerto as an encore. It was like we were in his studio listening to a master making music because he loves it and it's part of him. It was a wonderful and memorable evening which included Mendelssohn and Brahms as well as Bach.
I also attended his masterclass a few days later. He is an inspirational, direct, honest and wonderful teacher who was encouraging as well as probing in his questions of the students.
Watching this, however, I feel that the interview is a somewhat slow and stilted - it is honest and well-intentioned on the part of the interviewer and he appears to have done his research well - but I can't help feeling the whole thing would have had much more nuance and flow had there been a music broadcaster in the chair - or another musician.
But this gentle mannered but firm approach on the part of the artist which we saw at the Melbourne masterclass comes through in spite of that, and in his gentle way does not mince words.
A very fulfilling and enjoyable 50 minutes on a subject that is dear to the heart of every musician!
Thank you for sharing. I can attest to the sentiments about the concert. I went to see his concerts on three occasions. Not once was I disappointed. Inspired and moved by the music, excited by the fantastic atmosphere which he generally created in the hall and awed by his enormous musical talent. In my opinion, An accomplished musician and he would deny it, a solid virtuosic player.
I was amazed at how well he spoke. he has a wealth of musical knowledge and insights and he articulates them so well (it boggles the mind that his recent memoir is more of script of an interview with him than his actual writing since he’s so articulate and must write well). Unlike some musicians, he share his ideas and insights quite generously. Some remarks I don’t agree with but he is honest and can only talk straight.
On those occasions, he spoke amusingly and fascinatingly that we were wishing he wouldn’t stop. But then of course he went on to play and he played brilliantly and we thought why even bother talking in the first place!
@@SandWolf_ agree with your sentiments:)
Thank goodness J. S. Bach was not totally forgotten after his death. I cannot imagine life without his music.
Sorry Andras gave a three and a half hour recital in San Francisco. From start to finish it was pure gold.
...maestro Schiff, talentoso y docto
He knows so much about the music of Bach and music in general that it is scary. He is extremely good as a player but he is an expert on Bach to the point where maybe only Bach could confirm his points or not.
42:48 Beautifully said.
Sir Schiff is, I believe to my bones, the best pedagogue in the world.
How many of us were entirely taken into the world of Bach by “the great Chaconne)? 🙌💛
András Schiff is magnificent.
Amazing.
This man is a fountain of witness.
As Catharina Dorothea was the eldest child and remained unmarried I’m sure she was an invaluable help to her father and Anna Magdalena.
_«Even in the secular works you feel the spirit.»_
_Contrapunctus VIII_ from _The Art of Fugue_ certainly is a testament to this.
I love the way he says E major then start playing at 4:08. It’s like an transitional theme from now to his childhood.
Ludicrous questions asked, but the answers are from a wonderful musician making the program worth listening to.
Спасибо.
Thank you for sharing this, do you know where and when did it take place?
This was gold
Is there anyone who could tell us what the little samples he plays throughout his talk are? I would like to look some of them up so I can listen to them further. If anyone would do this, thank you.
Bach, much like Beethoven, is always modern.
I get your point but Bach certainly is more modern than Beethoven.
@@jaikee9477 absolutely not
@@jaikee9477 Not modern in time.
Liszt's and Busoni's transcriptions are great examples of updates of JSBach works on modern or different instruments, and are no less valuable than the originals. Pedal can be very much welcome too here.
Can you imagine what Bach would do if he was alive now. Just take a performance keyboard like the Casio Privia PX-560 with it's hex layers, splitting the keyboard into four distinct and separate sounds, 256-note polyphony, the ability to create his own sounds, 16 track recorder, 17 types of temperments, a 5.3-inch color touch screen, etc. It would be amazing to see what he could do with that.
indeed. tho, there are keyboards available today far more profound than a Casio. despite your sales copy 😂 hilarious
@@gazjaz2010 The PX-560 is a stage keyboard. As powerful as any keyboard in the lower $1,000 range. Just FYI. Or actually other people's information as I'm wasting my time with you. LOL
The little minuet in G in the Anna Magdalana Notebook is not by J S Bach.
I haven’t finished watching this but….I take what such people say with a pinch of salt. Schiff contradicts himself in another TH-cam video (a masterclass on the Italian Concerto) where he says something like “people say I frown on pedalling Bach….not so”. I have also heard Barenboim say in a Beethoven masterclass that you can crescendo on a single note on piano (artistic licence but he meant it).
"If art is a fight between reason and heart, in Bach we find the two in perfect balance." I don't remember the name of the musician who said it.
The first piece played isn’t by J S Bach. It’s by Christian Petzold.
💙💙💙
I am for using the pedal in Bach - very discreetly - and I am sure he would have used it. I was told once that Mozart had to be played without the pedal and then I read that as soon as the pedal was invented he gave a concert to illustrate its use-. I like the fact that Pianists like Barenboim use the pedal in Bach and sometimes even create a cluster of overlapping notes to createa touch of dissonant harmonies.in the prelude in B falt minor in Bk 1 I feel I have to use tthe pedal to sustain the harmonies.
I'm impressed how he is able not to memorize a ton of Bach's keyboard music but also make reductions of great works like the passions and the Bm mass
what a pianist.
is there any impro heard or song composed by Mr. Schiff? What He would do without Bach, and what Bach would do without Him?
The famous minuet was *not* composed by Bach. The composer is Christian Petzold (1677-1733).
Don't forget virginals, intermediate between clavichords and harpsichords. A friend built a clavichord from a kit: it is a small box that sits on a table.
Bach was neglected for a while, but it was not only Mendelssohn who brought him back, By then he was the daily bread of Schumann and Chopin and had a profound influence on them , Brahms when he was asked to play ofter played Peludes and Fugues by Bach
19:19 Re: musicians and dancing -- I've read that Mozart was a very GOOD dancer.
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I can't believe no one laughed at "Brought Bach bach to life"
The piece Schiff mentions around 2 min 35 sec...is this it?
Chaconne, Partita No. 2 BWV 1004
Yes
every score of bach has hidden gems of how to unlock the work! they also teach baroque improvisation! he is my friend and he's been dead for 300 years. lol
None of his words are without meaning - you dont wast a second of your time. Think about that next time you listen to listen to someone from television -a politician for an example...!
Does someone know which piece Andreas play at 24:37 ?
Goldberg Variation BWV988 no.5
@@SandWolf_ Thks a lot . Wonderful
You have excellent taste.
You'll find a beautiful dance to the "variation 5" here.
th-cam.com/video/HIf__OR91HY/w-d-xo.htmlsi=2vC_XesEklArcbXb
And to the "Variation 1"
th-cam.com/video/LK2Vm7WaSDQ/w-d-xo.htmlsi=DLn7txicNQ4Rs8OD
この人ほど、デビュー当時と今と演奏が変わらんのは珍しい。
very good, sound quatlity not so much
Schiff tells us here that the clavichord “has plucked strings”….oh dear 🫤
Some seem to think the interviewer is badly informed. But then Mr Schiff explains to us 9:43 that a clavichord plucks the strings…
Most certainly a slip of the tongue, of course he knows the difference between a harpsichord and a clavichord.
Schiff is wonderful. He’s articulate, knowledgable and offers far more than is asked for….thank goodness. It’s clear the interviewer is out of his depth. Good interviews are conversations but these questions are just bland, no bouncing of ideas or development of themes.
What l like about Bach is his music is always flirting with the limbic system but he never lets it take over; he always has the PFC in control.
Harpsichord MasterClass.
15:55 To state it differently, there is maybe no God for the universe, but for sure there is one for Music, his name is Bach, and all do believe and belong to his Church.
Well he has wonderful advice about Bach deconstruction and analysis however I can’t agree with the pedal ideal. You cannot play Bach without pedal that is extremely dry. On older instruments as the harpsichord and clavichord the tunings and the nature of the instrument is what gave characteristic sound but the piano does not have these and has its own ability to enhance his works. You practice without pedal yes that is correct but in some spots you should definitely use pedal as sustain did not exist back then often Alberti bass and he HAS to use pedal for fugues and bach counterpoint otherwise you would most certainly have gaps in some of the voices. Pedal is like a spice you use is sparingly and at different amounts depending on the dish or piece in this case. The correct way is to practice without pedal and using the fingers to sustain as much as possible and appropriately sustain certain notes and color but the pedal further enhanced that. I think he uses pedal but there’s just so many people that do abuse the pedal and use it as a crutch which is incorrect technique but I see it all the time.
Well, no, heart has its reasons and it may or eventually should override reason, and in general is no less valuable than classical logic (and here I'm very careful not to claim that emotions are not decribable by logic). Toccate (BWV91x) are for example a great example of improvisations and we can feel that they are a lot lead by emotions, much more that Die kunst der fuge for instance.
Hmmm interesting. I'm at that point where I love Bach but I'm not such a big fan of Beethoven. Some of his stuff that I've heard sounds great but other stuff isn't very appealing to me. I wonder if when I get older I also will start to appreciate it more...
And I'm not surprised most music students want to be told exactly which fingers to use when they play. As in all things they don't want to figure things out for themselves, they want to follow the popular leader. But in many cases the popular leader is a fool who leads them all astray. :/ This man here of course doesn't seem to be one of them though. :)
2:09 rightly so because it wasnt composed by bach
I don't know, an 8 year old Chinese boy playing King Lear would be kinda cool! Anyways, great thoughts by this great pianist. Personally, I'd love to be that 8 year old kid, even though he's seen as a joke :( 47:13
I think you misunderstood a little.Schiff was referring to youth and inexperienced-ness. Doesn’t matter if the kid is Chinese or English.
It would be awesome to see an 8 year old doing King Lear to me too but I doubt kids understand anything of it or all of it because of their youth and inexperienced-ness. And some master works do require cumulative experiences and studies to perform them effectively and spiritually which is a fair point, I think.
@@concentusmusicus8714 I understood him actually. I agree with him and yourself. However, to choose the specific adjective "Chinese" is very telling in my opinion. He could have very easily said "8 year old kid" without said adjective. I forgive him: he is not Chinese himself. I do know exactly what he was referring to with regards youth and inexperienced-ness. However, he may not respect the amount of blood sweat and tears that 8 year old Chinese kid put into it, nor, perhaps, does he know much about Chinese culture. I may be mistaken though! And yes, the ethnicity doesn't matter, agreed. Thanks for your reply!
@@milestsue5215 I don't know if he is familiar with Chinese culture. But he's married to a Japanese and quite familiar with Japanese one. It may be that on the look of things, China does produce a substantial amount of child prodigies than any other country (personally, taken into account the size of population and the blooming of western culture I don't see why it should be regarded as an unusual trend at all) and that's why he said a Chinese 8 year old I think. Thanks for the reply too!
@SW II thanks very much! This clarifies my doubts and I appreciate the info! I actually talked to my pianist partner and she further clarified Schiff’s comment, giving deeper context to it. It seems that I had nothing to worry about :)
His special reference to “Chinese” kids is racist in nature. That discounted him as a good musical scholar. Sorry, with all due respect, remark like this only reveals how narrow his mind is.
6:10 xD
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Rachmaninov ripped Partita for unaccompanied violin to piano. Glad he did!
Is there *any* evidence Bach knew Rameau and Couperin's music?
Yes. He wrote out Les Bergeries for Anna Magdelana in her notebook. But Bach's familiarity with French keyboard music was from the previous generation...Marchand, Le Roux, d'Anglebert. There is reason to believe that Bach did not like Rameau's harmonic and structural concepts.
@@andrewsappel That's fascinating, thank you. What leads you to think Bach didn't like Rameau's harmonic structural concepts? (I am guessing you mean Rameau's Treatise on Harmony rather than his actual music scores?)
I have a memory of CPE Bach or someone saying that Bach was unpleased with Rameau's ideas but I would have to get to my books to be credible. That said...comparing the D major partita's allemande and Rameau's A minor allemande from 1724? they are similarly sensuous, extended...I think they would like each other...
@@andrewsappel C P E Bach’s comments to Rameau, had to do with his theory of Harmony vs Figured Bass.
Like the sustain pedal on modern pianos it seems that this constant use of heavy vibrato on bowed instruments is a modern invention. I am a beginner viola player and I have no desire to learn to use it. I would rather concentrate on making the notes sound good just as they are.
No entiendo porque hablan tanto de interpretar a Bach al piano, si ese instrumento no existía en la época de Bach.
How can you interview a great Bach pianist like Schiff and not have knowledge about clavichords? This was a missed opportunity to really probe Schiff's erudition of Bach.
Andras. Play the Art of Fugue. If you play it, the audience will come.
Schiff is Bach reincarnated even aesthetically
One of USA's top classical "DJ"s comes to a Bach discussion not knowing know what a clavichord is. He should have traded seats with an informed audience member at that point.
Yeah, I was surprised by that too.
which is why I've always long disputed the idea of playing bach strictly without vibrato. It's absolute rubbish. the anti pedaling part is generally correct
Mr. Spurgeon’s habit of asking the same question two or three times, paraphrasing himself, suggesting possible answers, putting words into the mouth of the person being interviewed,is annoying.
In my opinion, the greatest Bach piano champion has to be Maestro Keith Jarrett.
I didn't know about Bach's championships. Which year was that ?
Does none ply the clavichord? There are dozens, if not hundreds, of recordings available on clavichord. I feel like only an American person interested in classical wouldn’t know this. Anyone knowledgeable of modern recordings of Bach should know about period performance. There’s the lautenwerck too, BTW.
Generalizations (especially about Americans) are always tricky. Some of the earliest HIP groups actually started in the US (remember the Boston Camerata?) and the current success of the harpsichord owes a lot to American harpsichord builders (Hubbard, Zuckermann, David Way etc). The American early music scene is actually doing very well these days. The host strikes me a a bit ignorant here but I can guarantee you that lots of Americans would know what a clavichord is. And I know of a lot of Europeans who would have no clue. BTW Schiff himself makes the mistake of saying that a clavichord is a plucked string instrument.
@@clavessin12 You're probably right. I'd still bet that the majority of HIP groups are in Europe. Actually, I struggle to think of a good harpsichord recording of the WTC, for example, by an American. Robert Levin uses harpsichord, clavichord and organ on his set and it's a favorite of mine. Who else?
@@begshallots Yes the vast majority of HIP groups are in Europe to the point that lots of US early music performers had to emigrate to Europe to pursue a career. You were asking of harpsichordists and names such as Kenneth Weiss, Skip Sempe, Jory Vinikour, Mitzi Meyerson, Olivier Fortin (if we include Canada) come to mind. Not to forget William Christie obviously or Hopkinson Smith if we include a lutenist.They all have moved to Europe at some point. It is still sometimes the case for the younger generation (think of Lilian Gordis for instance) but things are changing, partly thanks to the Early Music program at Julliard but also to the constant effort through the years of some early music presenters and the fidelity of a very dedicated audience. My point was just that such generalizations are a bit unfair and also probably not so true. And I am not so sure that Europe fares much better in that regard. What is surprising though and probably less common in Europe is that they would choose somebody as ignorant of such things to be the host of an interview with Andras Schiff.
@@clavessin12 I wasn't including Canada. But I also did say Europe so I was vague. There are some pretty well-known Canadians on the list. I wasn't aware that Sempe was American. I love his Louis Couperin. I wish he'd record more Bach but it's a crowded field so I can understand why he pursues the focus he does. Kenneth Weiss is outstanding. His Bach is stellar. I like Vinikour as well. Maybe we can call Rubsam partially American? I think he runs a barber shop somewhere in the U.S.
I heard the clavichord for the first in the Bach-House in Eisenach in the beginning of the 80s. I thought this is a really beautiful sounding, intimate instrument like a singing voice. There are some recordings but live performance not so much because it hardly can fill a small room with sound. The clavichord probably never was a performance instrument and more a one on one experience for players and composers.