Henrik, appreciate all the effort you put into these videos. Especially like how you added the numerical annotations to the score in this one, much easier to see that way. Thanks and have a great day!
It sounds nicer when someone understands the underlying intent.. So many classical players have technique but don't really hear what they are playing and fill the music with meaningless gratuitous tempo changes which hamper the groove adding nothing but a chance for facial and postural affectation. I don't mean to be negative towards excellent people loving JSB, but I really appreciate your understanding as shared here. Sublime and devotional
Each time I watch one of these videos I am always struck by two things. One, how Henrik generously and expertly shares his skill and deep knowledge of the subject. The other thing is the really lovely tone of his piano.
I've been practicing this piece and couldn't figure out how structurally it switches from the right hand playing the theme ahead of the left hand to the left hand playing the theme ahead of the right. Thank you for showing how it is done.
Thank you for such a detailed and entertaining video. I appreciate the effort you're putting into the new effects. Also, I was wondering if sometime in the future you might consider making a video on Grieg's Notturno op 54 no 4?
That chromatic C major nocturne. It's beautiful, the way it starts with what sounds like a an A minor chord, and then when that motion is recapitulated, it's F major.
I am studying this invention now. Thanks for sharing such a detailed video about it's form. Now, I just have to get both of my hands to successfully play both parts simultaneously.
I think placing the trills before the beat is the right choice for this invention, even if it’s not what Bach gives in the notebook for Wilhelm. What guidance do you use for interpretation of trolls?
Well, I actually feel like an outsider in this repertoire tbh, and I know I don't do the trills how they're supposed to be. But I'm too marinated in the style of ornament from the romantic music, Chopin and the like, that this is the only way that feels natural for me. I do admire pianists who can play this in a more traditional style (so with these quick trills they should almost always start from above and on the beat) but I it's just not there for me. I have a guidance in one of my Bach Henle books I think, that's always a good way to start though.
@@SonataSecrets Now that I think about it, in Beethoven Pathetique, 1st movement, 2nd theme, he writes the exact same figure: short trill on top note of descending two note slur. There I play the trills on the beat as a three note inverted mordant. I guess it depends on tempo and context
Gosh so fast. I'm used to Gould's recording at slower tempo that permits the majestic qualities of this lovely & moving composition emerge. Had Gould recorded in the rushed manner of your playing I don't think his recording would have had the same impact on me that it has, making it one of my favourite Bach compositions. But with a highly proficient pianist such as yourself who can easily play this music faster, it sometimes escapes them that slower is sometimes better. No offense & no criticism of your ability Btw. Maybe you're playing fast otherwise the vid might be too long. Or maybe I'm just wrong on tempo 😊 Anyway, an interesting analysis from you. Thank you PS I remember seeing mass in B Minor performed in Winchester cathedral. Sounded like they just wanted to get it over with & get down the pub or something. As one used to Karl Richters slower more lyrical recording it was quite a shock to me. This very complex music doesn't always need playing fast. Speed can sometimes kill the emotion that Bach imbued upon it.
Each time I watch one of these videos I am always struck by two things. One, how Henrik generously and expertly shares his skill and deep knowledge of the subject. The other thing is the really lovely tone of his piano.
Henrik, appreciate all the effort you put into these videos. Especially like how you added the numerical annotations to the score in this one, much easier to see that way. Thanks and have a great day!
Thanks!
It sounds nicer when someone understands the underlying intent.. So many classical players have technique but don't really hear what they are playing and fill the music with meaningless gratuitous tempo changes which hamper the groove adding nothing but a chance for facial and postural affectation. I don't mean to be negative towards excellent people loving JSB, but I really appreciate your understanding as shared here. Sublime and devotional
Your videos always give me an enormous desire to go practice and develop my skills. Very inspiring. Thank you so much.
Cheers from Brazil.
That's what they are for :)
Great stuff! Love seeing how music can be so simply yet perfectly constructed to create a kind of mathematic beauty.
Each time I watch one of these videos I am always struck by two things. One, how Henrik generously and expertly shares his skill and deep knowledge of the subject. The other thing is the really lovely tone of his piano.
Very useful for self-taught guys like myself - thank you very much ! tack så mycket ! ;)
It's my pleasure!
Every video illuminates the piece so easily and in such detail. This one is no exception! ❤️ Sonata secrets!
Great lesson
I've been practicing this piece and couldn't figure out how structurally it switches from the right hand playing the theme ahead of the left hand to the left hand playing the theme ahead of the right. Thank you for showing how it is done.
Merci j'ai enfin compris la structure en canon de cette partition.
Great video... as always.
great analysis thank you
Thank you for such a detailed and entertaining video. I appreciate the effort you're putting into the new effects. Also, I was wondering if sometime in the future you might consider making a video on Grieg's Notturno op 54 no 4?
Yes, that is a good proposal...
That chromatic C major nocturne. It's beautiful, the way it starts with what sounds like a an A minor chord, and then when that motion is recapitulated, it's F major.
Grieg's Notturno is out now! th-cam.com/video/Q9uzlGRqD8g/w-d-xo.html
I am studying this invention now. Thanks for sharing such a detailed video about it's form. Now, I just have to get both of my hands to successfully play both parts simultaneously.
Thanks so much
Merci beaucoup. This is out of my pay grade, but will return when I'm ready.
Thank you for sharing ! Very interesting !
Thank you
I think placing the trills before the beat is the right choice for this invention, even if it’s not what Bach gives in the notebook for Wilhelm. What guidance do you use for interpretation of trolls?
Well, I actually feel like an outsider in this repertoire tbh, and I know I don't do the trills how they're supposed to be. But I'm too marinated in the style of ornament from the romantic music, Chopin and the like, that this is the only way that feels natural for me. I do admire pianists who can play this in a more traditional style (so with these quick trills they should almost always start from above and on the beat) but I it's just not there for me.
I have a guidance in one of my Bach Henle books I think, that's always a good way to start though.
@@SonataSecrets Now that I think about it, in Beethoven Pathetique, 1st movement, 2nd theme, he writes the exact same figure: short trill on top note of descending two note slur. There I play the trills on the beat as a three note inverted mordant. I guess it depends on tempo and context
very interesting, as usual!
another time can you analyse mozart's piano sonata no. 8 in A minor? it would be really cool!
Jackpot on that one, it's what I'm practicing on right now!
Here it is: th-cam.com/video/IIUoryL-qXU/w-d-xo.html
Thanks for this!
Thank you sir for explaining this piece, l believe this is one of the hardest piece in the two part invention of Bach's for me.😢
Thank you!
dig how you do the trills but gosh you play it like it is just an exercize. i actually love the melody and can't help but play it slow and maudlin
Thanks for teaching
It’s sooooooo nice
May I ask should I play both hands in even dynamic ?
11:09
Gosh so fast. I'm used to Gould's recording at slower tempo that permits the majestic qualities of this lovely & moving composition emerge.
Had Gould recorded in the rushed manner of your playing I don't think his recording would have had the same impact on me that it has, making it one of my favourite Bach compositions.
But with a highly proficient pianist such as yourself who can easily play this music faster, it sometimes escapes them that slower is sometimes better. No offense & no criticism of your ability Btw. Maybe you're playing fast otherwise the vid might be too long. Or maybe I'm just wrong on tempo 😊
Anyway, an interesting analysis from you.
Thank you
PS I remember seeing mass in B Minor performed in Winchester cathedral.
Sounded like they just wanted to get it over with & get down the pub or something.
As one used to Karl Richters slower more lyrical recording it was quite a shock to me.
This very complex music doesn't always need playing fast. Speed can sometimes kill the emotion that Bach imbued upon it.
👍
Helt underbara videos! :-)
/En gammal Hvitfeldtskare
Härligt att höra!
Each time I watch one of these videos I am always struck by two things. One, how Henrik generously and expertly shares his skill and deep knowledge of the subject. The other thing is the really lovely tone of his piano.
11:07