I cannot imagine the colossal work that went into performing and producing these. The control of tempo, dynamics and articulations are exquisite. I can't say that I like the Schiff performance better anymore :) True gift to the world.
Hello Paul Barton, I am curious if you wrote musical pieces inspired by Bach? Have you written any fugues, generally speaking (not inspired by Bach necessarily even)? Your playing is very beautiful, I wish I could hear you playing your pieces. If not, would you ever consider taking a composition request given you consider it worthy, to play? I have no expectations whatsoever but genuinely interested in your answer :) Thank you!
@@massimorolando8838 I'd suggest the 5th. It's the most popular and, except for the 4-part Gigue, isn't too hard. You can pick and choose a few movements.
Why does nobody, but really nobody from more than 20 of these TH-cam videos, perform the Gavotte from this 5th French Suite as a true Gavotte? Well known or unknown, they all get it wrong. Is that too strong language from an unknown like myself? But read on, and I'll prove it. Like all Gavottes it starts with a double upbeat, three-four-ONE-two, three-four-ONE-two. But everyone plays it as if the first note was the first beat of the bar, the DOWNbeat. Prokofiev got it right in his 'Classical Symphony' parody: "diddle diddle DUMPy DUMPy DUMPy", now THAT's how a Gavotte should go. Peter Freyhan.
Very good point! Thanks for pointing it out! Indeed, most pianists, as renowned they might be, forget the half-measure upbeat. I found a version from Emil Gilels on TH-cam, not the one you mentioned by Prokofiev. But I think he also plays it as it might be intended.
I cannot imagine the colossal work that went into performing and producing these. The control of tempo, dynamics and articulations are exquisite. I can't say that I like the Schiff performance better anymore :) True gift to the world.
Hi S ma, you are far too kind to me! thanks so much for the encouragement.
1:04:03 my favorite 🤩♥️😍
Yet another milestone achieved! Amazing work, as always, Paul!
Hi Cole - thank you so much.
The smoothness of his fingerings is cool to watch.
I finally understand this set of pieces…FINALLY
Very beautiful Masterpiece!
1.07 it's my favorite. Thank you, thank you very much. Adorable performance. Congratulations.
Hi Rosa, thanks for the kindness - you're most welcome.
🎶 Merci 🎶
💜
Hello Paul Barton, I am curious if you wrote musical pieces inspired by Bach? Have you written any fugues, generally speaking (not inspired by Bach necessarily even)? Your playing is very beautiful, I wish I could hear you playing your pieces. If not, would you ever consider taking a composition request given you consider it worthy, to play?
I have no expectations whatsoever but genuinely interested in your answer :)
Thank you!
Grazie Paul!
Hi Massimo, you're welcome!
Thank you. Have any suggestion on which French Suite to start from ? I am an amateur and play many 2 voices and some 3voices inventions.
@@massimorolando8838 I'd suggest the 5th. It's the most popular and, except for the 4-part Gigue, isn't too hard. You can pick and choose a few movements.
C'est génial, merci beaucoup
AMAZING I LOVE IT🥰😍
Hi boomscxz -- thank you so much.
Will you do the English suite in E minor ?
You're great ❤
Why does nobody, but really nobody from more than 20 of these TH-cam videos, perform the Gavotte from this 5th French Suite as a true Gavotte? Well known or unknown, they all get it wrong. Is that too strong language from an unknown like myself? But read on, and I'll prove it. Like all Gavottes it starts with a double upbeat, three-four-ONE-two, three-four-ONE-two. But everyone plays it as if the first note was the first beat of the bar, the DOWNbeat. Prokofiev got it right in his 'Classical Symphony' parody: "diddle diddle DUMPy DUMPy DUMPy", now THAT's how a Gavotte should go. Peter Freyhan.
Very good point! Thanks for pointing it out! Indeed, most pianists, as renowned they might be, forget the half-measure upbeat. I found a version from Emil Gilels on TH-cam, not the one you mentioned by Prokofiev. But I think he also plays it as it might be intended.