Interesting video. Great sound! Perhaps another option is to bow the chords out. The classic theory of baroque harmonic hierarchy would suggest executing the final 5 chords in two groups + 1: strong-weak (crescendo?), strongest-weak(diminuendo), & then weakest (resolution). Bowing these bars as they come would best facilitate this, especially with a b’que bow. Otherwise there’s a risk of the harmonic flow of the final phrase being fragmented and all of the chords having equal weight and articulation, physically and rhetorically.
It's amazing how much there is to unpack and discuss about just 5 chords! I've tried various ways of filling in the 5 chords but I agree, none of them are really satisfactory and the bare simplicity of the chords and ending on a single note must really be what Bach had in mind
I like to bow the chords as they come, with the initial chord faster than indicated, the following chords (all slightly broken) gradually slowing back to tempo, and then the final chord much slower and almost as three separate notes. (Just one more way to play this fabulous piece.)
Could you make another video explaining the "debate", rather than only saying there is one, which will at least separate you from so many videos with click-bait titles? Expounding upon the lead-up to the portion, I think, would definitely allow room for an examination of the so-called "merits" of each of options which could be preferred; and why.
Hooray! I've always thought that the chords should be played as chords, and not used as a basis for improvisation. Why weaken such a dramatic contrast to the perpetual wandering of the rest of the Prelude? I'm intrigued by your calling the final five chorda a chorale and would love to hear more about the idea of an embedded hidden chorale in the main section of the movement.
I've seen a lot of professionals use alternate up bows and down bows in the last chords. I am in my second year and have learnt this piece. (To be perfected... forever.) :) If there is any reason up bows are not a choice you enjoy, please leave a counter-comment~ ;)
Whichever side of the improvisation question you come down on, there’s plenty of musicological evidence to support you. The musical conviction Matt Haimovitz brings to the last phrase of the D minor Prelude is actually the most persuasive argument in favor of eliminating improvisation over the chorale structure-as it also is for its stylistically-informed embellishment. A widely-held impulse to settle on “the definitively correct” approach, like the Urtext movement itself, is of course anachronistic to all this music, but the human conviction of the performer, on the other hand, will never be-because it’s the source of all beauty. A superlative artist like Matt Haimovitz could just as convincingly have persuaded the listener of the opposite point of view.
That's an entirely valid interpretation! We honestly do not know whether Bach intended them to be arpeggiated but even then it sounds nice regardless :3
Interesting video. Great sound! Perhaps another option is to bow the chords out. The classic theory of baroque harmonic hierarchy would suggest executing the final 5 chords in two groups + 1: strong-weak (crescendo?), strongest-weak(diminuendo), & then weakest (resolution). Bowing these bars as they come would best facilitate this, especially with a b’que bow. Otherwise there’s a risk of the harmonic flow of the final phrase being fragmented and all of the chords having equal weight and articulation, physically and rhetorically.
It's amazing how much there is to unpack and discuss about just 5 chords! I've tried various ways of filling in the 5 chords but I agree, none of them are really satisfactory and the bare simplicity of the chords and ending on a single note must really be what Bach had in mind
Good to hear I'm not the only person to like ending the Prelude so hymn- ir even prayerlike.
Matt is a great musician. I’ve been a fan of his playing for many years.
Inspiring. Thank you
I like to bow the chords as they come, with the initial chord faster than indicated, the following chords (all slightly broken) gradually slowing back to tempo, and then the final chord much slower and almost as three separate notes. (Just one more way to play this fabulous piece.)
Could you make another video explaining the "debate", rather than only saying there is one, which will at least separate you from so many videos with click-bait titles? Expounding upon the lead-up to the portion, I think, would definitely allow room for an examination of the so-called "merits" of each of options which could be preferred; and why.
Love that gofriller. Bravo
DUDE. Fastest retakes in the west LOL
Hooray! I've always thought that the chords should be played as chords, and not used as a basis for improvisation. Why weaken such a dramatic contrast to the perpetual wandering of the rest of the Prelude?
I'm intrigued by your calling the final five chorda a chorale and would love to hear more about the idea of an embedded hidden chorale in the main section of the movement.
These chords evoke an organ to me which feels right (unless you have a bit of inadvertent bow vibrato happening)
I've seen a lot of professionals use alternate up bows and down bows in the last chords. I am in my second year and have learnt this piece. (To be perfected... forever.) :) If there is any reason up bows are not a choice you enjoy, please leave a counter-comment~ ;)
Whichever side of the improvisation question you come down on, there’s plenty of musicological evidence to support you. The musical conviction Matt Haimovitz brings to the last phrase of the D minor Prelude is actually the most persuasive argument in favor of eliminating improvisation over the chorale structure-as it also is for its stylistically-informed embellishment. A widely-held impulse to settle on “the definitively correct” approach, like the Urtext movement itself, is of course anachronistic to all this music, but the human conviction of the performer, on the other hand, will never be-because it’s the source of all beauty. A superlative artist like Matt Haimovitz could just as convincingly have persuaded the listener of the opposite point of view.
I thought we were supposed to arpeggiate these chords 😭😭😭
That's an entirely valid interpretation! We honestly do not know whether Bach intended them to be arpeggiated but even then it sounds nice regardless :3
its how yo yo ma plays it :)
LAME.
What's wrong with you man
@@aidenbielefeld5005probably someone who deserves playing a Goffriller more than mr Haimovitz (irony)