❤️ If you like CM//RR content, please consider membership at our Patreon page. Thank you :) www.patreon.com/cmrr Johann Sebastian Bach (1685-1750) Goldberg Variations in G, BWV 988 . *Click to activate the English subtitles for the presentation* (00:00-03:15) Variations Goldberg in G Major, BWV 988 / Live Recording, Canada 1985 Aria (00:00) Variatio 1 A 1 Clav (03:17) Variatio 2 A 1 Clav (05:19) Variatio 3 canone all’unisono (06:44) Variatio 4 A 1 Clav (08:36) Variatio 5 A 1 Ovvero 2 Clav (09:39) Variatio 6 canone alla seconda (11:34) Variatio 7 a 1 ovvero 2 Clav (12:55) Variatio 8 A 2 Clav (14:42) Variatio 9 Canone Alla Terza. A 1. Clav (16:42) Variatio 10 Fughetta. A 1 Clav (18:13) Variatio 11 a 2 Clav (19:45) Variatio 12 2 canone alla quarta in moto contrario (21:43) Variatio 13 a 2 clav (24:23) Variatio 14 a 2 clav (28:54) Variatio 15 canone a la quinta in moto contrario a 1 Clav. Andante (31:00) Variatio 16 ouverture a 1 clav (34:07) Variatio 17 A 2 Clav (37:08) Variatio 18 Canone All Sesta. A 1 Clav (39:12) Variatio 19 a 1 clav (40:40) Variatio 20 a 2 clav (41:43) Variatio 21 Canone Alla Settima. A 1 Clav (43:51) Variatio 22 Alla Breve A 1 Clav (46:06) Variatio 23 a 2 clav (47:33) Variatio 24 canone all'ottava a 1 clav (49:48) Variatio 25 a 2 clav (52:24) Variatio 26 A 2 Clav (57:26) Variatio 27 Canone Alla Nona. A 2 Clav (59:48) Variatio 28 a 2 clav (1:01:37) Variatio 29 a 1 avvero 2 clav (1:03:48) Variatio 30 Quodlibet a 1 clav (1:05:45) Aria da capo (1:07:20) - Variations Goldberg in G Major, BWV 988 / Studio Recording, Paris 1988 Aria (1:09:27) Variatio 1 A 1 Clav (1:13:04) Variatio 2 A 1 Clav (1:15:09) Variatio 3 canone all’unisono (1:16:40) Variatio 4 A 1 Clav (1:18:45) Variatio 5 A 1 Ovvero 2 Clav (1:19:51) Variatio 6 canone alla seconda (1:21:57) Variatio 7 a 1 ovvero 2 Clav (1:23:37) Variatio 8 A 2 Clav (1:25:35) Variatio 9 Canone Alla Terza. A 1. Clav (1:27:44) Variatio 10 Fughetta. A 1 Clav (1:29:22) Variatio 11 a 2 Clav (1:30:57) Variatio 12 2 canone alla quarta in moto contrario (1:33:05) Variatio 13 a 2 clav (1:36:04) Variatio 14 a 2 clav (1:40:55) Variatio 15 canone a la quinta in moto contrario a 1 Clav. Andante (1:43:11) Variatio 16 ouverture a 1 clav (1:46:45) Variatio 17 A 2 Clav (1:49:55) Variatio 18 Canone All Sesta. A 1 Clav (1:52:12) Variatio 19 a 1 clav (1:53:42) Variatio 20 a 2 clav (1:54:48) Variatio 21 Canone Alla Settima. A 1 Clav (1:57:04) Variatio 22 Alla Breve A 1 Clav (1:59:35) Variatio 23 a 2 clav (2:01:05) Variatio 24 canone all'ottava a 1 clav (2:03:34) Variatio 25 a 2 clav (2:06:19) Variatio 26 A 2 Clav (2:12:34) Variatio 27 Canone Alla Nona. A 2 Clav (2:15:01) Variatio 28 a 2 clav (2:16:58) Variatio 29 a 1 avvero 2 clav (2:19:26) Variatio 30 Quodlibet a 1 clav (2:21:33) Aria da capo (2:23:15) - Harpsichord : Scott Ross Find CMRR's recordings on *Spotify* : spoti.fi/3016eVr -- The harpsichordist and organist Scott Ross, born in America, but French by adoption, is famed for his recording of Scarlatti's 555 keyboard sonatas, completed in 1985. Another ambitious recording mission - the complete harpsichord works of Johann Sebastian Bach - was interrupted four years later when he died aged just 38. "The harpsichord has a heart, a soul," said Ross. "It's an instrument that breathes and that is extraordinarily alive." In the Goldberg Variations, we are the opposite of Helmut Walcha's architecture, it is rather a series of preludes or musical moments, where Scott Ross indulges his fantasies. A style that gives the impression of being totally free and improvised. Very high Art.. -- Scarlatti by Scott Ross - Harpsichord Sonatas K1 - K555 + Presentation (recording of the Century) : ruclips.net/video/u7wwYlScTrY/видео.html - Bach - Goldberg Variations BWV 988 / Harpsichord + Presentation (Century's recording: Helmut Walcha) : ruclips.net/video/RCAb5ig90rA/видео.html - Johann Sebastian Bach PLAYLIST (reference recordings) : ruclips.net/video/5YeFuKLieTA/видео.html
i guess Im randomly asking but does someone know a trick to get back into an instagram account? I was dumb lost my login password. I would appreciate any assistance you can give me!
@Ari Isaac thanks for your reply. I got to the site on google and im in the hacking process now. Looks like it's gonna take a while so I will reply here later with my results.
This is a nice rendering of the Goldberg variations in a harpsichord by Scott Ross. He was a splendid organ and harpsichord player, and his variations sound beautifully alive. Arrau initiated his brilliant piano career in Berlin playing in the piano the integral Bach keyboard works , but afterwards he said he would not play again Bach works in the piano, as they belonged to the harpsichord. Rosalyn Tureck said, on the other hand, that Bach believed his works were to be transcribed for other instruments, and there are innumerable instances of works that the same Bach transcribed to other sometimes very different instruments (like the transcription for the lute of the violin partitas). Tureck made a very appropriate comparison. She stated the Chopin piano music, for instance, was critically dependent on the instrument timbre, warmth, sound, while Bach works, on the contrary, are more abstract, and less dependent of the instrument than on the musical structure and architecture.
One can deeply respect both of the opposing views of Tureck and Arrau; personally I am of Turek’s opinion while grateful Arrau employed his enormous talent on the repertoire he did… and I am also grateful for the splendid performances of Tureck, Scott Ross and other great Bach performers.
Bach making arrangements is such a red herring. He always rewrote the piece to suit the technique and sonority of the new instrumentation. To simply change the instrument while trying to keep every note in the score the same is the reverse of Bach's practice. Here, the pianist has to fudge or simply omit several notes in the two-manual variations and has no resource to make up for losing the subtle contrast in tone colour between the two registers. It is even more of a red herring to suppose, in the face of his detailed and enormously effective orchestration in cantatas and Passions, that Bach didn't much care about instrumental timbre.
His generous and large boxed set of the Scarlatti recordings, if you don't already have, is worth the cost. It just goes on & on, endless beauty. His life story is interesting, with a sad ending of course. He had many wonderful students, one of them the great Japanese haprsichordist, Mayako Sone, this live version of the Goldberg variations very very splendid. She has two studio versions of the work , plus an amazing discography of baroque stuff. ruclips.net/video/G1iVQQu2lLk/видео.html
Wunderschöne und detaillierte Interpretation dieser perfekt komponierten Variationen im präzisen und rhythmischen Tempo mit klar artikuliertem Klang des Solocembalos und mit perfekt kontrollierter Dynamik. Bestimmt eine der zehn besten Aufführungen dieser Meisterwerke im 20. Jahrhundert!
The harpsichordist and organist Scott Ross, born in America, but French by adoption, is famed for his recording of Scarlatti's 555 keyboard sonatas, completed in 1985. Another ambitious recording mission - the complete harpsichord works of Johann Sebastian Bach - was interrupted four years later when he died aged just 38. "The harpsichord has a heart, a soul," said Ross. "It's an instrument that breathes and that is extraordinarily alive." In the Goldberg Variations, we are the opposite of Helmut Walcha's architecture, it is rather a series of preludes or musical moments, where Scott Ross indulges his fantasies. A style that gives the impression of being totally free and improvised. Very high Art.. - Scarlatti by Scott Ross - Harpsichord Sonatas K1 - K555 + Presentation (recording of the Century) : ruclips.net/video/u7wwYlScTrY/видео.html - 🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/2M1Eop2 ❤️ If you like CM//RR content, please consider membership at our Patreon page. Thank you :) www.patreon.com/cmrr
It's a pity he never recorded the English and French Suites. There's a recording of the complete WTC that he did for Radio Canada live broadcast, but the engineering isn't the best and there are many slips in the playing.
Scott Ross knew how to use perception of a steady beat and rhythm to convey an infectious energy, the kind you would tap your feet to. He did not resort to breakneck speed or incessant speeding up and slowing down, two nasty habits that plague many contemporary harpsichordists.
Die wohl weltweit beste Interpretation überhaupt von Bachs ! Insbesondere überzeugend auf dem Cembalo vorgetragen. DAFÜR wurden sie ja von Bach auch komponiert !! Ein großes musikalisches Geschenk !!! Dr. Felix Mertens Nervenarzt Düsseldorf
Just when you think the first version of the Goldberg Variations by Scott Ross is perfect - you hear the second and you understand how far this music can reach.
I love the harpsicord sound, but I think there is no reason to be as narrow-minded as many people who always claim that baroque music must not be played on a piano. Bach was quite ahead of his time and therefore IMHO he would have followed the evolution of the modern grand piano whith great interest; I even think that he would be very curious about contemporary electronic sound devices and their possibilities.
Secòndo l'istésso princípio si potrèbbe sonàr Chopin o Rachmaninov su appòsito cèmbalo, e ne sortirèbbono effetti curiòsi e desuèti. D'altra bànda, sovràno assolúto de la spèra estètica non è púnto il giudízio di valòre bensì 'l gústo: cuél gústo che non tòllera obieziòni e critíche di sòrta.
La version enregistrée en studio en 1988 est nettement plus calme, plus tranquille et plus claire que celle enregistrée en public en 1985. Toutefois, j'aime mieux la version de Masaaki Suzuki, qui prend des tempos légèrement plus lents, ce qui me semble préférable, tout en restant très vivant ! Ce sont les deux meilleures interprétations que je connaisse. J'ajouterai, pour répondre à un commentaire, qu'il ne peut y avoir de "jeu académique" en musique baroque, puisque c'est de la musique que l'on vient et que l'on ne cesse de redécouvrir et qu'aucun académisme n'a eu le temps de s'installer !
Please take a moment and listen to Jean Rondeau's interpretation, here on youtube, published by Netherlands Bach Society. After Gustav Leonhardt (our timeless Master), this one should become the new reference version
Some scholars believe that J.S. Bach wrote the GV as a practice exercise for his eldest son Wilhelm Friedemann, which makes a lot more sense (IMO) than the popular belief that this brilliant composition would induce someone (or anyone) to fall asleep.
Eduardo Poblete de Chile, que maravillosa obra, como.olvidar a aquel ser maravilloso que la dió a conocer que es Glenn Gould, inmenso músico, que partió de este mundo siendo tan joven... muchísimas gracias....
His live recording from 1985 is certainly one of the best recordings of the Goldberg Variations. There is a lot of good recordings, Leonhardt, van Asperen, Hill, Staier, etc. My favorite recordings are, Scott Ross, Isolde Ahlgrimm - ruclips.net/video/TITdSFYAinQ/видео.html - Alan Curtis ruclips.net/video/hJYh_mn5V1s/видео.html and the Bradford Tracey recording (not on youtube). Good also the underestimated recording by Christiane Jaccottet - ruclips.net/video/sc9dhRSQCOY/видео.html -, who was a great artist but never succeeded with the big labels and who never got the glory she earned. But Scott Ross is really a great harpsichord player.
Very beautiful too the Alan Curtis version, who seems to have more time than the others and also the version of Bradford Tracey who played on a Christian Zell replica with a dark and stiff timbre.
I know so much of recordings of Scott of Walcha , Leonhart and of Gould; i know to the recording of sonatas off Scarlatti and of the compositions of Rameau. But of Scarlatti Domenico i prefer the recording doned from Peter Jan Belder.
Which of Gould's piano versions are you referring to? He recorded it twice -- first in 1955, which was his "break-out" recording when he was really young, with relatively fast tempi; then again in 1981, obviously a more mature man, where he really, really slows things down, in a much more contemplative mood. Both are wonderful, you should be sure to know both, if you are to understand Gould's transformation over the years. It shouldn't sound "weird" on a harpsichord -- it was composed for the harpsichord, and was only later transcribed for modern day piano keyboards. Either way, piano or harpsichord, it is beautiful listening.
In the one hour film documentary about Scott Ross (which is on RUclips) Scott said that Gould didn't understand anything about Bach. I wouldn't go that far, but I am sympathetic to Scott's criticism. Yes, Glenn Gould was great, but I do think that he is over-rated. What dazzled people after his first recording was not just that he could play fast (which many keyboardists can do), but Speed ≠ Quality, especially when it is inappropriate, or just "showing off." I didn't know Scott Ross, but I miss him. Considering the amount of Baroque recordings that he made during his tragically short time on earth, it is hard to imagine how much more great music he would have created had he lived to old age.
"Weird"? Some people would probably say that the Goldberg Variations sound weird when played on the piano. As another Commenter here wrote, late in his career Claudio Arrau said he believed that Bach"s keyboard music (except for organ compositions, of course) should be played on the harpsichord. Living in a modest-size apartment with his wife and many children (and music copiests, during working hours) Bach probably wrote the GV using a clavichord, a small and not very sonorous instrument which by today's standards looks more like a rich kid's Toy Piano than a modern Grand Piano. Furthermore, I am getting a little weary of hearing people say that Glenn Gould"s recording of the Goldberg Variations. are The Gold Standard. I think a lot of people who say that are simply repeating what they have heard others say about the GV.
@@michelpetrus Good for you. You can hear Scott Ross's rather unflattering remarks about the way that Gould played Bach by watching the one hour film about Scott Ross, available on YT.
I guess this refers to the fact that these variations were written for Herrmann Graf von Keyserlingk, a german-russian diplomat and admirer of Bach, who suffered from insomnia and asked Bach for some compositions as a cure for his sleeplessness..
This no doubt is a tongue-in-cheek reference (almost certainly apochcryphal, IMO) about the origin of the piece. As the story goes, the Count of Saxony told his chief attendant Goldberg that he had trouble sleeping and wished that he had some clever but soothing music that would help him fall asleep. The Count knew that Goldberg was a friend of J.S.Bach and asked him to persuade J.S. to write some music that for that purpose. Bach agreed and wrote a theme (the Aria) and 30 variations on it, concluded the work by repeating the Aria, and - voilá - produced what came to be known as the Goldberg Variations. This tale always sounded a bit fishy to me. At least one contemporary scholar maintains that J.S. actually wrote the work as a practice exercise for his son W.F. Bach, whom J.S. believed had the most musical talent of his sons. [KEYBOARDISTS - Can you imagine your music teacher handing you the Goldberg Variations and saying , "Here's a practice exercise for you."? (It was a different world.) ]
Anyone who feels that since pianofortes were for the most part unavailable for Bach, renditions must take place exclusively on an instrument of his time, should consider the extra degrees of freedom afforded by the piano, and how Bach might have used these. Moreover, virtuosity does not necessitate speed - Tianqi Du exemplifies this, so even the culturally distant Chinese have become enlightened about such things. Too loud, too fast, too mechanical!
❤️ If you like CM//RR content, please consider membership at our Patreon page.
Thank you :) www.patreon.com/cmrr
Johann Sebastian Bach (1685-1750) Goldberg Variations in G, BWV 988 .
*Click to activate the English subtitles for the presentation* (00:00-03:15)
Variations Goldberg in G Major, BWV 988 / Live Recording, Canada 1985
Aria (00:00)
Variatio 1 A 1 Clav (03:17)
Variatio 2 A 1 Clav (05:19)
Variatio 3 canone all’unisono (06:44)
Variatio 4 A 1 Clav (08:36)
Variatio 5 A 1 Ovvero 2 Clav (09:39)
Variatio 6 canone alla seconda (11:34)
Variatio 7 a 1 ovvero 2 Clav (12:55)
Variatio 8 A 2 Clav (14:42)
Variatio 9 Canone Alla Terza. A 1. Clav (16:42)
Variatio 10 Fughetta. A 1 Clav (18:13)
Variatio 11 a 2 Clav (19:45)
Variatio 12 2 canone alla quarta in moto contrario (21:43)
Variatio 13 a 2 clav (24:23)
Variatio 14 a 2 clav (28:54)
Variatio 15 canone a la quinta in moto contrario a 1 Clav. Andante (31:00)
Variatio 16 ouverture a 1 clav (34:07)
Variatio 17 A 2 Clav (37:08)
Variatio 18 Canone All Sesta. A 1 Clav (39:12)
Variatio 19 a 1 clav (40:40)
Variatio 20 a 2 clav (41:43)
Variatio 21 Canone Alla Settima. A 1 Clav (43:51)
Variatio 22 Alla Breve A 1 Clav (46:06)
Variatio 23 a 2 clav (47:33)
Variatio 24 canone all'ottava a 1 clav (49:48)
Variatio 25 a 2 clav (52:24)
Variatio 26 A 2 Clav (57:26)
Variatio 27 Canone Alla Nona. A 2 Clav (59:48)
Variatio 28 a 2 clav (1:01:37)
Variatio 29 a 1 avvero 2 clav (1:03:48)
Variatio 30 Quodlibet a 1 clav (1:05:45)
Aria da capo (1:07:20)
-
Variations Goldberg in G Major, BWV 988 / Studio Recording, Paris 1988
Aria (1:09:27)
Variatio 1 A 1 Clav (1:13:04)
Variatio 2 A 1 Clav (1:15:09)
Variatio 3 canone all’unisono (1:16:40)
Variatio 4 A 1 Clav (1:18:45)
Variatio 5 A 1 Ovvero 2 Clav (1:19:51)
Variatio 6 canone alla seconda (1:21:57)
Variatio 7 a 1 ovvero 2 Clav (1:23:37)
Variatio 8 A 2 Clav (1:25:35)
Variatio 9 Canone Alla Terza. A 1. Clav (1:27:44)
Variatio 10 Fughetta. A 1 Clav (1:29:22)
Variatio 11 a 2 Clav (1:30:57)
Variatio 12 2 canone alla quarta in moto contrario (1:33:05)
Variatio 13 a 2 clav (1:36:04)
Variatio 14 a 2 clav (1:40:55)
Variatio 15 canone a la quinta in moto contrario a 1 Clav. Andante (1:43:11)
Variatio 16 ouverture a 1 clav (1:46:45)
Variatio 17 A 2 Clav (1:49:55)
Variatio 18 Canone All Sesta. A 1 Clav (1:52:12)
Variatio 19 a 1 clav (1:53:42)
Variatio 20 a 2 clav (1:54:48)
Variatio 21 Canone Alla Settima. A 1 Clav (1:57:04)
Variatio 22 Alla Breve A 1 Clav (1:59:35)
Variatio 23 a 2 clav (2:01:05)
Variatio 24 canone all'ottava a 1 clav (2:03:34)
Variatio 25 a 2 clav (2:06:19)
Variatio 26 A 2 Clav (2:12:34)
Variatio 27 Canone Alla Nona. A 2 Clav (2:15:01)
Variatio 28 a 2 clav (2:16:58)
Variatio 29 a 1 avvero 2 clav (2:19:26)
Variatio 30 Quodlibet a 1 clav (2:21:33)
Aria da capo (2:23:15)
-
Harpsichord : Scott Ross
Find CMRR's recordings on *Spotify* : spoti.fi/3016eVr
--
The harpsichordist and organist Scott Ross, born in America, but French by adoption, is famed for his recording of Scarlatti's 555 keyboard sonatas, completed in 1985. Another ambitious recording mission - the complete harpsichord works of Johann Sebastian Bach - was interrupted four years later when he died aged just 38. "The harpsichord has a heart, a soul," said Ross. "It's an instrument that breathes and that is extraordinarily alive." In the Goldberg Variations, we are the opposite of Helmut Walcha's architecture, it is rather a series of preludes or musical moments, where Scott Ross indulges his fantasies. A style that gives the impression of being totally free and improvised. Very high Art..
--
Scarlatti by Scott Ross - Harpsichord Sonatas K1 - K555 + Presentation (recording of the Century) : ruclips.net/video/u7wwYlScTrY/видео.html
-
Bach - Goldberg Variations BWV 988 / Harpsichord + Presentation (Century's recording: Helmut Walcha) : ruclips.net/video/RCAb5ig90rA/видео.html
-
Johann Sebastian Bach PLAYLIST (reference recordings) : ruclips.net/video/5YeFuKLieTA/видео.html
i guess Im randomly asking but does someone know a trick to get back into an instagram account?
I was dumb lost my login password. I would appreciate any assistance you can give me!
@Brycen Cesar instablaster :)
@Ari Isaac thanks for your reply. I got to the site on google and im in the hacking process now.
Looks like it's gonna take a while so I will reply here later with my results.
@Ari Isaac It worked and I now got access to my account again. I am so happy!
Thank you so much you really help me out !
@Brycen Cesar glad I could help xD
Merci de nous faire partager le génie de Scott Ross, qui a su sortir d'un jeu académique et pesant . Tout ce que Scott Ross joue est vivant !
His recordings of the complete works of Rameau and F. Couperin are definitive, IMO.
One of the greatest Bach recordings of all times !
This is a nice rendering of the Goldberg variations in a harpsichord by Scott Ross. He was a splendid organ and harpsichord player, and his variations sound beautifully alive. Arrau initiated his brilliant piano career in Berlin playing in the piano the integral Bach keyboard works , but afterwards he said he would not play again Bach works in the piano, as they belonged to the harpsichord. Rosalyn Tureck said, on the other hand, that Bach believed his works were to be transcribed for other instruments, and there are innumerable instances of works that the same Bach transcribed to other sometimes very different instruments (like the transcription for the lute of the violin partitas). Tureck made a very appropriate comparison. She stated the Chopin piano music, for instance, was critically dependent on the instrument timbre, warmth, sound, while Bach works, on the contrary, are more abstract, and less dependent of the instrument than on the musical structure and architecture.
Tureck did not listen to CARisMA.
ruclips.net/video/1k2QNVpA6XQ/видео.html
One can deeply respect both of the opposing views of Tureck and Arrau; personally I am of Turek’s opinion while grateful Arrau employed his enormous talent on the repertoire he did… and I am also grateful for the splendid performances of Tureck, Scott Ross and other great Bach performers.
@@waynesmith3767 thanks for your excellent comment. I completely agree.
@@waynesmith3767 Thanks for your comment. I agree
Bach making arrangements is such a red herring. He always rewrote the piece to suit the technique and sonority of the new instrumentation.
To simply change the instrument while trying to keep every note in the score the same is the reverse of Bach's practice.
Here, the pianist has to fudge or simply omit several notes in the two-manual variations and has no resource to make up for losing the subtle contrast in tone colour between the two registers.
It is even more of a red herring to suppose, in the face of his detailed and enormously effective orchestration in cantatas and Passions, that Bach didn't much care about instrumental timbre.
My life has changed since I've discovered Scott Ross !
His generous and large boxed set of the Scarlatti recordings, if you don't already have, is worth the cost. It just goes on & on, endless beauty. His life story is interesting, with a sad ending of course. He had many wonderful students, one of them the great Japanese haprsichordist, Mayako Sone, this live version of the Goldberg variations very very splendid. She has two studio versions of the work , plus an amazing discography of baroque stuff. ruclips.net/video/G1iVQQu2lLk/видео.html
yeah, me too. I discovered him because of Scarlatti and, now, is my favorite interpreter of Bach and Scarlatti
Les articulations et le phrasé sont délirants de justesse et de précision...Merci une fois de plus!
The Lord of the harpsichord.
It's like hearing the goldbergs for the first time. Thank you!
Wunderschöne und detaillierte Interpretation dieser perfekt komponierten Variationen im präzisen und rhythmischen Tempo mit klar artikuliertem Klang des Solocembalos und mit perfekt kontrollierter Dynamik. Bestimmt eine der zehn besten Aufführungen dieser Meisterwerke im 20. Jahrhundert!
...not a single week without listening to Scott Ross!
The harpsichordist and organist Scott Ross, born in America, but French by adoption, is famed for his recording of Scarlatti's 555 keyboard sonatas, completed in 1985. Another ambitious recording mission - the complete harpsichord works of Johann Sebastian Bach - was interrupted four years later when he died aged just 38. "The harpsichord has a heart, a soul," said Ross. "It's an instrument that breathes and that is extraordinarily alive." In the Goldberg Variations, we are the opposite of Helmut Walcha's architecture, it is rather a series of preludes or musical moments, where Scott Ross indulges his fantasies. A style that gives the impression of being totally free and improvised. Very high Art..
-
Scarlatti by Scott Ross - Harpsichord Sonatas K1 - K555 + Presentation (recording of the Century) : ruclips.net/video/u7wwYlScTrY/видео.html
-
🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr
🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/2M1Eop2
❤️ If you like CM//RR content, please consider membership at our Patreon page.
Thank you :) www.patreon.com/cmrr
It's a pity he never recorded the English and French Suites. There's a recording of the complete WTC that he did for Radio Canada live broadcast, but the engineering isn't the best and there are many slips in the playing.
Excellent playing by the great Scott Ross!
Interpretação impecável e carregada de lucidez de acordes magistral!!
Pena que Scott morreu tão novo.
Scott Ross knew how to use perception of a steady beat and rhythm to convey an infectious energy, the kind you would tap your feet to. He did not resort to breakneck speed or incessant speeding up and slowing down, two nasty habits that plague many contemporary harpsichordists.
Die wohl weltweit beste Interpretation überhaupt von Bachs !
Insbesondere überzeugend auf dem Cembalo vorgetragen. DAFÜR wurden sie ja
von Bach auch komponiert !! Ein großes musikalisches Geschenk !!!
Dr. Felix Mertens
Nervenarzt
Düsseldorf
muchas gracias por sugerirme esto. es celestial
Ein muskalischer Ohrenschmaus - und ein polyphones Erlebnis der Sonderklasse !!
Dr. Felix Mertens
Nervenarzt
Düsseldorf
Thanks a lot, this is more than we deserve :D
Just when you think the first version of the Goldberg Variations by Scott Ross is perfect - you hear the second and you understand how far this music can reach.
Merci beaucoup pour cette vidéo !
utmost perfection.
Grazie per aver condiviso questa magnifica interpretazione del grandissimo Ross 😎
Beautiful! Thanks for uploading. ❤️🎹🎼🎵🎶👏☘️🇮🇪
I love the harpsicord sound, but I think there is no reason to be as narrow-minded as many people who always claim that baroque music must not be played on a piano. Bach was quite ahead of his time and therefore IMHO he would have followed the evolution of the modern grand piano whith great interest; I even think that he would be very curious about contemporary electronic sound devices and their possibilities.
Secòndo l'istésso princípio si potrèbbe sonàr Chopin o Rachmaninov su appòsito cèmbalo, e ne sortirèbbono effetti curiòsi e desuèti. D'altra bànda, sovràno assolúto de la spèra estètica non è púnto il giudízio di valòre bensì 'l gústo: cuél gústo che non tòllera obieziòni e critíche di sòrta.
Wendy Carlos.
Thank you, dear friend.So beautyful !
fantastique
Formidable!
Thanks a lot for uploading!!!
Thanks 😊 👏🌟 I love to Bach!!! 🌈🍃🌾🍀🌻🎶🎵😘
La version enregistrée en studio en 1988 est nettement plus calme, plus tranquille et plus claire que celle enregistrée en public en 1985. Toutefois, j'aime mieux la version de Masaaki Suzuki, qui prend des tempos légèrement plus lents, ce qui me semble préférable, tout en restant très vivant ! Ce sont les deux meilleures interprétations que je connaisse.
J'ajouterai, pour répondre à un commentaire, qu'il ne peut y avoir de "jeu académique" en musique baroque, puisque c'est de la musique que l'on vient et que l'on ne cesse de redécouvrir et qu'aucun académisme n'a eu le temps de s'installer !
Please take a moment and listen to Jean Rondeau's interpretation, here on youtube, published by Netherlands Bach Society. After Gustav Leonhardt (our timeless Master), this one should become the new reference version
The Purest🔮
Wow...amazing!!!
R.I.P. , we lose an artist
Thank you.
Dios mío que belleza de música ... estas variaciones de Goldberg me recuerdan a mi querido profesor Moyano. Muchas gracias por recordármelo. 🌾🌿🍀🍁🍂🍃
Some scholars believe that J.S. Bach wrote the GV as a practice exercise for his eldest son Wilhelm Friedemann, which makes a lot more sense (IMO) than the popular belief that this brilliant composition would induce someone (or anyone) to fall asleep.
Waouh! Thank you!
Thanks!
Música maravillosa. Muchas gracias
very nice video)
Omg thanks❤❤❤❤
Eduardo Poblete de Chile, que maravillosa obra, como.olvidar a aquel ser maravilloso que la dió a conocer que es Glenn Gould, inmenso músico, que partió de este mundo siendo tan joven... muchísimas gracias....
Soft and Wonderful song! Bravo Scott!
His live recording from 1985 is certainly one of the best recordings of the Goldberg Variations. There is a lot of good recordings, Leonhardt, van Asperen, Hill, Staier, etc. My favorite recordings are, Scott Ross, Isolde Ahlgrimm - ruclips.net/video/TITdSFYAinQ/видео.html - Alan Curtis ruclips.net/video/hJYh_mn5V1s/видео.html and the Bradford Tracey recording (not on youtube). Good also the underestimated recording by Christiane Jaccottet - ruclips.net/video/sc9dhRSQCOY/видео.html -, who was a great artist but never succeeded with the big labels and who never got the glory she earned. But Scott Ross is really a great harpsichord player.
Care to try Karl Richter's version?
@@weiliu7319 Wonderful played (as Walcha) but the Neupert Harpsichord is not ideal.
Very beautiful too the Alan Curtis version, who seems to have more time than the others and also the version of Bradford Tracey who played on a Christian Zell replica with a dark and stiff timbre.
Unbelievable.
👏🏻
Autre chose que les errances de Glenn Gould
Uaaaaaaai.... o Gregório Duvivier é erudito mesmo!
Carai, mermão. Toca aqui. Pensei a mesma coisa.
I know so much of recordings of Scott of Walcha , Leonhart and of Gould; i know to the recording of sonatas off
Scarlatti and of the compositions of Rameau. But of Scarlatti Domenico i
prefer the recording doned from Peter Jan Belder.
Re: Gould,
Speed ≠ Quality.
pretty
👌
BEE GEES?
I feel like Bach almost composed Goldberg variations to be play on piano
var 28 for example
this sounds so weird with an harpsichord, I used to listen the Gould's piano version. Pretty awesome though thanks for the upload
Which of Gould's piano versions are you referring to? He recorded it twice -- first in 1955, which was his "break-out" recording when he was really young, with relatively fast tempi; then again in 1981, obviously a more mature man, where he really, really slows things down, in a much more contemplative mood. Both are wonderful, you should be sure to know both, if you are to understand Gould's transformation over the years. It shouldn't sound "weird" on a harpsichord -- it was composed for the harpsichord, and was only later transcribed for modern day piano keyboards. Either way, piano or harpsichord, it is beautiful listening.
Like you I used to listen to Gould, but now I can only listen it on Harpsichord.
In the one hour film documentary about Scott Ross (which is on RUclips) Scott said that Gould didn't understand anything about Bach. I wouldn't go that far, but I am sympathetic to Scott's criticism. Yes, Glenn Gould was great, but I do think that he is over-rated. What dazzled people after his first recording was not just that he could play fast (which many keyboardists can do), but Speed ≠ Quality, especially when it is inappropriate, or just "showing off."
I didn't know Scott Ross, but I miss him. Considering the amount of Baroque recordings that he made during his tragically short time on earth, it is hard to imagine how much more great music he would have created had he lived to old age.
"Weird"? Some people would probably say that the Goldberg Variations sound weird when played on the piano. As another Commenter here wrote, late in his career Claudio Arrau said he believed that Bach"s keyboard music (except for organ compositions, of course) should be played on the harpsichord. Living in a modest-size apartment with his wife and many children (and music copiests, during working hours) Bach probably wrote the GV using a clavichord, a small and not very sonorous instrument which by today's standards looks more like a rich kid's Toy Piano than a modern Grand Piano.
Furthermore, I am getting a little weary of hearing people say that Glenn Gould"s recording of the Goldberg Variations. are The Gold Standard. I think a lot of people who say that are simply repeating what they have heard others say about the GV.
@@michelpetrus Good for you. You can hear Scott Ross's rather unflattering remarks about the way that Gould played Bach by watching the one hour film about Scott Ross, available on YT.
Meo deo e chi era mandrake!
Hate all the adverts. More than 1 per 5 minutes !!! Jesus.
Gee, I wonder why some wag called this '30 sleeping pills' :-s
I guess this refers to the fact that these variations were written for Herrmann Graf von Keyserlingk, a german-russian diplomat and admirer of Bach, who suffered from insomnia and asked Bach for some compositions as a cure for his sleeplessness..
@@flyingstratosurfer6285 Thanks for this!
This no doubt is a tongue-in-cheek reference (almost certainly apochcryphal, IMO) about the origin of the piece. As the story goes, the Count of Saxony told his chief attendant Goldberg that he had trouble sleeping and wished that he had some clever but soothing music that would help him fall asleep. The Count knew that Goldberg was a friend of J.S.Bach and asked him to persuade J.S. to write some music that for that purpose. Bach agreed and wrote a theme (the Aria) and 30 variations on it, concluded the work by repeating the Aria, and - voilá - produced what came to be known as the Goldberg Variations.
This tale always sounded a bit fishy to me. At least one contemporary scholar maintains that J.S. actually wrote the work as a practice exercise for his son W.F. Bach, whom J.S. believed had the most musical talent of his sons.
[KEYBOARDISTS - Can you imagine your music teacher handing you the Goldberg Variations and saying , "Here's a practice exercise for you."? (It was a different world.) ]
Anyone who feels that since pianofortes were for the most part unavailable for Bach, renditions must take place exclusively on an instrument of his time, should consider the extra degrees of freedom afforded by the piano, and how Bach might have used these. Moreover, virtuosity does not necessitate speed - Tianqi Du exemplifies this, so even the culturally distant Chinese have become enlightened about such things. Too loud, too fast, too mechanical!
Each to their own I guess
Really? An advertisement between EVERY movement? Sorry, I'm not anyone's cash cow. I'll listen to someone not quite as greedy in monetization.