When I was on a hospital bed, I couldn't listen any piano works delightfully, I happened to listened to these harpsichord works by bach. It was my salvation. Truly was a cure for the desease and depressure. How relieving the sound is!
I first heard this Gigue on the radio while driving to spend the day with friends at the marina. The emotional power of this piece not only transformed that day, but every time I hear it I am reminded of what a cheerful, joyous experience it is to be alive. Thank God for Bach.
I haven't listened to the French Suites for some years. I am particularly fond of this one. Such a lively, happy Gigue! Makes me want to jump up and dance (and sometimes I do). Now that I see you have put them up here on RUclips, I'll have to get a cup of tea and listen to all of them and read along. Bach tells stories with his music. I'm totally in awe of him. I had the opportunity to be in Leipzig over Christmas. Of course, I went to the Bach museum and Thomaskirche and Nikolaikirche. I can't remember where he tested that organ, but the church paid for a huge amount of wine, beer and tobacco (and food, of course) for Herrn Bach's week's visit in addition to salary. Damn! The man enjoyed his alcohol!
This is etched into my childhood. I played this when I was twelve in my first international debut. Such fond memories. And to this day, I still remember how it goes. This is one of those pieces that has never left my fingers.
This is an interesting suite to listen to. First, the Gigue was my favorite, then it was the Gavotte, then the Allemande, and now its the Sarabande, (especially at 10:05, just lovely). Weird how listening to this multiple times can change your opinion, Bach certainly does NOT dissapoint.
@@leonhardeuler6811we don't get F, A, and C all at the same time, but we do get F in the soprano and A in the bass simultaneously at one point. Perhaps more importantly, every strong beat in that passage is F, A, or C in both hands. It also precedes the V. At the very least it's Neapolitan-ish!
Unfortunately, I've been so busy of late, I haven't had a chance to listen to this since I saw your facebook post announcing the completion of this particular suite, gerubach. As usual, you have impeccable taste! This suite's allemande was the first amongst a handful of pieces that really got me into Bach; the whole suite is my favorite out of the French and English suites, albeit I'm guilty of being somewhat sentimental in this opinion! I play the allemande a touch faster and with more ornaments and rubato than Mr. Dreyfus here on the repeats, however! :) Not sure how anachronistic my performance is vis-à-vis informed performance practice, but that's one facet of the beauty of Bach's work, isn't it? Bach resists questionable and tactless interpretation far better than any other composer I'm aware of. Many thanks for everything you do, gerubach!
The gigue is my favorite gigue in all of the Bach suites. My favorite: Prelude - English Suite No. 2 Allemande - French Suite No. 4 Courante - English Suite No. 1 Sarabande - French Suite No. 2 Gigue - French Suite No. 5
the tuning of the harpsichords is a little different (probably because of the temperaments used) but i love the allemande because its soooo crystal clear and very homely!
@@tahaouhabi3520 I can hear the notes slightly higher than what it usually is. Not sure how to explain it, but you could try comparing this recording with a regular piano.
at that point the music is in the key of D major, and the relationships in that measure are: (strange chord) - V - I - (strange chord) - IV7 ? - V ; last measure: I. The strange chord that appaers twice has the notes: F# - G - A. They present no really basic triad chord that I know of. Most likely it is some sort of suspension. The G note in the second strange chord directly lowers to F#, which is the third of the tonic. In the first strange chord it lowers indirectly via E and then F#. This is just a guess, but it maybe interesting to point out that Bach's use of counterpoint is sometimes very complex and there are some passages which are really hard to fit in to a proper harmonic analysis. Most of the rules that we learn are based on the work of these old masters, and they didn't know the rules like we do (the first book on the study of harmony infact was written at that time by Rameau). They wrote what sounded the best to them and sometimes they had to break some rules due to voice leading in order to avoid parallel fifth's or octaves and stuff like that.
Why does nobody, but really nobody from more than 20 of these RUclips 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.
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When I was on a hospital bed, I couldn't listen any piano works delightfully, I happened to listened to these harpsichord works by bach. It was my salvation. Truly was a cure for the desease and depressure. How relieving the sound is!
I first heard this Gigue on the radio while driving to spend the day with friends at the marina. The emotional power of this piece not only transformed that day, but every time I hear it I am reminded of what a cheerful, joyous experience it is to be alive. Thank God for Bach.
The gigue makes me tear up, it's honestly one of my favorite gigues ever :D
and close your eyes
Rubes, it makes me orgasm.
It really is one of the best he ever wrote. It’s right up there with the Bb partita and the D major cello suite
perhaps the most elegant suite of all and my personal favorite. Thanks!
Rest In Peace Gerubach your contribution to the community will forever stay unmatched
I haven't listened to the French Suites for some years. I am particularly fond of this one. Such a lively, happy Gigue! Makes me want to jump up and dance (and sometimes I do). Now that I see you have put them up here on RUclips, I'll have to get a cup of tea and listen to all of them and read along.
Bach tells stories with his music. I'm totally in awe of him. I had the opportunity to be in Leipzig over Christmas. Of course, I went to the Bach museum and Thomaskirche and Nikolaikirche. I can't remember where he tested that organ, but the church paid for a huge amount of wine, beer and tobacco (and food, of course) for Herrn Bach's week's visit in addition to salary. Damn! The man enjoyed his alcohol!
This is etched into my childhood. I played this when I was twelve in my first international debut. Such fond memories. And to this day, I still remember how it goes. This is one of those pieces that has never left my fingers.
This is an interesting suite to listen to. First, the Gigue was my favorite, then it was the Gavotte, then the Allemande, and now its the Sarabande, (especially at 10:05, just lovely). Weird how listening to this multiple times can change your opinion, Bach certainly does NOT dissapoint.
No the bourree is
Id have to say the Courante
(Kidding as fuck, the gavotte is where it is)
The gavotte is incredible! One of of my favorite things from Bach.
I like the gavotte too
That chromatic line at 17:00 is so crazy! Only Bach could come up with something like that.
Neapolitan baybeeee
@@faktablad I dont see a Neapolitan. The key is e minor, there's an f in the soprano but the rest of the major chord isnt sounded.
@@leonhardeuler6811we don't get F, A, and C all at the same time, but we do get F in the soprano and A in the bass simultaneously at one point. Perhaps more importantly, every strong beat in that passage is F, A, or C in both hands. It also precedes the V. At the very least it's Neapolitan-ish!
Unfortunately, I've been so busy of late, I haven't had a chance to listen to this since I saw your facebook post announcing the completion of this particular suite, gerubach. As usual, you have impeccable taste!
This suite's allemande was the first amongst a handful of pieces that really got me into Bach; the whole suite is my favorite out of the French and English suites, albeit I'm guilty of being somewhat sentimental in this opinion! I play the allemande a touch faster and with more ornaments and rubato than Mr. Dreyfus here on the repeats, however! :) Not sure how anachronistic my performance is vis-à-vis informed performance practice, but that's one facet of the beauty of Bach's work, isn't it? Bach resists questionable and tactless interpretation far better than any other composer I'm aware of.
Many thanks for everything you do, gerubach!
The gigue is my favorite gigue in all of the Bach suites. My favorite:
Prelude - English Suite No. 2
Allemande - French Suite No. 4
Courante - English Suite No. 1
Sarabande - French Suite No. 2
Gigue - French Suite No. 5
Nothing makes you feel more grounded then appreciating this music.
thank you for this! it's my favorite french suite and i like that you featured the gavotte in the thumbnail.
All the French Suites are beautiful, but this one in G Major surpasses them all. Mellow perfection through and through.
I love this french suite.
U jelly?
I wouldn't say I am jealous because I compose much grander works such as Messiah and Rinaldo.
True, but Bach's St.Matthew's Passion is almost better.
I know not a miracle greater than music
Thanks for uploading!
That gigue is like Bach showing off his skills to the nobles.
gerubach your work is very beautiful!!!
simply devine playing
This version is always the best. Thanks Huguette Dreyfus
My favorite suite. It also sounds great on the piano--the greatest gigue. Myra Hess used to play this suite,
It sounds better on the harpsichord tho
I funchin' love the Gavotte
The gigue is wonderful.
I love it, Bach.
Divine❤
Un capolavoro 😘
sarabanda begining sounds like largo from Harpsichord Concerto in F Minor
Enjoyable Bach Suite even with its dissonance. Bach is Bach!
you and smalin should collaborate!
ENORMOUS LIKE
*sorry for bad english, is that written correctly?* c:
"Enormous like" is not a full sentence, therefore, both "giant thumb" and "enormous like" would work in that place. Your English is good.
the tuning of the harpsichords is a little different (probably because of the temperaments used) but i love the allemande because its soooo crystal clear and very homely!
How so? Can you explain ?
@@tahaouhabi3520 I can hear the notes slightly higher than what it usually is. Not sure how to explain it, but you could try comparing this recording with a regular piano.
Thanks House M.D. brings me here
Браво
0:17
3:40
10:23
15:05
15:05 GLIIIIIIIIIIIIIIIIIIIIIIIIIISH EHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!
yes-the great Huguette Dreyfuß
Because of Steinway & Sons making process video, the background music leads me here.
What are the wonderful fonts that you used in the title?
13:27, really unexpected Bach dissonance, does anybody have an explanation to the harmonic function of the notes?
That is an integration of three voices rather than a harmony
at that point the music is in the key of D major, and the relationships in that measure are: (strange chord) - V - I - (strange chord) - IV7 ? - V ; last measure: I. The strange chord that appaers twice has the notes: F# - G - A. They present no really basic triad chord that I know of. Most likely it is some sort of suspension. The G note in the second strange chord directly lowers to F#, which is the third of the tonic. In the first strange chord it lowers indirectly via E and then F#. This is just a guess, but it maybe interesting to point out that Bach's use of counterpoint is sometimes very complex and there are some passages which are really hard to fit in to a proper harmonic analysis. Most of the rules that we learn are based on the work of these old masters, and they didn't know the rules like we do (the first book on the study of harmony infact was written at that time by Rameau). They wrote what sounded the best to them and sometimes they had to break some rules due to voice leading in order to avoid parallel fifth's or octaves and stuff like that.
?
ah I see :)
Those notes are a preambule to the following chord. The dissonance is just a result of each voice going separate ways to resolve in a chord .
3:40 10:23 15:04
Dancing time!
I think this suite sounds like a pre-JC Bach suite.
Why does nobody, but really nobody from more than 20 of these RUclips 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.
The ornamentation 🤔
Can you make Beatles songs in the style of Tchaikovsky?
The Courante sounds like a Goldberg Variation
Agree. Its the tonality of g major that helps it to sound like Goldbergs
0:17
10:35