When Johannes Brahms stumbled upon Bach’s “Chaconne” in 1877, he simply couldn’t believe his eyes: “On one stave, for a small instrument, Bach writes a whole world of the deepest thoughts and most powerful feelings. If I imagined that I could have created, even conceived the piece, I am quite certain that the excess of excitement and earth-shattering experience would have driven me out of my mind.”
If so, even a great composer such as Brahms didn't know chaconne until his 43-44 years, but now people from all around the world can listen this masterpiece for free with the Internet.
@@DaviSilva-oc7iv back then there's no record, tape, cd, mp3, flac..... if you wanted to listen to Bach, you either played for yourself or someone played for you.... also Brahms mainly played piano so Chaconne would not be on his list of studies
@@fatdoi003 I don't get it, are you trying to say that he didn't write the quote or how amazing it is that he discovered the Chaconne with all limitations of his time?
As a violinist, let me just mention that the amount of stamina it takes to play this piece is great. It takes a lot out of the violinist, physically, mentally, and (depending on how empathic you are) emotionally when playing this piece.
Something for you: The Chaconne played on the oboe. Count your blessings: respiration is not part of violin technique.. ruclips.net/video/T988PUDT1MM/видео.html
Also, as another violinist, let me add that this is a tough piece to memorize! I am someone who has often been complimented on my ability to memorize long concertos quickly. But I have to admit that this piece is so complex, and has so many unusual chords and intricate passages that it is not easy to memorize at all. I have tried to gnaw on it and broken some teeth, to be sure.
I wish i could make my left hand never vibrate like him, while still having enough flexibility to make the notes really sing/speak. What he's doing here is significantly harder than a modern violin, no shoulder rest, no vibrato to help hide intonation mistakes, no modern bow to help with projection... I've stopped comparing musicians as best but Sato is amazing for sure
I preferred Hilary Hann's deep and more emotional interpretation to the clean and light rendition of the Chaconne by Itzhak Perlmann. But now, I am flabbergasted by Shunske Sato's so versatile, free and dynamic version. Incredible. His virtuosity is such that he simply "plays" the music behind and beyond the notes ... dancing to the spirit of a musical genious carried away and drunk by his profound love of life.
I\s say starting point away from Perlman and Hahn would be Mullova with modern violin. That's still one of my favourites for variations of colour. Moving along, there are of course a lot of others, starting (although not chronolgically) with Mullova on baroque violin. And so on.
I have to second this. Hillary Hahn's rendition was actually the one I'd meant to click on, but I'm so glad I stumbled on Sato's instead! He has a certain...playfulness...about the piece when he plays whereas Hahn's is almost darker. I love them both, and I've been listening to them back to back trying to figure out what the individual is doing to provoke such an emotional response from me. Sato is an amazing violinist, and I'm genuinely surprised that I hadn't heard of him before.
Of all the times this piece has been performed and recorded. Never have I heard a more colourful rendition than this. A very emotional and apt rendition of a timeless and sophisticated classics. Wonderful!
So dynamic- it prays, sings, raves, rambles, weeps, raves again. It's rare to hear any piece delivered like this, where everything: pulse, timbre, pitch etc is dynamic - all of human emotion and experience contained within. Simply breathtaking
It is astounding how J. S. Bach composed all the pieces in his violin Sonatas and Partitas. There has NEVER been another composer who has written such profound music for the confines of the violin.
Shunske Sato - many voices, many dialogues, many ideas, many experiences, many emotions - all of them are heard from your sole violin. Perfect performance. Bravo. Thanks NBS for uploading.
3:58 That is the musical phrase by Johann Sebastian that reflects at most the human feelings, of all his works. I would describe it as "silent suffering".
@@javierdiazsantana Hermosamente dicho. Rarely do I become philosophical in describing music, but there are moments in great music that truly touch on a profound quality of the human condition. Yet there are few moments in music as profound as what we encounter in this piece. Here, Bach accomplished a miracle, something that seems to transcend mere notes, where the universe itself seems to speak to us through his music. Must also commend the fantastic job maestro Sato does with this piece and the entire Partita. Of the many great renditions of this work, this one is unrivaled in its clarity, internal logic and nearly magic freedom of expression.
I have listened to many ciacconas, and really for me this is my favourite of all. Comparing between versions with immaculate intonation and sound quality (and there are many), I most appreciate here the incredible rithmic presence ever crisp and flowing as well the harmonic clarity and simplicity. This unpretentious rendition is a very rare jewel, a precious present to music lovers, Bach lovers - Bravo Sato!
Lyrische und wunderschöne Aufführung dieses perfekt komponierten Meisterstücks im gut phrasierten Tempo mit seidigem doch ein bisschen neue-sachlichem Ton der Solovioline und mit perfekt kontrollierter Dynamik. Die Virtuosität der Doppelgriffe ist echt ergreifend. Bestimmt die beste Kombination der höchsten Technik und der angeborenen Lyrik. Wahrlich unvergleichlicher Violinist!
This is a historically informed performance (HIP). Notice his use of baroque bow and baroque tuning, and no shoulder rest. Probably gut strings as well. And the lack of vibrato outside of small ornamentations.
To me this is one of the most complete solo violin pieces ever composed. So much musical debt and emotion. In this very original and personal interpretation, Sato makes his violin sound like a complete and well oiled string quartet..
Never mind quite a few breathtaking renditions of the d minor Chaconne on a large variety of instruments, like lute, guitar, harpsichord, piano, organ, Master J. S. Bach most certainly knew why he composed this marvel of music for violin. This becomes evident in Shunske Sato's awesome rendition of the Chaconne. Bach's deep feelings of loss, sadness and desperation, learning of the death of his first wife which occurred a few weeks prior to his arrival from a lengthy cross border European lecturing and promotion journey, which he only learnt of on returning home to Leipzig, by which time she was long buried, is really best expressed on a violin. Remember, travelling in those times happened by means of ox or horse driven coaches. Maximum distance covered on a day would be about 60 - 80 km in very favorable conditions, across difficult terrain [Alps mountains] or difficult weather conditions much less. So, for example, travelling from Firenze / Italy to Leipzig / Germany will take at the very least 2 weeks, easily double of that in winter. A journey like the one J. S. Bach undertook across many European countries including England is very likely to have lasted well above a year.
It's known that Bach is one of the best organists in the history (probably the best), but he was also violinist. If he'd writen such a difficult piece like that, probably is one of the best vionlinists in the history like Sato. Fascinating😍😍
OMG - phenomenal, captivating and humbling performance! Imbued with the freedom of virtuosity and a pure unadulterated interpretation of some of the greatest music ever written. Chapeau 👏
A masterful performance, by a master of the instrument. Bach himself would be proud. As an organist, I've heard the transcription of this (but not played myself) on my instrument as well. It just works played on anything. Period.
Gorgeous violin sound, transformative interpretation....wonderful! EDIT: I’ve heard this piece so many times that I was going to click on “not interested,”....I couldn’t imagine anything new. But, I used a bit too much pressure and opened the piece. I thought, all right then, let’s see. Thank God! This man is a true Bach genius, an incredible talent and voice.
True! It's annoying when post modern people call him "one of the greatest" despite the fact that Mozart, Beethoven, Chopin, Brahms, Wagner, Liszt, Verdi, Schumann, Debussy, Mendelssohn, Mahler, etc made very clear in their own words that he was THE greatest.😍👌
The magnitude of this movement is kinda & literally incomprehensible!! Sigh... Love how every violinist who plays this brings something personal & different... but really the Ciaccona could survive anything! :-)
Es inimaginable el genio de Bach en toda su música, pero esta Chacona es de una creatividad, imaginación, inspiración más allá de muchísimas grandiosas composiciones. Uno quisiera que no se detuviera, que siguiera fluyendo y fluyendo....es mágica, aterradora, que nunca termine... jamás!!!
Sato brings me to tears both because of the raw emotion, physicality, and musicality in this performance and because he makes me wonder how I could ever play or write that way....Bach and Sato truly bring the best out of each other, even living 300 years apart. Very interestingly, I found this recording while reading an analysis of the Chaconne in Robert Cogan's Sonic Design. Sato's pain-staking interpretation makes it seem as though Cogan used this recording as source material, his depiction of the ever-changing rhythmic and tonal landscape giving unrivaled clarity to the true music and architecture within the piece. If you haven't already, do yourself a favor and listen to his recording of the full partita. Time Stamps for Sections from Sonic Design: A Theme - 0:07 Section I - 0:27 Section II - 1:08 Section III - 2:49 Deceleration - 5:29 B Major Theme/Section I - 6:19 Section II - 8:18 Minor Section I - 9:59 Section II - 11:17 Deceleration - 12:18
I have no need to compare this performance with others. Let's just say that I thought that the piece was too big a challenge and could not be performed adequately on the violin, but now I've been convinced by this overwhelming evidence at hand: it can be done, with elegance and poise.
Just knowing the heartbreaking story behind this piece is enough to break into a fit of sadness, but listening to this piece hurts more than simply reading it, I feel the happy times they shared but also the immense pain and suffering he went through
9:58 really sends chills down my spine, it almost sounds as if bach was able to capture a man crying and play it on the violin. Plus, from what I have read, this is around the time his wife had died, so ot really shines a light about what he is trying to portray in this moment
A complex interpretation of this timeless masterpiece He captures the energy and the intensity of it, the movement it inspires. My 2c opinion : played that fast, it loses the emotion this music contains, especially this deep form of sadness or melancholy. But everyone is allowed to see/perceive it differently. Great video , in any case... I adore the NBS....best thing, by far, on youtube
I do not nescessarily agree. In my opinion this tempo is very good to have the music really work. While going slower *does* change the pathos that is still not a very good reason, because the sole reason you are even looking for that kind of pathos is because you are accustomed to slower, romanticised renditions. Quite similar to how Beethoven’s 14th Sonata quasi una fantasia in C# minor is generally played far too slowly, because only so it has the "emotion" it need. An emotion Beethoven probably never had in mind when he wrote the piece. So when associating certain emotions with music one has to be aware of how much of that interpretation is actually a direct product of ones own experiences in renditions one has heard.
Wow. Shunske, would love to meet u one day. I’m currently learning this Partita and I’ve finished the allemande. Can’t wait to get to this piece, it was effortless beauty with a vibrant sound and I hope to be able to play it as good as you, you inspire me a lot
Every part of this rendition is coherent with one another yet each remaining unique at the same time. This really is the best rendition of Bach’s Chaconne among the many I’ve heard. Wish there’s an official recording album.
Well, Chaconne, what to say, it is pure challenge. Can a human-being perform it perfectly? No way. This one is seriously one of the best performances if not the best. My best regards to Sato and Netherlands Bach Society.
As others have already said, you could dance to this. Like Vengerov, Sato does not play a single phrase without turning it into music. I would love to be able to play the Chaconne like this. Those of us who play on both modern and baroque set up know just how much harder it is to work with gut strings. They are far less forgiving of pressure and contact point.
Hilary is my go to for chaconne, and wow let's just say they are very different, really proves that the violinist can make the same score sound 2 different pieces. But I gotta give the "baroque" factor of the music to you!
Bisher für mich die einzige Wiedergabe der Chaconne durch einen Violinisten, in der das (Meines Erachtens) einzig richtige Tempo gewählt ist. Darüber freue ich mich sehr!
I've always wondered if it would sound better in C#m/Db (A=415 instead of 440) and it really does! Db is my favorite key and the favorite of so many composers from Chopin to Rachmaninoff so it's fitting that Bach would favor D for this masterpiece. Also - beautiful performance!
It's not C# minor, it's D minor in 415. Saying it's C# minor is approaching to it applying a modern standard to 18th century music, which of course makes no sense
@@berkshireee In that period there was no standard tuning (it was not even possible to measure pitch objectively), so musicians had to stick to any possible reference, like the organ of the church they were playing at, which would vary a lot from place to place. Nowadays, eventhough we know there was no standard pitch when Bach composed this music (ca. 1720), historically informed musicians use the 415 tuning as a way to take some distance from what TODAY is the standard tuning, but still, playing at 440 wouldn't be historically "incorrect", as the reference those days could be at 410, 450, or whatever (in case the reference pitch was too high or too low for the strings, they would tune at a convenient pitch and transpose).
@@emiliolaravargas3433 that makes a lot of sense, thank you for this information! Now I'm wondering why other violinists don't try other tunings (I'm not aware of any big name violinists doing this when playing chaconne). It seems to make the piece quite interest! Maybe too interesting for some?
A lifelong enthusiast, maybe worshipper is a more accurate term, of Bach the incomparable who has heard all of the partitas and sonatas countless times. But for some reason listening to Maestro Sato’s version of the chaconne today, I broke down and wept. And then I started laughing. The way a person laughs when joy or pain is just too acute to believe. Bach’s genius is a colossal monument of sublimity, a crushing weight of baffling brilliance. English is a weak adjectival language and is at its best with strong subjects and predicates, but language fails when trying to describe what this art is to me. Bach simply has no limitations. Whatever form he chooses, whatever instrument, the interpreter and the hearer are invited on a journey that reaches a place very few artists have been able to tread. I’m reminded of something Olivier said about the roles created by Shakespeare: ‘These are marvellous conceptions…all you can do is try to reach them.’ Bach’s work celebrates humanity as well or better as any composer or practitioner of any art ever as. And yet I can’t imagine what possible audience Bach had in mind when he wrote things like this. It certainly wasn’t the farmers and cobblers or even royal prince of the Saxony of his time. And I don’t think it was the RUclipsrs and Instagrammers of the 21st century either. The species does not yet exist, or we have not yet become, what Bach has in mind for us.
Je pense à mon violon adoré qui date de 1800 Et a fait des voyages avec Pablo Sarrasate...... Il est très léger... J'aime toujours autant cette sonate de Bach..... Que Menuhin aimait souvent jouer... J'ai eu la chance de le rencontrer ici en Belgique au concours de violon
Very well done, I used to like Jascha Heifetz' take on this piece best. Normally when listening to Bach, I always prefer the "true" approach by people who specialize in Baroque music. Except for this piece. I used to consider it as a composition open to all times. However, this piece interpreted by Sato is truely great. I particularly appreciate the almost complete absence of vibrato in this rendition as this piece has enough sound to give by itself. So I think it's a great idea to play like this! Keep up your great work! Nevertheless, Heifetz' interpretation also makes great sense. These two are simply different but great.
When Johannes Brahms stumbled upon Bach’s “Chaconne” in 1877, he simply couldn’t believe his eyes: “On one stave, for a small instrument, Bach writes a whole world of the deepest thoughts and most powerful feelings. If I imagined that I could have created, even conceived the piece, I am quite certain that the excess of excitement and earth-shattering experience would have driven me out of my mind.”
Couldn't have said it better myself!
If so, even a great composer such as Brahms didn't know chaconne until his 43-44 years, but now people from all around the world can listen this masterpiece for free with the Internet.
I think I know what bach was thinking...!
@@DaviSilva-oc7iv back then there's no record, tape, cd, mp3, flac..... if you wanted to listen to Bach, you either played for yourself or someone played for you.... also Brahms mainly played piano so Chaconne would not be on his list of studies
@@fatdoi003 I don't get it, are you trying to say that he didn't write the quote or how amazing it is that he discovered the Chaconne with all limitations of his time?
As a violinist, let me just mention that the amount of stamina it takes to play this piece is great. It takes a lot out of the violinist, physically, mentally, and (depending on how empathic you are) emotionally when playing this piece.
Something for you: The Chaconne played on the oboe. Count your blessings: respiration is not part of violin technique.. ruclips.net/video/T988PUDT1MM/видео.html
Also, as another violinist, let me add that this is a tough piece to memorize! I am someone who has often been complimented on my ability to memorize long concertos quickly. But I have to admit that this piece is so complex, and has so many unusual chords and intricate passages that it is not easy to memorize at all. I have tried to gnaw on it and broken some teeth, to be sure.
then don't do it from memory, do it by sight-reading.
I find this work also hard to listen to as it confrunts with the pathos of life.
Pretty sure Shunske Sato plays the whole partita at once. Now that is really impressive!
I wish i could make my left hand never vibrate like him, while still having enough flexibility to make the notes really sing/speak. What he's doing here is significantly harder than a modern violin, no shoulder rest, no vibrato to help hide intonation mistakes, no modern bow to help with projection... I've stopped comparing musicians as best but Sato is amazing for sure
I preferred Hilary Hann's deep and more emotional interpretation to the clean and light rendition of the Chaconne by Itzhak Perlmann.
But now, I am flabbergasted by Shunske Sato's so versatile, free and dynamic version. Incredible. His virtuosity is such that he simply "plays" the music behind and beyond the notes ... dancing to the spirit of a musical genious carried away and drunk by his profound love of life.
Yes, Sato's version is very high up there with Heifetz's and Perlman's. :)
This is in the original way
I\s say starting point away from Perlman and Hahn would be Mullova with modern violin. That's still one of my favourites for variations of colour. Moving along, there are of course a lot of others, starting (although not chronolgically) with Mullova on baroque violin. And so on.
😊
I have to second this. Hillary Hahn's rendition was actually the one I'd meant to click on, but I'm so glad I stumbled on Sato's instead! He has a certain...playfulness...about the piece when he plays whereas Hahn's is almost darker. I love them both, and I've been listening to them back to back trying to figure out what the individual is doing to provoke such an emotional response from me. Sato is an amazing violinist, and I'm genuinely surprised that I hadn't heard of him before.
Of all the times this piece has been performed and recorded. Never have I heard a more colourful rendition than this. A very emotional and apt rendition of a timeless and sophisticated classics. Wonderful!
Heifetz says hi
@@kevinveigas103 and bye again😂
Aryan Nagpaul, the composer was Japanese and liked a sake.
@@pascalpoussin1209 Japanese?? , eh , Bach was german
@@kevinveigas103 r/woosh
The All Bach project is a generous gift to humankind for all time. Thank you!
So dynamic- it prays, sings, raves, rambles, weeps, raves again. It's rare to hear any piece delivered like this, where everything: pulse, timbre, pitch etc is dynamic - all of human emotion and experience contained within. Simply breathtaking
This video is a trinity of perfections. Music, musician and scenery.
Scenery? I mean, surely, the room is nice, but this lighting... It must be so distracting to play in that situation ...
The Netherlands Bach society is truly the best not only in historical accuracy but in having the best musicians available
It is astounding how J. S. Bach composed all the pieces in his violin Sonatas and Partitas. There has NEVER been another composer who has written such profound music for the confines of the violin.
Shunske Sato - many voices, many dialogues, many ideas, many experiences, many emotions - all of them are heard from your sole violin. Perfect performance. Bravo. Thanks NBS for uploading.
3:58 That is the musical phrase by Johann Sebastian that reflects at most the human feelings, of all his works. I would describe it as "silent suffering".
Human searching?
@@pascalpoussin1209 Yes, all the pain of the history of mankind, before and after the making of the piece, reflected into this composition
@@javierdiazsantana Hermosamente dicho.
Rarely do I become philosophical in describing music, but there are moments in great music that truly touch on a profound quality of the human condition. Yet there are few moments in music as profound as what we encounter in this piece.
Here, Bach accomplished a miracle, something that seems to transcend mere notes, where the universe itself seems to speak to us through his music.
Must also commend the fantastic job maestro Sato does with this piece and the entire Partita. Of the many great renditions of this work, this one is unrivaled in its clarity, internal logic and nearly magic freedom of expression.
hands down best chaconne i've ever heard, it's almost like i'm listening to a whole different piece, just fantastic! amazing! speechless
I have listened to many ciacconas, and really for me this is my favourite of all. Comparing between versions with immaculate intonation and sound quality (and there are many), I most appreciate here the incredible rithmic presence ever crisp and flowing as well the harmonic clarity and simplicity. This unpretentious rendition is a very rare jewel, a precious present to music lovers, Bach lovers - Bravo Sato!
Mr Sato is one of the greatest violinists in Europe and indeed, the World.
Mr Sato is a great musician!
Lyrische und wunderschöne Aufführung dieses perfekt komponierten Meisterstücks im gut phrasierten Tempo mit seidigem doch ein bisschen neue-sachlichem Ton der Solovioline und mit perfekt kontrollierter Dynamik. Die Virtuosität der Doppelgriffe ist echt ergreifend. Bestimmt die beste Kombination der höchsten Technik und der angeborenen Lyrik. Wahrlich unvergleichlicher Violinist!
Love the interpretation, so different from the usual modern interpretations of this piece
This is a historically informed performance (HIP). Notice his use of baroque bow and baroque tuning, and no shoulder rest. Probably gut strings as well. And the lack of vibrato outside of small ornamentations.
@@rykehuss3435 I think even the instruments are from the era, it sounds like gut strings.
To me this is one of the most complete solo violin pieces ever composed. So much musical debt and emotion. In this very original and personal interpretation, Sato makes his violin sound like a complete and well oiled string quartet..
I am left rather speechless, such clarity and such precision while maintaining all the deepest emotions. Truly one of the best recordings ever.
Bach is everything I needed right now.
Never mind quite a few breathtaking renditions of the d minor Chaconne on a large variety of instruments, like lute, guitar, harpsichord, piano, organ, Master J. S. Bach most certainly knew why he composed this marvel of music for violin. This becomes evident in Shunske Sato's awesome rendition of the Chaconne. Bach's deep feelings of loss, sadness and desperation, learning of the death of his first wife which occurred a few weeks prior to his arrival from a lengthy cross border European lecturing and promotion journey, which he only learnt of on returning home to Leipzig, by which time she was long buried, is really best expressed on a violin.
Remember, travelling in those times happened by means of ox or horse driven coaches. Maximum distance covered on a day would be about 60 - 80 km in very favorable conditions, across difficult terrain [Alps mountains] or difficult weather conditions much less. So, for example, travelling from Firenze / Italy to Leipzig / Germany will take at the very least 2 weeks, easily double of that in winter. A journey like the one J. S. Bach undertook across many European countries including England is very likely to have lasted well above a year.
Sato the best baroque violinist . .Bach is all . Thanks for sharing .
For me #2, after Carmignola.
@@wamix58 Thanks for your contribution. But Bach first of all 😁
@@wamix58 what about Podger?
Like him, did the baroque violinist mixed their playing with aerobic contortions? And their lower pitch make the accords easier to play?
best version of this piece I’ve heard
I love love and love this piece from this violinist the most...I've been listening to it over 10 times
Bach never ceases to surprise me.
Sato is just so amazingly good with Bach! He really makes the music work!
Only in Sato's Chaconne can I hear the joyous angel's trumpet, loud and clear.
It's known that Bach is one of the best organists in the history (probably the best), but he was also violinist. If he'd writen such a difficult piece like that, probably is one of the best vionlinists in the history like Sato. Fascinating😍😍
OMG - phenomenal, captivating and humbling performance! Imbued with the freedom of virtuosity and a pure unadulterated interpretation of some of the greatest music ever written. Chapeau 👏
A masterful performance, by a master of the instrument. Bach himself would be proud. As an organist, I've heard the transcription of this (but not played myself) on my instrument as well. It just works played on anything. Period.
This is an epochal encounter between giants: Bach, Sato, Kleynman, the concert hall and the best of technology that will keep this jewel for the ages.
Gorgeous violin sound, transformative interpretation....wonderful!
EDIT: I’ve heard this piece so many times that I was going to click on “not interested,”....I couldn’t imagine anything new. But, I used a bit too much pressure and opened the piece. I thought, all right then, let’s see. Thank God! This man is a true Bach genius, an incredible talent and voice.
As a cellist this is the singular piece I am jealous of the violinist
Awwwww
Bach is amazing, His musics simply amazing. Bach forever🔥🎻
All so true!!!!!!!
True! It's annoying when post modern people call him "one of the greatest" despite the fact that Mozart, Beethoven, Chopin, Brahms, Wagner, Liszt, Verdi, Schumann, Debussy, Mendelssohn, Mahler, etc made very clear in their own words that he was THE greatest.😍👌
@@jaikee9477 what is postmodern
Absolutely beautifully played!One of my favourite pieces of music! Thank you Mr Sato! 🌺🌸🦋🥰🌹🎶🎻🌻🍁💐🍀👍😀
The magnitude of this movement is kinda & literally incomprehensible!! Sigh... Love how every violinist who plays this brings something personal & different... but really the Ciaccona could survive anything! :-)
For the speed, remarkable clarity and precision. Thank you for an inspired performance.
Bach's music is so beautiful🍃
This is by far my favourite Bach and an astounding rendition! Thank you! 😍
And from 11.15 , it is simply brilliant... BRAVO..how beautiful is that? wow
First time hearing the baroque style performance for this piece. This is definitely the best ever heard. Bravo!
Sublime rendition of a great piece of music. It really conveys to me the emotional pain in which it was most likely written.
Es inimaginable el genio de Bach en toda su música, pero esta Chacona es de una creatividad, imaginación, inspiración más allá de muchísimas grandiosas composiciones. Uno quisiera que no se detuviera, que siguiera fluyendo y fluyendo....es mágica, aterradora, que nunca termine... jamás!!!
Sato brings me to tears both because of the raw emotion, physicality, and musicality in this performance and because he makes me wonder how I could ever play or write that way....Bach and Sato truly bring the best out of each other, even living 300 years apart.
Very interestingly, I found this recording while reading an analysis of the Chaconne in Robert Cogan's Sonic Design. Sato's pain-staking interpretation makes it seem as though Cogan used this recording as source material, his depiction of the ever-changing rhythmic and tonal landscape giving unrivaled clarity to the true music and architecture within the piece. If you haven't already, do yourself a favor and listen to his recording of the full partita.
Time Stamps for Sections from Sonic Design:
A
Theme - 0:07
Section I - 0:27
Section II - 1:08
Section III - 2:49
Deceleration - 5:29
B
Major
Theme/Section I - 6:19
Section II - 8:18
Minor
Section I - 9:59
Section II - 11:17
Deceleration - 12:18
Often it’s played a lot of violin and some Bach… Sato plays it some violin and a lot of Bach. It’s always a revelation.
素晴らしいバロックバイオリン🎻の音色と演奏✨佐藤さんの日本公演希望します🙏
Love the variety in his bow speed, bow division and bow pressure. All of this adds to a brilliant development of the chaconne.
Thank you
Bach/Sato. Genius/Genius. A towering achievement of both composer and performer. A piece and performance of profound depth.
SENSUAL, VIBRANTE, BELLÍSIMO, MAGNIFICO. MAESTRO SHUNSKE SATO GENIAL. GRACIAS DESDE MÉXICO
😍 its just beautiful !
I have no need to compare this performance with others. Let's just say that I thought that the piece was too big a challenge and could not be performed adequately on the violin, but now I've been convinced by this overwhelming evidence at hand: it can be done, with elegance and poise.
Another wonderful gift, thank you so much. 😭❤️
Beautiful!
Just knowing the heartbreaking story behind this piece is enough to break into a fit of sadness, but listening to this piece hurts more than simply reading it, I feel the happy times they shared but also the immense pain and suffering he went through
this is my favorite chaconne video on this platform
Incredible! my favourite piece.
Wonderful interpretation 🌠
Such an amalgamation of great souls.
9:58 really sends chills down my spine, it almost sounds as if bach was able to capture a man crying and play it on the violin. Plus, from what I have read, this is around the time his wife had died, so ot really shines a light about what he is trying to portray in this moment
Très belle interprétation !
Superb sound! Both the instrument and the recording technique are amazing!
A complex interpretation of this timeless masterpiece
He captures the energy and the intensity of it, the movement it inspires.
My 2c opinion : played that fast, it loses the emotion this music contains, especially this deep form of sadness or melancholy.
But everyone is allowed to see/perceive it differently.
Great video , in any case...
I adore the NBS....best thing, by far, on youtube
I do not nescessarily agree. In my opinion this tempo is very good to have the music really work. While going slower *does* change the pathos that is still not a very good reason, because the sole reason you are even looking for that kind of pathos is because you are accustomed to slower, romanticised renditions. Quite similar to how Beethoven’s 14th Sonata quasi una fantasia in C# minor is generally played far too slowly, because only so it has the "emotion" it need. An emotion Beethoven probably never had in mind when he wrote the piece.
So when associating certain emotions with music one has to be aware of how much of that interpretation is actually a direct product of ones own experiences in renditions one has heard.
Magnifique, sublime !!!
Best rendition of the Chaconne I have heard so far.
more, more, MORE! What a wonderful feeling listen to this music. AVE BACH, AVE THIS YOU TUBE CHANNEL
I revived felt refreshed after a the his music performance.
i understanded Bach's work is evolving by a performer, Shunsuke Sato,
Interesting tuning. Kudos on his creative interpretation. 👍
Exactly what my soul needed..... Bach's Chaccone
And yes, that baroque violin too...; )
Perfect. No other words
Wow. Shunske, would love to meet u one day. I’m currently learning this Partita and I’ve finished the allemande. Can’t wait to get to this piece, it was effortless beauty with a vibrant sound and I hope to be able to play it as good as you, you inspire me a lot
Every part of this rendition is coherent with one another yet each remaining unique at the same time. This really is the best rendition of Bach’s Chaconne among the many I’ve heard. Wish there’s an official recording album.
it is
Wow! This recording is amazing!
Astoundingly beautiful. Such sensitive expression, such powerful technique.
Well, Chaconne, what to say, it is pure challenge. Can a human-being perform it perfectly? No way.
This one is seriously one of the best performances if not the best. My best regards to Sato and Netherlands Bach Society.
As others have already said, you could dance to this. Like Vengerov, Sato does not play a single phrase without turning it into music. I would love to be able to play the Chaconne like this. Those of us who play on both modern and baroque set up know just how much harder it is to work with gut strings. They are far less forgiving of pressure and contact point.
Deeply moving. Perfection!
Hilary is my go to for chaconne, and wow let's just say they are very different, really proves that the violinist can make the same score sound 2 different pieces. But I gotta give the "baroque" factor of the music to you!
Bisher für mich die einzige Wiedergabe der Chaconne durch einen Violinisten, in der das (Meines Erachtens) einzig richtige Tempo gewählt ist. Darüber freue ich mich sehr!
It´s a pleasure for me listen some perfect and deep and hardest interpretation of that Chaconne. Love tha music of my Master Bach!
Oh my god!!! I love it!!! Thank you! ❤
Sei BRAVISSIMOOOOOOOOOOOOOOOOO
3:57 Atemporal. Transcendental. Immortal.
Wonderful !
I love this tempo too...
Wow! I'm bookmarking and alternating this with my favorite organ version. (The Netherlands Bach Society tops itself again). From Chicago, USA.
I've always wondered if it would sound better in C#m/Db (A=415 instead of 440) and it really does!
Db is my favorite key and the favorite of so many composers from Chopin to Rachmaninoff so it's fitting that Bach would favor D for this masterpiece.
Also - beautiful performance!
you seem to know what you're talking about lol, do you know why this is played in a different key from the usual performances?
It's not C# minor, it's D minor in 415. Saying it's C# minor is approaching to it applying a modern standard to 18th century music, which of course makes no sense
@@emiliolaravargas3433 do you know why it's tuned to 415 instead of 440?
@@berkshireee In that period there was no standard tuning (it was not even possible to measure pitch objectively), so musicians had to stick to any possible reference, like the organ of the church they were playing at, which would vary a lot from place to place.
Nowadays, eventhough we know there was no standard pitch when Bach composed this music (ca. 1720), historically informed musicians use the 415 tuning as a way to take some distance from what TODAY is the standard tuning, but still, playing at 440 wouldn't be historically "incorrect", as the reference those days could be at 410, 450, or whatever (in case the reference pitch was too high or too low for the strings, they would tune at a convenient pitch and transpose).
@@emiliolaravargas3433 that makes a lot of sense, thank you for this information! Now I'm wondering why other violinists don't try other tunings (I'm not aware of any big name violinists doing this when playing chaconne). It seems to make the piece quite interest! Maybe too interesting for some?
Power performance with excellent acoustics
佐藤さんの早弾き最高過ぎる
this is THE interpretation of this piece
è molto bella! Bravo, signor!
A lifelong enthusiast, maybe worshipper is a more accurate term, of Bach the incomparable who has heard all of the partitas and sonatas countless times. But for some reason listening to Maestro Sato’s version of the chaconne today, I broke down and wept. And then I started laughing. The way a person laughs when joy or pain is just too acute to believe. Bach’s genius is a colossal monument of sublimity, a crushing weight of baffling brilliance. English is a weak adjectival language and is at its best with strong subjects and predicates, but language fails when trying to describe what this art is to me.
Bach simply has no limitations. Whatever form he chooses, whatever instrument, the interpreter and the hearer are invited on a journey that reaches a place very few artists have been able to tread. I’m reminded of something Olivier said about the roles created by Shakespeare: ‘These are marvellous conceptions…all you can do is try to reach them.’
Bach’s work celebrates humanity as well or better as any composer or practitioner of any art ever as. And yet I can’t imagine what possible audience Bach had in mind when he wrote things like this. It certainly wasn’t the farmers and cobblers or even royal prince of the Saxony of his time. And I don’t think it was the RUclipsrs and Instagrammers of the 21st century either. The species does not yet exist, or we have not yet become, what Bach has in mind for us.
Je pense à mon violon adoré qui date de 1800 Et a fait des voyages avec Pablo Sarrasate...... Il est très léger... J'aime toujours autant cette sonate de Bach..... Que Menuhin aimait souvent jouer... J'ai eu la chance de le rencontrer ici en Belgique au concours de violon
Very well done, I used to like Jascha Heifetz' take on this piece best. Normally when listening to Bach, I always prefer the "true" approach by people who specialize in Baroque music. Except for this piece. I used to consider it as a composition open to all times. However, this piece interpreted by Sato is truely great. I particularly appreciate the almost complete absence of vibrato in this rendition as this piece has enough sound to give by itself. So I think it's a great idea to play like this! Keep up your great work! Nevertheless, Heifetz' interpretation also makes great sense. These two are simply different but great.
Omg how beautiful❤️
Bravo...!
7:25 best part
If my song captures just two notes in it as well as you did your notes in Bach music - I would be very satisfied!!! BRAVO!!!
Bravissimo!
7.36'' - 7.46'' dieci secondi di pura magia. Grazie