@rainerausdemspring3584 , the spooky BACH theme was deliberately used many times by Bach and by later composers, and Bach would never had written it (or anything) unknowingly.
@@cellphysfan124bach knew what he was doing by ear, like any good composer. The sound comes first, then the names of the notes in translation. Therefore an attempt to encode a string of letters like a name into music would most likely be clearly intentional and obvious, e.g. a fugue subject
In the case of Bach, I come to learn it was never anything a coincidence. The control of the genius spirit makes a genius a unique powerful one. To willingly sign his name this way within of the fabrique of sounds and his creative seaquest without altering its originality nor of its beauty and keeping it this knowledgeable, that is the will and inspiration becoming an expression of a divine creative endeavour. I may have exaggerated a bit, maybe for the sake emphasizing my idea about BACH's signature. There is a great work written by Douglas Hofstadter : "Gödel, Escher, Bach: an eternal goldan braid". It describes exactly that about the composer's signature. I recomend it to you, although it ain't no easy reading at all.
I am sure several people here can relate, but do you know when you find a recording, a performance of a piece, that ruins any other performances of said-piece? That is this to me. The Allegro in the Prelude is as fast as I feel it in my bones, and no other recording comes close. Done son. I love it. Another Bach piece that blows my imagination of what he was able to create.
I've always found the ES #6 in D mi... disturbing. Especially the gigue. Like, it's not even a gigue. You can't dance to it. It's a beast. A category 5 hurricane. An epic dream that delves into your worst nightmare. Listening to the gigue is like looking at the sun - it's unfathomable and will probably destroy you, but you can't turn away.
It‘s a little Musette that sounds like something out of his Anna Magdalena Büchlein. An even more Mozartian piece that comes to my mind is the F minor prelude from Book 2 of the WTC
J ai aimé les ajouts d ornements , dans certaines reprises . La gigue finale , que j étudie pour le moment est particulièrement difficile à jouer , avec ces longs trilles et son chromatisme . Oui , vraiment un grand moment musical
Bach is an ocean. Every time I stumble upon something new it’s like breathing fresh air for the first time.
Measure 42-43 of the gigue: B-A-C-H !
@rainerausdemspring3584 , the spooky BACH theme was deliberately used many times by Bach and by later composers, and Bach would never had written it (or anything) unknowingly.
@rainerausdemspring3584 The answer is simple: I make the assumption that Bach knew what he was doing, note by note. You are free to think otherwise.
@@cellphysfan124bach knew what he was doing by ear, like any good composer. The sound comes first, then the names of the notes in translation. Therefore an attempt to encode a string of letters like a name into music would most likely be clearly intentional and obvious, e.g. a fugue subject
In the case of Bach, I come to learn it was never anything a coincidence. The control of the genius spirit makes a genius a unique powerful one. To willingly sign his name this way within of the fabrique of sounds and his creative seaquest without altering its originality nor of its beauty and keeping it this knowledgeable, that is the will and inspiration becoming an expression of a divine creative endeavour. I may have exaggerated a bit, maybe for the sake emphasizing my idea about BACH's signature. There is a great work written by Douglas Hofstadter : "Gödel, Escher, Bach: an eternal goldan braid". It describes exactly that about the composer's signature. I recomend it to you, although it ain't no easy reading at all.
The Gigue is such a stunning piece with wonderful chromatic harmonies .
Agree... The Gigue is astounding!
Best gigue of all time
I am sure several people here can relate, but do you know when you find a recording, a performance of a piece, that ruins any other performances of said-piece? That is this to me. The Allegro in the Prelude is as fast as I feel it in my bones, and no other recording comes close. Done son. I love it. Another Bach piece that blows my imagination of what he was able to create.
It doesn't ruin Gould, for me, but it's certainly up there alongside him. Astounding interpretation, indeed.
Perahia
This is the first time I've listened to prelude of this suite in full, and it's wonderful! Can't wait to try to learn it.
that gigue is wonderfrul
0:01 7:12 10:43 12:55 16:06 18:30 19:56 21:06 22:36
Unbelievable masterpiece
There was a Norwegian pianist "Robert Levin", but this is Robert David Levin (1947) whom we know from Mozart lectures ("Improvising Mozart").
Is there anything more satisfying that a good Bach bourrée?
A good Bach gavotte?
A good bach fugue?
That…prelude❤️. Will learn that.
Doesn’t the Gigue sounds so…modern😎
Antonio! Sei just geniale! Che bravo che sei! Un calorosissimo saluto dal Giappone
i am suppose to get an upright, i am looking foreward to playing this song
That Allegro....
I love it
This piece is amazing.
Agree
Hi Nadia. Thought you were dead?
@@DrZhivago-l2b I'm immortal ;)
@@nadiaboulanger9323 Yes you are!
perfect
凄い技巧❗そして集中力、
Bachヘの畏敬。すばらしい❗
alan curtis!!
I've always found the ES #6 in D mi... disturbing. Especially the gigue. Like, it's not even a gigue. You can't dance to it. It's a beast. A category 5 hurricane. An epic dream that delves into your worst nightmare. Listening to the gigue is like looking at the sun - it's unfathomable and will probably destroy you, but you can't turn away.
Vivid description that you have experienced and so visual, even that about the sun. Thank you.
The second gavotte has to be the most Mozart-like piece made by Bach.
It‘s a little Musette that sounds like something out of his Anna Magdalena Büchlein. An even more Mozartian piece that comes to my mind is the F minor prelude from Book 2 of the WTC
@@user-fu7zf4ck9z Yes, the F minor prelude is quite an unusual piece for Bach. It does sound a lot like Mozart, now that I think of it.
alright .. done with the prelude allemande courante sarabande and double , now im gonna start the gavottes and the insane gigue
Superbe interprétation .j ai aime❤les ajouts d or émérite ts
J ai aimé les ajouts d ornements , dans certaines reprises . La gigue finale , que j étudie pour le moment est particulièrement difficile à jouer , avec ces longs trilles et son chromatisme . Oui , vraiment un grand moment musical
amazing achievement
👍 thank you!! cheers!
♥
Well played but why adding those notes at the end?
41'10" (Harpsichord, as intended); Example 7-1
Bach? Of course! But I’m sorry, who was that Paul McCartney you’ve just mentioned? Never heard of him.. (eavesdropped chat in the mid 27th century)
29th century > 27th century
Ich denke, Bach würde sich mit Grausen die Perücke vom Kopf reißen, angesichts dieser furiosen Tempi.
Insbesondere passt dieses schnelle Tempo dem Sarabande gar nicht.. Der himmlische Charakter verschwind dann ganz.
skip the fast part, too much work