Pieter Wispelways interpretation of the Bach Suites is expressive in his use of variation in tempos and dynamics. He pulls in your heart strings with bringing out the strong harmonies, his subito pianos and subito fortes and use of no vibrato for a plaintive cry. I absolutely love his interpretation.
I wish I had discovered Bach's cello suites when I was 12 instead of 23, I would have dedicated my life to learning and playing the cello! Here I am at 45 enjoying this documentary and regrets come back to haunt me.
These interpretations are a revelation. Bach embraced the univerce to release through the conduit of music for us to receive. May Bach's work grace us until the end of time.
It is absolutely stunning to hear Pieter Wispelways play the suites on baroque cello. Somehow the notes live on a bit longer even though his interpretations herein are by no means slow. Clearly the Hall may lend to this but I believe it is his progressive passion for Bach and his desire to get to know the him through tone that carry the suites with such grace. This man is such an inspiration. Unreal.
I try a number of these cello suite pieces on guitar and when playing I am keeping the cello sound in my mind a bit, if not tempo, Wrong or right, it's the way I feel it. My main problem is hi tempo such as the 1st suite courant. I cannot do the tempo so I play it much slower and it has a whole new dynamic to my ear and I personally like it like that. Perfectionists will no doubt scorn at it as being wrong, so sorry to them, I can't do it another way. Thanks Pieter and the professors, I learned a lot today about my favourite composer. JSB.
Pour une interprétation vivante de ces suites pour cello qui accompagnent si bien les errances de nos âmes en quête d'essentiel. Merci à ce grand interprète et à son si bel instrument.
Bach fué tan genial que conocía profundamente nuestra naturaleza, no toleramos la libertad que nos brindó con sus composiciones,alguien nos tiene que decir como hacerlo,éste documental es la prueba de ello.Hay tantas versiones como violoncelistas en el mundo para nuestra fortuna,Bach es el símbolo de la libertad absoluta de expresión.
I’ve got his second and this third album and have always enjoyed the third as my overall favorite recording. To hear him speak in this video about the music and to show us he’s open to better understanding the music is pretty extraordinary. When he speaks of taking the baroque tools (gut strings, now, etc.) and figuring them out for himself, that’s making the music in an authentic way. His openness to hear from the historical experts but also ultimately disagree with them makes for revealing the complexity of the music and ideas about performance altogether. Looking forward to the next recording!
Im fascinated with the topic of how the dances may have influenced the tempos of live performances. So I went in search of videos of of dances in the tradition of the time. But alas, I haven’t found any. If someone has links, I’d be very happy to watch and influence my own playing this way. What an interesting meditation.
A bit off-topic: If you turn the sub-titles on, they will be generated automatically. The computer will show "Joe sweets" for "cello suites" "Bark" for "Bach", and "whisper way" for "Wispelwey" "satyr band" for "saraband" "North Lee" for "naughtily" "borough" for "bourré" and I'm only at 2.28....
The sound engineer speaks dutch, professor Butt uses some German words. I added the following to my list of wrong subtitles: barak - baroque Brock - Baroque 450 - 415 (I can't blame the computer but at present, A is tuned at 440 Hz. It was lower in the past. So 450 must be 415) laid out - play that John Bata - John Butt bars brain - bach's brain accomplishment - accomplished party ters - partitas Sheba - Schweiber vosdek - "lustig" ? too complex fellow - too complex, "verwoven" box circle - Bach's circle Lauwrence mitts law - Lorentz Mitzlar ? z1r not to your life - "sehr unnatürlich" (very unnatural) junus a quoi - "Je ne sais quoi" (what you may call it) past roles - pastorales clever you bong - Klavierübung ? menos groups - manuscripts dressed - presto kyun beggars - Kirnberger's Salma flirted - Zauberflöte (opera by Mozart) while I organ - why organ tunes tein sown - tunes a string down headed stream - added string fifth stream - 5th string few hours - few bars Dickei Booco - Dickie Boeker Alfred Tellers - Alfred Deller's ? beige - Béart ? pooling - pulling ? some have - somehow Graduate - vibrato Peter Ostrow - Pirastro ? got strings - gut strings gas strings - gut strings God strings - gut strings 30:00 paid paint (paid paid) broad cell - baroque cello brought cello - baroque cello baroke cello - baroque cello Espada - all'espalda ? (on the shoulder) Aiko no graphical - iconographical sort of Melia - familiar to nearly no instruments in progress - to new, you know, instruments in progress stat5 fish - Stadtpfeiffer, StadtGeiger (town musicians) quarter residents - court of Dresden strapped pfeiffer - Stadtpfeiffer (town flut players) kunst kaga - Künstgeiger monsieur shoe style - Monsieur Schouster this coordinate Ora - this scordatura das thank God - (?) à cinq cordes despot instrument - all'espalda instrument (on the shoulder) Park invented this - Bach invented this without of them - without the thumb 36:20 Yugi Keely unjust giant - Jiří Kylián , just a giant pornographer - choreography proga for the hands - bourrée for the hands? raised - I am now thinking of bourrées. brazen being wild - bourrées being wild for a beret - for a bourrée faster than a vault - faster than a waltz ? galant Aryan - "Galanterien" fugle - fugal (like a fuga) corrientes and Carranza in this way the 5th - corrientes and courantes in suite 5th comes into current - comes into Courante 41:00 borays minutes - bourrées, minuets the puck is already thinking - that Bach is already thinking dance sweets - dance suites Ataka - attaca ? just a cocktail - just a character thus our bounds - the sarabandes box = Bach's Sara bonds - Sarabandes tagowit - is it a Gavotte the Givat - a Gavotte Baja - Bach of his own agent - of his own age very few laughter - very few after 48:10 sweets where we have formal balanced forms - suites where we have formal dance forms the LePage - the pitch the three-nine to pitch - the 392 pitch
G'day, Colin Hill! Very interesting and informative video! Thank you for all the effort and time that went into it. By the way, the portrait at 9:07 is of an unknown subject and not J.S. Bach.
I think most people lack the delicacy required to perform the Cello Suite No. 4. I don't like it when they rush the prelude or the bourrees. Thankfully, Yo Yo Ma, Pablo Casals and Mischa Maisky know/knew how to give it justice and play it beautifully.
I respectfully disagree at all with you. Hes not rushing. Hes putting intention in the ritm. Bach cello suites should not be played flat. This is not chopin. Its Bach. Hes german. German language is also rough. I believe his interpretation is state of the art. Not only because it is not ptetencious but mainly because its is faitfull to its author energy.
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Pieter Wispelways interpretation of the Bach Suites is expressive in his use of variation in tempos and dynamics. He pulls in your heart strings with bringing out the strong harmonies, his subito pianos and subito fortes and use of no vibrato for a plaintive cry. I absolutely love his interpretation.
I wish I had discovered Bach's cello suites when I was 12 instead of 23, I would have dedicated my life to learning and playing the cello! Here I am at 45 enjoying this documentary and regrets come back to haunt me.
I started the cello as an adult. Lots of people do. 😊
Do you play another instrument at all? Plenty of other Bach… or transcriptions of these suites to other instruments!
These interpretations are a revelation. Bach embraced the univerce to release through the conduit of music for us to receive. May Bach's work grace us until the end of time.
What a great demonstration and insight. Thank you
It is absolutely stunning to hear Pieter Wispelways play the suites on baroque cello. Somehow the notes live on a bit longer even though his interpretations herein are by no means slow. Clearly the Hall may lend to this but I believe it is his progressive passion for Bach and his desire to get to know the him through tone that carry the suites with such grace. This man is such an inspiration. Unreal.
I try a number of these cello suite pieces on guitar and when playing I am keeping the cello sound in my mind a bit, if not tempo, Wrong or right, it's the way I feel it. My main problem is hi tempo such as the 1st suite courant. I cannot do the tempo so I play it much slower and it has a whole new dynamic to my ear and I personally like it like that. Perfectionists will no doubt scorn at it as being wrong, so sorry to them, I can't do it another way. Thanks Pieter and the professors, I learned a lot today about my favourite composer. JSB.
Pour une interprétation vivante de ces suites pour cello qui accompagnent si bien les errances de nos âmes en quête d'essentiel.
Merci à ce grand interprète et à son si bel instrument.
Holy shit, this was amazing
Wonderfup. ❤ Thank you for sharing these emotions and ideas. And of course the passion forvBach's divine music. ✡️✝️🙋♂️
Oh my God this is insane. Ty!
Bach fué tan genial que conocía profundamente nuestra naturaleza, no toleramos la libertad que nos brindó con sus composiciones,alguien nos tiene que decir como hacerlo,éste documental es la prueba de ello.Hay tantas versiones como violoncelistas en el mundo para nuestra fortuna,Bach es el símbolo de la libertad absoluta de expresión.
19:50 life goals to be able to play like this
I’ve got his second and this third album and have always enjoyed the third as my overall favorite recording. To hear him speak in this video about the music and to show us he’s open to better understanding the music is pretty extraordinary. When he speaks of taking the baroque tools (gut strings, now, etc.) and figuring them out for himself, that’s making the music in an authentic way. His openness to hear from the historical experts but also ultimately disagree with them makes for revealing the complexity of the music and ideas about performance altogether. Looking forward to the next recording!
Im fascinated with the topic of how the dances may have influenced the tempos of live performances. So I went in search of videos of of dances in the tradition of the time. But alas, I haven’t found any. If someone has links, I’d be very happy to watch and influence my own playing this way. What an interesting meditation.
A bit off-topic:
If you turn the sub-titles on, they will be generated automatically.
The computer will show "Joe sweets" for "cello suites"
"Bark" for "Bach", and
"whisper way" for "Wispelwey"
"satyr band" for "saraband"
"North Lee" for "naughtily"
"borough" for "bourré"
and I'm only at 2.28....
The sound engineer speaks dutch, professor Butt uses some German words.
I added the following to my list of wrong subtitles:
barak - baroque
Brock - Baroque
450 - 415 (I can't blame the computer but at present, A is tuned at 440 Hz. It was lower in the past. So 450 must be 415)
laid out - play that
John Bata - John Butt
bars brain - bach's brain
accomplishment - accomplished
party ters - partitas
Sheba - Schweiber
vosdek - "lustig" ?
too complex fellow - too complex, "verwoven"
box circle - Bach's circle
Lauwrence mitts law - Lorentz Mitzlar ?
z1r not to your life - "sehr unnatürlich" (very unnatural)
junus a quoi - "Je ne sais quoi" (what you may call it)
past roles - pastorales
clever you bong - Klavierübung ?
menos groups - manuscripts
dressed - presto
kyun beggars - Kirnberger's
Salma flirted - Zauberflöte (opera by Mozart)
while I organ - why organ
tunes tein sown - tunes a string down
headed stream - added string
fifth stream - 5th string
few hours - few bars
Dickei Booco - Dickie Boeker
Alfred Tellers - Alfred Deller's ?
beige - Béart ?
pooling - pulling ?
some have - somehow
Graduate - vibrato
Peter Ostrow - Pirastro ?
got strings - gut strings
gas strings - gut strings
God strings - gut strings
30:00
paid paint (paid paid)
broad cell - baroque cello
brought cello - baroque cello
baroke cello - baroque cello
Espada - all'espalda ? (on the shoulder)
Aiko no graphical - iconographical
sort of Melia - familiar
to nearly no instruments in progress - to new, you know, instruments in progress
stat5 fish - Stadtpfeiffer, StadtGeiger (town musicians)
quarter residents - court of Dresden
strapped pfeiffer - Stadtpfeiffer (town flut players)
kunst kaga - Künstgeiger
monsieur shoe style - Monsieur Schouster
this coordinate Ora - this scordatura
das thank God - (?) à cinq cordes
despot instrument - all'espalda instrument (on the shoulder)
Park invented this - Bach invented this
without of them - without the thumb
36:20
Yugi Keely unjust giant - Jiří Kylián , just a giant
pornographer - choreography
proga for the hands - bourrée for the hands?
raised - I am now thinking of bourrées.
brazen being wild - bourrées being wild
for a beret - for a bourrée
faster than a vault - faster than a waltz ?
galant Aryan - "Galanterien"
fugle - fugal (like a fuga)
corrientes and Carranza in this way the 5th - corrientes and courantes in suite 5th
comes into current - comes into Courante
41:00
borays minutes - bourrées, minuets
the puck is already thinking - that Bach is already thinking
dance sweets - dance suites
Ataka - attaca ?
just a cocktail - just a character
thus our bounds - the sarabandes
box = Bach's
Sara bonds - Sarabandes
tagowit - is it a Gavotte
the Givat - a Gavotte
Baja - Bach
of his own agent - of his own age
very few laughter - very few after
48:10
sweets where we have formal balanced forms - suites where we have formal dance forms
the LePage - the pitch
the three-nine to pitch - the 392 pitch
Just a little pedantic note : it’s bourrée (peasant dance) - not bourré (very drunk, plastered). Definitely not borough....
@@bernardhass8276
Thanks, I have corrected it.
chinese whispers at it's most "altro mondo"
Satyr band!!
I wish I had a cello.
Deze Bach suites staan in de celloliteratuur op eenzame hoogte
Saludos! Gracias por la información. 👍
G'day, Colin Hill! Very interesting and informative video! Thank you for all the effort and time that went into it.
By the way, the portrait at 9:07 is of an unknown subject and not J.S. Bach.
Yes, wow.
'Vispelveem'.
So when did this set of recordings come out?
I think most people lack the delicacy required to perform the Cello Suite No. 4. I don't like it when they rush the prelude or the bourrees. Thankfully, Yo Yo Ma, Pablo Casals and Mischa Maisky know/knew how to give it justice and play it beautifully.
WAY TOO FAST, JESUS.
this guy always rushes and plays the suites in such a sloppy way. Watch Wtephen Isselris or Gautier Capucon for a more authentic clear version.
I respectfully disagree at all with you. Hes not rushing. Hes putting intention in the ritm. Bach cello suites should not be played flat. This is not chopin. Its Bach. Hes german. German language is also rough. I believe his interpretation is state of the art. Not only because it is not ptetencious but mainly because its is faitfull to its author energy.
I love capucon, but I wouldn't call his bach authentic
So lame!