So professional!! You performed extremely good under the pressure of a whole audience listening!! I haven't watched the whole concert yet, but I'm already stunned. Looking forward to meeting you in person once!
The Couperin is lovely and idiomatic. But the Bach was actually difficult to enjoy. One can argue for the frequent slowing down into pauses and then resuming the pace in the case of less formal music, but dance music and fugues suffer heavily from such an approach... the impression conveyed is one of hesitancy and arbitrariness. It is possible to be expressive without imposing a rubber band tempo.
Maybe taste has a difference in opinion. I recall Gustav Leonhardt the dutch harpsichordist playing with lots of rubato, never loosing the inner tactus, though very lively and free. I think this young man is walking the same path. Involving a great feeling of musical freedom yet stays with Bach...
@@jsb7975 I have Leonhardt's recordings. I am also aware of Pierre Hantai's take on tempo. One can argue for a certain level of "subjectivity", but the frequency and extremity of these are way, way beyond common sense. How can one dance this way? As for heavily structured counterpoint such as that in a fugue, imagine the voices sung by a choir. How does the conductor keep it together? He started on the same path, that's it.
@@vlkp If one is to discuss performance practice, his Allemande for the Bb Partita is on the fast side, does no one read JS Bach’s cousin Walter’s Lexicon any more, granted compared Schiff’s take, this is a pedestrian performance, but Schiff doesn’t give a damn about musicology.
Kanji, thank you so much for sharing the beauty of your music with us. Never stop performing and recording!
Le style a beaucoup évolué et gagné en maturité, maîtrise et profondeur. On note aussi une belle assurance. Bach est dans de bonnes mains!!! Bravo!
Merci beaucoup d’ecouter!
オランダバッハ協会でインヴェンション弾いた子が紀尾井ホールで演奏会をすると知って，即チケット買いました。期待以上でした。
いつかゴルドベルクを聞いてみたいな。
The world's new harpsichord master has arrived! What an exquisite instrument and what beautiful playing!
COUPERIN :
*WOOOOOOOOOW!*
FANTASTIC !!❤
7，8年前にオランダのバッハソサエティーで若い方たちに短期間のチェンバロの講習をしてその後それぞれの方が演奏をする、と言う動画を見ました。その時に他の方の動画へのコメントでこの中から将来チェンバロ演奏家に成る方が出れば良いな、と書いた覚えがあります。懐かしく、そして嬉しく思います。ピアノに比べるとマイナーな存在かもしれませんが古楽器の伝統を受け継ぎ素晴らしい音色を聴かせて頂ければ幸いです。これからのご活躍をお祈りしています。
性格の違う二人の作曲家の作品の魅力を無理なく自然に対比させていますね。厳格なバッハの対位法の構成美と、可憐な装飾音と時にはピカントを利かせたクープランの流麗な美しさが印象的です。動画のアップに感謝します。
まさかの演奏会ライブ全曲アップとは！（笑）部分的に出てこないかなとは思ってたけど、びっくりした！
あの時の感動が、家でまた追体験できるなんて、思わず拝んでしまいました。やっぱり素晴らしい。
Congratulations!!!
Très beau! Surtout Couperin!
ありがとうございます！
感激です！！！
Thank you for this - a lovely programme, beautifully played.
Thank you for this amazing performance!
The first piece was played at a beautiful speed. So often it is spoiled by being rushed.
Bravo! Fantastic!
So professional!! You performed extremely good under the pressure of a whole audience listening!!
I haven't watched the whole concert yet, but I'm already stunned. Looking forward to meeting you in person once!
Thank you! I’m going to Amsterdam. See you soon!
チャンネル登録したよ!本当素晴らしい🎉BRAVO。
Lovely performance on a beautiful Mietke inspired copy.
The opening of French Suite 4 is so beautiful…reminding me how Perahia played it on modern piano
Bravo pour votre très belle interprétation et ce très beau toucher tout en finesse.. merci 💐.et...bonne route😊
Bravo!!
Amazing mastery 👏
I have no doubt that one day I will be part of that recital and I will have the pleasure of listening to you in person. congratulations.
Thank you so much!
great!!!!!!!!❤
I remember you 10 years old when you played Bach: Invention No.4❤
Yes, that's me!
クープラン、胸が痛くなる😢
The Couperin is lovely and idiomatic.
But the Bach was actually difficult to enjoy. One can argue for the frequent slowing down into pauses and then resuming the pace in the case of less formal music, but dance music and fugues suffer heavily from such an approach... the impression conveyed is one of hesitancy and arbitrariness. It is possible to be expressive without imposing a rubber band tempo.
Maybe taste has a difference in opinion.
I recall Gustav Leonhardt the dutch harpsichordist playing with lots of rubato, never loosing the inner tactus, though very lively and free.
I think this young man is walking the same path.
Involving a great feeling of musical freedom yet stays with Bach...
@@jsb7975
I have Leonhardt's recordings. I am also aware of Pierre Hantai's take on tempo.
One can argue for a certain level of "subjectivity", but the frequency and extremity of these are way, way beyond common sense. How can one dance this way? As for heavily structured counterpoint such as that in a fugue, imagine the voices sung by a choir. How does the conductor keep it together?
He started on the same path, that's it.
@@vlkp If one is to discuss performance practice, his Allemande for the Bb Partita is on the fast side, does no one read JS Bach’s cousin Walter’s Lexicon any more, granted compared Schiff’s take, this is a pedestrian performance, but Schiff doesn’t give a damn about musicology.
I like Kanji’s approach to rubato, enjoying what’s been called the rubber-band effect.
Is this AI???