Bach - Invention No. 11 in G minor BWV 782 - Johannes Asfaw | Netherlands Bach Society
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- Опубликовано: 15 сен 2024
- Invention No. 11 in G minor (BWV 782) by J.S. Bach.
Performed by Johannes Asfaw (16).
Recording: 16 april 2016, Ottone, Utrecht
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I love this performance, because it’s played slower than usual and I can really hear the two voices. Exquisite!
Me too. I play this invention with a similar tempo, to me the chromatic part is like a “piangere”, also the interpretation is like waves.
Surely you could hear two voices just as well at fast tempo.
I’ve been so impressed with the “all of Bach” project since it debuted. But the decision here to include junior artists was genius. Can’t imagine how exciting it must have been for them and their families to make history as part of this project.
It's _All of Bach_ Not "all of Bach."
Parabéns...toque limpo e agradável
Tricky invention; well done/mooie interpretatie, Johannes
Greatly done Johannes 👍
Amazing! Well done
Beautiful! Bravo!
Excelente. Felicidades.-.-.- ....
Beautiful
Was that van Belder in the audience at the end there? Are these his students maybe? Wonderful videos, great to see so many young people engaging with Bach, and on the harpsichord too. The instrument and it's music clearly has a promising future! Thanks for sharing.
Pieter-Jan Belder
Chris Benton Yes it is - I was one of his students during this project
@@johannesasfaw Great job!
Buenisimo
First time in my life seeing a black guy playing a classical piece (no joke)!
U dont Know Chevalier Saint Georges? Ignorance is bliss 4 someone !!! Great Job Johannes wedi Eri🇪🇷🇪🇷🇪🇷
This comment insinuates many things. Because I've never seen a guy from Mongolia playing Bach. But also an Egyptian, Turk or a Greek. However if I see one playing I wouldn't say that's a big deal. Is it a big deal to you seeing a black guy playing Bach? It's nothing.
Honestly, me too. I hope that this young talent will continue to play Bach for other generations of minorities to be inspired and that kind of perception will end.
@Alcina J'en ai pas besoin je connais mon histoire.
Just like what Bach try to tells God!
How about telling me if Baroque counterpoint is the most or simply difficult music to play. I dont play.
I wouldn't say this is the most difficult music to play, but playing the harpsichord meant I had to learn how to do *everything* I wanted to do with timing, because every key you press, sounds at the same volume. The difficulty for me was to prevent the piece from soun
ding uniform/repetitive. I'm usually a pianist and this was the only time I played the harpsichord.
To answer you question: the difficulty of (Baroque) counterpoint depends very strongly on the number of voices, there is counterpoint for 2,3,4 and very rarely, 5 voices. This is 2 voices. I would say the difficulty level (on average) of counterpoint, from a scale on 1-10 is the number of voices times 2. So this would be 4/10 difficult, with 4 part counterpoint being 8/10.
@@johannesasfaw I've never had the chance to play harpsichord, but it seems like it would be an adjustment from playing piano. I'm guessing the keys are much lighter and you have to be careful not to apply pressure or press them too soon?
@@johannesasfawAppreciate the answer. It sure sounds difficult to play just because of the constant motion demands from the notation
All these kids play with the same drunken rubato. It's like they're all drugged.
It's a natural part of playing and 'speaking' music (agogics), and it was standard performance practice in Bach's time. Especially on an instrument like the harpsichord where every note is the same volume, you have to vary your expression based on timing. So, this is not 'drunken' rubato, but rather it arises directly from the relative degrees of tension and release happening harmonically/contrapuntally in the music, and is not something imposed onto it arbitrarily from without. It's only relatively recently that we got used to a more mechanical sense of pulse.
@@firephilosopher7645 The rubato you characterize as "a natural part of playing and 'speaking' music (agogics)" is a highly subjective. To my ears, it introduces too many "special moments." We have no recordings from the period, so we cannot claim that this one or that one's rubato is representative of the performance practice of the period. Agogic accents can also be expressed through ornamentation. Look at all the ornaments Altnikol added to Bach's WTC #2, no doubt under Bach's watchful eye, and yet no rubato markings. FYI, I play harpsichord (and organ), so I hardly need a lecture on the limitations of the instrument or on harpsichord performance practice.
@@herrickinman9303 Well, personally, I find your characterization of their rubato as 'drunken' and 'drugged' to be absurd and hyperbolic. I just simply do not hear anything even remotely excessive or out of the ordinary here. The playing sounds completely natural to me, with agogics that sound quite consistent with most harpsichord recordings and live performances I have heard. Could you refer me to a harpsichord recording of these pieces that does not feature this kind of 'drunken' rubato so that I can better understand your preference? I'm a pianist who also plays harpsichord, so yes I am aware of agogic accents and ornamentation. And of course there are no rubato markings Bach.