I can't express how I enjoyed and learned from watching this video. This conversation and the ideas you were discussing were truly inspirational, thank you !
I'm playing the Allemande in a comp tomorrow. This is terrible timing! I would have loved this video a week (or more) ago, so I could truly apply all the learnings I've just gained ^_^ I'll be back of course. I'm really appreciating these masterclasses.I often sing, gesture, or dance while thinking about my playing, and I've found it really helps with developing my melodic lines, and ways of expressing Bach. Oh, how I wish I could afford ribbon microphones. They're a good order of magnitude more than I could ever justify ^_^
💎💎💎💎💎another gem in this precious series, thank you for sharing. Again so many ideas, I feel saturated after watching the video. Similar to the previous analysis , I feel this is a video I will need to visit multiple times 😅.
This is a great interaction between you two, very professional, violinists analysing and exploring one of the greatest pieces, I think, ever written. I can play it on classical guitar, which I studied at Sydney Conservatorium, and it's difficult enough (top, upper guitar repertoire) but couldn't imagine even contemplating playing it on the violin, I'm just not good enough of a violinist. Oh well, we play what we can play and make the music we can make. I do have a somewhat irrelevant question to this upload but, Daniel, I think I read, or heard you say, that you said you started playing violin 'late'. Can I ask you how old you were when you began playing the violin. Again, wonderful analysis of this most wonderful of all pieces, not just Bach's pieces but ALL pieces.
I am jealous! I love the classical guitar and played for a number of years, though I never made it to the larger-scale works of Bach. In fact, to answer your question, guitar and piano was what I was keeping busy with before starting violin at the age of 16.5. Thanks for your comment!
@@DanielKurganov You play exceptionally well for starting in your mid teens. I am the one who's jealous. Thank you for your very prompt and generous reply.
Two questions for you: 1) In terms of color and dynamics, on the Bach organ, there are several stops where the player can dramatically change the tenor and color of the organ. In the shift to D major, is this not that similar opportunity to change color to a more contemplative exaltation? My father is an organist and I have listened to him many many times playing Bach and making such a color change seems normal. 2) Is it wrong to think of the Chaconne in a popular mythology context that Bach wrote this after the death of his first wife Maria? He had children die and many at the time were plenty familiar with death. So if not necessarily Maria, definitely the concept of life and death and the human experience. The piece to me follows a story of a hard life, hearing awful news, rushing home, tenderness, loss, ascension, rejoicing a soul's journey to heaven, returning home again to face life, carrying on, and beginning. I know it is a very romantic view, Is a story like this helpful or hurtful in interpreting the Chaconne? After a 20-something year break I am picking my violin back up and the Sonatas and Partitas, most specifically the Chaconne, is the goal. Thank you for the video series, It is really helpful to hear your discussions on interpretation and techniques.
Bach's music isn't about telling a story, it is all about building a musical structure that becomes increasingly impressive. The chaconne doesn't fit the described motive at all in my opinion.
Inspired to hear about your return to the fiddle! My take is that Bach was a human - possibly the most human that ever humaned. It’s not possible to overestimate how deeply he put his life and fantasy into his work. He lives at the Cristalle’s of ultimate restraint and ultimate abandon. Every aspect of the human experience lives rent-free somewhere in this book.
Does it need to be dissected in that granularity. I fear I’ll lose the forest if I concentrate too much on sets of trees. The general message and direction or essence of the movement can easily disappear by micromanaging or treating it as a romantic or modern piece That’s the grate quantum leap of Bach’s music
@@wiltonpt1 Thank you for sharing! Everyone's path is very different and I think it's great to have different viewpoints. Personally I agree that in performance it's quite possible to lose view of the forest if we focus too much on the trees. That being said, I also have found it immensely enriching to look into the details during the practicing process and then let go after. In performance thinking too much can sometimes cause issues, which is why so many greats would say not to think too much. However, I've also found that while they say that, at some point in the process, there tends to be (though not always) a great amount of thought and opinions even if expressed otherwise. There are always exceptions to every rule too, and I'm grateful for all the wonderful musical interpretations. I hope to hear your Bach someday!
My personal opinion is that the this allemande is played traditionally far too slowly. People didn't rely on metronome markings as a guidance to tempo back then, but rather they would have seen the description "allemande, 4/4 time" and automatically connected that to the conventional idea of the time of that dance movement. If you look at other allemandes by Bach for other instruments (English suites for keyboard, the Lute suite), or allemandes from other composers of the time, the main common theme is a firm sense of 4/4 time and a moderately paced sixteenth note movement. Many violin performances of the D minor allemande usually are too slow to beat/conduct in 4. I think even the slowest allemande typically should be played at something around 60 BPM per quarter, otherwise it entirely loses touch with the music's roots, as a dance. I'm not saying it has to be literally danceable - but just in the same way a musician today knows how a foxtrot goes, or a Wiener Walzer, the baroque performer would have immediately chosen a tempo that fits the convention. The advantage of choosing a more conventional allemande tempo, is that the phrasing becomes much easier and natural, and Bach's phrasing marks more or less do the "speaking" for itself.
The fact is that Bach wrote all this things playing without vibrato, there was no vibrato in his age, his sons learn vibrato from french violinists and Bach never like as he did not like piano...for him it was sooooooooooooo sooooooooooooo simple music, poor music and vibrato makes music emotionaly it locks out work on frontal brain, Bach did not like it and I m shure that he will be dissapointed listening your interpretation his music he will be angry waching this video
This is a rather misguided and amusing comment. But I guess that's what RUclips is for. 1. Your view on vibrato is a-historic. There was significant diversity in the use of vibrato. For instance, Geminiani explicitly advocated for extensive vibrato for the purpose of expression and ornamentation, while Leopold Mozart suggested using it sparingly. Portraying the Baroque era-one of the most creatively diverse periods in music history-as a time of rigid uniformity is both historically incorrect and unfortunate. 2. The notion that you understand Bach’s intentions for his music is quite amusing. His compositions were deeply meaningful to him, often inspired by the most emotional events in his life, such as the death of his wife in the case of the Sonatas and Partitas. 3. This music is 'simple' in the same way that e=mc^2 is simple. 4. Bach’s music is exceptional because it is endlessly adaptable across various styles, instruments and eras. It sounds beautiful on an electric organ, a baroque violin, in the hands of Heifetz, and even on a kazoo, vibrated, not vibrated, etc. It's music that transcends category and time. 5. I believe Bach would be more "angry" by your narrow-minded under-selling of his music.
@@DanielKurganov Thank You for answer, I accept if my youtube comment is fuuny but the fact is that I first got to know Bach through his faith and after that I learn to play his music, I m really in the bigining of this road, but whan I play with Christ's reconciliation in the empty concerthalls sorrounded with young children playing, thay feel him I see and without vibrato in Christ's redemption, playing Bach near to fingerboard his music is miracle for the soul, with vibrato is modern but the essence does not come across...Todays classical Bach violin playing deprives with vibrato the from his strenght...if it is tennically really something unbeleaveble your tehnic is fantastic but what its worth if you do not understand Bachs reality...You can never be able to experience the miracle of his music...I want to tell this to you, but you free choice is do you want to understand...Your violin technic and knowledge is really in high altitudes but Bach was that musican who says that the music belongs to everyone and it is interesting that I know something abouth him what you you have never experienced if you are the best violinist of this planet
![Violin Masterclass: Bach G minor Sonata [Silberger / Kurganov]](http://i.ytimg.com/vi/2Lg6RNn1kYw/mqdefault.jpg)
![Violin Masterclass: Bach G minor Sonata [Silberger / Kurganov]](/img/tr.png)
Two fantastic violinists geeking out on Bach in a live room. It does not get better than this.
It sure doesn't!
Loved this collaboration and discussion. Thanks for sharing this
I can't express how I enjoyed and learned from watching this video. This conversation and the ideas you were discussing were truly inspirational, thank you !
Wow, thank you!
This is worth Gold! Some many great take aways!
I'm playing the Allemande in a comp tomorrow. This is terrible timing! I would have loved this video a week (or more) ago, so I could truly apply all the learnings I've just gained ^_^
I'll be back of course. I'm really appreciating these masterclasses.I often sing, gesture, or dance while thinking about my playing, and I've found it really helps with developing my melodic lines, and ways of expressing Bach.
Oh, how I wish I could afford ribbon microphones. They're a good order of magnitude more than I could ever justify ^_^
You’ll come back next time even better 💪💪💪
I really enjoyed this exploration of the D minor Partita! Thank you so much Daniel and Eric!!
💎💎💎💎💎another gem in this precious series, thank you for sharing. Again so many ideas, I feel saturated after watching the video. Similar to the previous analysis , I feel this is a video I will need to visit multiple times 😅.
Such a beatiful conversation. Congratulations.
Fantastic! This is very close to my heart. Thank you both!
This is great! Thank you very much!
Thank you so much! Such a pleasure to watch you both. It gave me a lot of idea. Also Taking bow off is gave me an awareness. Wish you both health 🙏
Impressive! 🎻🎻🎶 1:02:57
fantastic, thank you
Muchas gracias.
The way I stopped what I was doing for ninety minutes when I saw this come up.
Excellent demo and heavenly music by Bach
Very good! Go please to Chaconne in two/Kostecki
This is a great interaction between you two, very professional, violinists analysing and exploring one of the greatest pieces, I think, ever written. I can play it on classical guitar, which I studied at Sydney Conservatorium, and it's difficult enough (top, upper guitar repertoire) but couldn't imagine even contemplating playing it on the violin, I'm just not good enough of a violinist. Oh well, we play what we can play and make the music we can make. I do have a somewhat irrelevant question to this upload but, Daniel, I think I read, or heard you say, that you said you started playing violin 'late'. Can I ask you how old you were when you began playing the violin. Again, wonderful analysis of this most wonderful of all pieces, not just Bach's pieces but ALL pieces.
I am jealous! I love the classical guitar and played for a number of years, though I never made it to the larger-scale works of Bach. In fact, to answer your question, guitar and piano was what I was keeping busy with before starting violin at the age of 16.5. Thanks for your comment!
@@DanielKurganov You play exceptionally well for starting in your mid teens. I am the one who's jealous. Thank you for your very prompt and generous reply.
My kingdom to perform Ciaccona!
Do more with Eric :P
What violin is Eric playing here?Thanks for sharing this amazing discussion!
Two questions for you: 1) In terms of color and dynamics, on the Bach organ, there are several stops where the player can dramatically change the tenor and color of the organ. In the shift to D major, is this not that similar opportunity to change color to a more contemplative exaltation? My father is an organist and I have listened to him many many times playing Bach and making such a color change seems normal. 2) Is it wrong to think of the Chaconne in a popular mythology context that Bach wrote this after the death of his first wife Maria? He had children die and many at the time were plenty familiar with death. So if not necessarily Maria, definitely the concept of life and death and the human experience. The piece to me follows a story of a hard life, hearing awful news, rushing home, tenderness, loss, ascension, rejoicing a soul's journey to heaven, returning home again to face life, carrying on, and beginning. I know it is a very romantic view, Is a story like this helpful or hurtful in interpreting the Chaconne?
After a 20-something year break I am picking my violin back up and the Sonatas and Partitas, most specifically the Chaconne, is the goal. Thank you for the video series, It is really helpful to hear your discussions on interpretation and techniques.
Bach's music isn't about telling a story, it is all about building a musical structure that becomes increasingly impressive. The chaconne doesn't fit the described motive at all in my opinion.
Inspired to hear about your return to the fiddle! My take is that Bach was a human - possibly the most human that ever humaned. It’s not possible to overestimate how deeply he put his life and fantasy into his work. He lives at the Cristalle’s of ultimate restraint and ultimate abandon. Every aspect of the human experience lives rent-free somewhere in this book.
❤
Does it need to be dissected in that granularity. I fear I’ll lose the forest if I concentrate too much on sets of trees. The general message and direction or essence of the movement can easily disappear by micromanaging or treating it as a romantic or modern piece
That’s the grate quantum leap of Bach’s music
For a listener it’s not obligatory, but for a performer, this is would just scratch the surface of the level of dissection necessary.
@@DanielKurganov I am a performer too.
@@DanielKurganov but I tread Bach with different rules. Even though I’m not a superb violinist myself. I think I get Bach.
@@wiltonpt1 Thank you for sharing! Everyone's path is very different and I think it's great to have different viewpoints. Personally I agree that in performance it's quite possible to lose view of the forest if we focus too much on the trees. That being said, I also have found it immensely enriching to look into the details during the practicing process and then let go after.
In performance thinking too much can sometimes cause issues, which is why so many greats would say not to think too much. However, I've also found that while they say that, at some point in the process, there tends to be (though not always) a great amount of thought and opinions even if expressed otherwise. There are always exceptions to every rule too, and I'm grateful for all the wonderful musical interpretations. I hope to hear your Bach someday!
@@EricSilberger I should not forget to mention however how all of us appreciate your lessons, your videos and everything that you share I
bookmark: 23:20
My personal opinion is that the this allemande is played traditionally far too slowly. People didn't rely on metronome markings as a guidance to tempo back then, but rather they would have seen the description "allemande, 4/4 time" and automatically connected that to the conventional idea of the time of that dance movement. If you look at other allemandes by Bach for other instruments (English suites for keyboard, the Lute suite), or allemandes from other composers of the time, the main common theme is a firm sense of 4/4 time and a moderately paced sixteenth note movement. Many violin performances of the D minor allemande usually are too slow to beat/conduct in 4. I think even the slowest allemande typically should be played at something around 60 BPM per quarter, otherwise it entirely loses touch with the music's roots, as a dance. I'm not saying it has to be literally danceable - but just in the same way a musician today knows how a foxtrot goes, or a Wiener Walzer, the baroque performer would have immediately chosen a tempo that fits the convention.
The advantage of choosing a more conventional allemande tempo, is that the phrasing becomes much easier and natural, and Bach's phrasing marks more or less do the "speaking" for itself.
[1:26:12]
一期一会
Eric's violin sounds really nice...what is it?
Thanks so much! It’s a 1757 Guadagnini I’ve been lucky to play now for many years.
The fact is that Bach wrote all this things playing without vibrato, there was no vibrato in his age, his sons learn vibrato from french violinists and Bach never like as he did not like piano...for him it was sooooooooooooo sooooooooooooo simple music, poor music and vibrato makes music emotionaly it locks out work on frontal brain, Bach did not like it and I m shure that he will be dissapointed listening your interpretation his music he will be angry waching this video
This is a rather misguided and amusing comment. But I guess that's what RUclips is for.
1. Your view on vibrato is a-historic. There was significant diversity in the use of vibrato. For instance, Geminiani explicitly advocated for extensive vibrato for the purpose of expression and ornamentation, while Leopold Mozart suggested using it sparingly. Portraying the Baroque era-one of the most creatively diverse periods in music history-as a time of rigid uniformity is both historically incorrect and unfortunate.
2. The notion that you understand Bach’s intentions for his music is quite amusing. His compositions were deeply meaningful to him, often inspired by the most emotional events in his life, such as the death of his wife in the case of the Sonatas and Partitas.
3. This music is 'simple' in the same way that e=mc^2 is simple.
4. Bach’s music is exceptional because it is endlessly adaptable across various styles, instruments and eras. It sounds beautiful on an electric organ, a baroque violin, in the hands of Heifetz, and even on a kazoo, vibrated, not vibrated, etc. It's music that transcends category and time.
5. I believe Bach would be more "angry" by your narrow-minded under-selling of his music.
@@DanielKurganov Thank You for answer, I accept if my youtube comment is fuuny but the fact is that I first got to know Bach through his faith and after that I learn to play his music, I m really in the bigining of this road, but whan I play with Christ's reconciliation in the empty concerthalls sorrounded with young children playing, thay feel him I see and without vibrato in Christ's redemption, playing Bach near to fingerboard his music is miracle for the soul, with vibrato is modern but the essence does not come across...Todays classical Bach violin playing deprives with vibrato the from his strenght...if it is tennically really something unbeleaveble your tehnic is fantastic but what its worth if you do not understand Bachs reality...You can never be able to experience the miracle of his music...I want to tell this to you, but you free choice is do you want to understand...Your violin technic and knowledge is really in high altitudes but Bach was that musican who says that the music belongs to everyone and it is interesting that I know something abouth him what you you have never experienced if you are the best violinist of this planet
Am I wrong? I thought clowns wore makeup.