Etude for cello No. 8 in D major by Jean-Pierre Duport played by Anner Bylsma as an encore. Mr. Bylsma is perhaps the world greatest living Baroque cellist
I had a cello teacher that always told me: practice the etudes like they were repertoire works, and study the repertoire works like etudes. Bylsma really does that, with this beautiful rendition of a such technical piece of music.
Okay, I never realised that within this books of études by Jean-Louis Duport, the cellist and younger brother, this one was actually written by Jean-Pierre, his elder brother.
If you listen very carefully, on the very last note of the piece, you can hear the D harmonic 2 octaves higher ringing. I never understood how he pulls that off.
I am an amateur and I play this etude on French horn and only first theme. When cello have double stops I play multiphones. Sounds super spectacular. (my horn is B-flat single 1962 Holton Chicago H-650 Collegiate and it is in grave shape but tone is super resonant, better than my double German-made orchestral horn, paradox...)
Just to clear up the pitch questions. Its A=415 Hz in the performance, but the classical style should really be A=443 Hz. Bylsma likely went with 415 because that is the Baroque pitch at he is used to.
not correct. Pitches have been all over the place during much of the 19th century. Generally accepted "historical" pitch for music around 1800 would be 430 Hz, but this also is just a compromise. 443 Hz is just a modern standard that orchestras have slowly been creeping up towards. I'm assuming Bijlsma played a concert with Basso Continuo sonatas (see the harpsichord in the background), and this was an encore.
@aznmusicmaster though you did lose at least a part of your credibility, thanks a lot ;-) with 440A tuning you need the thumb in the 1. position all the time like Bylsma in 2:39... its so hard
Because there is this idea among people who belong to "the baroque police", that a was 415hz back in those days, so the members of this somewhat esoteric fraternity always tune their instruments to a=415hz, which is about a semitone lower that a=440. This idea is however not necessarily true. Very far from. When I was a musical student I read what I could find on the subject, and we really cannot be too sure about the pitch then. But what seems certain is that the pitch varied a lot from place to place, and that sometimes it was even higher than to-day. It also seems certain that Bach's music was never intended for such a low pitch. So I personally think the idea is stupid.
@@skakdosmer While you’re right in that tunings historically varied from place to place, there’s no sense or truth in your claim that Bach’s music was never intended for a=415Hz. It is firmly established that tunings all over Thuringia and saxonia were lower than today’s standard tuning of a=440Hz.
uwe niesig Du findest das grossartig, einmalig, unvergesslich,atemberaubend, mit cellistischen Klang in aller seiner Fuelle ? Treib weiter wenn du willst !
Hast Du jemals ein Cewllo berührt, spieltst Du in einem genialen Orchester wie Concertgebouw, Dresden, Wien...? - Dann darfst du Deinen Senf dazu geben, ehe Du einen der ganz grossen Maestri besudelst! Keine Ahnung. Slawa hat natürlich auch seine Berechtigung, das ist aber andere Literatur! Sicher hasst Du dann auch Nikolaus Harnoncourt und Jordi Savall! Du bist sicher ein grosser Experte und Virtuose!
Schweig einfach. Du hast doch noch nie ein Cello näher als aus 3 Meter Entferung gesehen, geschweige denn spielst selbst! - Behalte Deine Meinung für Dich und gut so. Anstatt einen der grössten Maestri der Alten Musik zu beleidigen. Das zeigt schon Deinen fehlenden Sachverstand. Schon die Idee Slawa's romatischen Stil mit Saval in Verbindung zu bringen.....absurd?!
16 лет назад
That´s not true, it´s clearly an A ascending a fourth to the D.
Why is it that people treat tuning as if 1750 came and everyone just stopped using the tuning? Tunings really didn't work the way they do now; not in reference hertz or temperament. Playing this piece at 415 for a composer born in 1749 isn't anything crazy.
You couldn't be more wrong. His phrasing and overall interpretation of the music is beautiful, and this is a very technically demanding etude. For his age, the dexterity displayed here is remarkable, so I challenge you to listen past what you might hear as "horrible"
This "out of tune" you're probably talking about is because of the gut strings and the low tuning...other than that, he is a genius. He's the Magicians of the cello.
Whenever I find myself feeling burnt out from hours of practicing the cello, I watch this video to remind myself why I love the cello.
Rest in Peace to one of the greatest cellists and musical consciences ever
I had a cello teacher that always told me: practice the etudes like they were repertoire works, and study the repertoire works like etudes. Bylsma really does that, with this beautiful rendition of a such technical piece of music.
Omg my teacher said something similar to me last year. Coincidentally, he told me that when I was learning this study.
Probably one of my favorite clips on RUclips...
saltag and it's not with Isserlis!
yes, best video on youtube
The way he can get a beautiful sound out of such little bow in certain phrases is unbelievable
What I find amazing is how he's able to play that pattern that is in the first two subphrases all in one bow.
at that tempo, with that clarity ! ! !
The best performance of Duport EVER:)
Okay, I never realised that within this books of études by Jean-Louis Duport, the cellist and younger brother, this one was actually written by Jean-Pierre, his elder brother.
Hey thanks! I didn't know.
Grande musicista, grande persona... grazie per esserci stato!
RIP, Maestro !!! :'( ♥
Thank you for posting this excellent teaching video.
so charming.
If you listen very carefully, on the very last note of the piece, you can hear the D harmonic 2 octaves higher ringing. I never understood how he pulls that off.
he plays open d string and on the a string he plays D3 with his 2nd finger
good quality instrument as well as being perfectly in tune
Most of the negative comments on this post don't take into account this was an encore. Duport was not a baroque composer yes I know....
thank you SO MUCH for posting that video i owe you one brother
Beautiful
How utterly exquisite.
I love this man, and I love you
Love...love...love...
¡Grandioso Maestro! Una verdadera lección de música (y de manejo del arco)
I am an amateur and I play this etude on French horn and only first theme. When cello have double stops I play multiphones. Sounds super spectacular. (my horn is B-flat single 1962 Holton Chicago H-650 Collegiate and it is in grave shape but tone is super resonant, better than my double German-made orchestral horn, paradox...)
Here for tmea all state
Good luck to all trying out!
Thanks. You too!
천국에서 영면하시기를 기원합니다.
@Rich Rodriguez Do you know when and where this was recorded?
(I'm curious. As a little girl, I might have been in the audience)
Just to clear up the pitch questions. Its A=415 Hz in the performance, but the classical style should really be A=443 Hz. Bylsma likely went with 415 because that is the Baroque pitch at he is used to.
not correct. Pitches have been all over the place during much of the 19th century. Generally accepted "historical" pitch for music around 1800 would be 430 Hz, but this also is just a compromise. 443 Hz is just a modern standard that orchestras have slowly been creeping up towards. I'm assuming Bijlsma played a concert with Basso Continuo sonatas (see the harpsichord in the background), and this was an encore.
I was getting ready to write that same thing.
maravilhoso
super
with respect sir, RIP
hermoso¡¡¡¡¡¡ me trae viejos recuerdo
Qué pasada. Esa cadencia del final me ha dejado patidifusa.
Inspiring
It is in 440 except the cello is tuned one semitone lower.
Which means that his a is 415. And it is!
hey im related to this guy
Sorry for you!
Rude...
@hansifick1 Baroque pitch, half a tone lower. A=415Hz
2:33
Сбои магнитной ленты
Me too
RIP
Totally agreed. Though played on a baroque cello, it seems that it is still in A=440
@aznmusicmaster
though you did lose at least a part of your credibility, thanks a lot ;-) with 440A tuning you need the thumb in the 1. position all the time like Bylsma in 2:39... its so hard
Me prend aux tripes. Je ne sais pas comment il fait.
he's crazy
Shostbachkovich is right...
@Mizzles240 no. only youtube connoiseurs
why does his version begins with g sharp and in my score it is a?? can me please tell somebody whys that so
Because there is this idea among people who belong to "the baroque police", that a was 415hz back in those days, so the members of this somewhat esoteric fraternity always tune their instruments to a=415hz, which is about a semitone lower that a=440.
This idea is however not necessarily true. Very far from. When I was a musical student I read what I could find on the subject, and we really cannot be too sure about the pitch then. But what seems certain is that the pitch varied a lot from place to place, and that sometimes it was even higher than to-day. It also seems certain that Bach's music was never intended for such a low pitch. So I personally think the idea is stupid.
@@skakdosmer While you’re right in that tunings historically varied from place to place, there’s no sense or truth in your claim that Bach’s music was never intended for a=415Hz. It is firmly established that tunings all over Thuringia and saxonia were lower than today’s standard tuning of a=440Hz.
@@chrishimmelmann not true.
Who cares ?
Das war ein Witz oder ein Scherz oder so etwas ?? Jedenfals ein musikalischer Spass. Super ist dass das ein video ist !
Meinst Du das ernst oder hast Du keine Ahnung!? Dann höre lieber Kurz Kurz oder so einen doofen Vituosenquark!
uwe niesig Du findest das grossartig, einmalig, unvergesslich,atemberaubend,
mit cellistischen Klang in aller seiner Fuelle ? Treib weiter wenn du willst !
Hast Du jemals ein Cewllo berührt, spieltst Du in einem genialen Orchester wie Concertgebouw, Dresden, Wien...? - Dann darfst du Deinen Senf dazu geben, ehe Du einen der ganz grossen Maestri besudelst! Keine Ahnung. Slawa hat natürlich auch seine Berechtigung, das ist aber andere Literatur! Sicher hasst Du dann auch Nikolaus Harnoncourt und Jordi Savall! Du bist sicher ein grosser Experte und Virtuose!
Bitte keine Gleichung mit Saval, Coin oder Gar Slawa. "grossen Maestri" ist meilenweit davon
Schweig einfach. Du hast doch noch nie ein Cello näher als aus 3 Meter Entferung gesehen, geschweige denn spielst selbst! - Behalte Deine Meinung für Dich und gut so. Anstatt einen der grössten Maestri der Alten Musik zu beleidigen. Das zeigt schon Deinen fehlenden Sachverstand. Schon die Idee Slawa's romatischen Stil mit Saval in Verbindung zu bringen.....absurd?!
That´s not true, it´s clearly an A ascending a fourth to the D.
descend a fourth from A you get an E, dude.
Con anima
1:46 mins.. Not that i would know so much about playing Cello or that tune, but wasn't that a bit of a mistake right there?
You do, I hope realize that Duport was not a Baroque Composer?
Dirk von Delft you do realise that the classical cello still isn't the same as the modern cello
that position cant be good for his back
n. 2, not n. 8
Mi fa abbastanza schifo!
Anche tu a me,rispetto per forse o non forse uno dei più grandi violoncellisti,mutismo testa di scarsità
This is in 415, but it is not a baroque piece.
Why is it that people treat tuning as if 1750 came and everyone just stopped using the tuning? Tunings really didn't work the way they do now; not in reference hertz or temperament. Playing this piece at 415 for a composer born in 1749 isn't anything crazy.
Yes, but he was born in 1749 and probably wrote this sometime in the 1769-1779 period. That's all.
He's a baroque cellist.
It's an encore, he probably just finished playing a program full of Vivaldi, Bach, etc.
This sounds horrible lol
No, you just have poor taste...
You couldn't be more wrong. His phrasing and overall interpretation of the music is beautiful, and this is a very technically demanding etude. For his age, the dexterity displayed here is remarkable, so I challenge you to listen past what you might hear as "horrible"
He is Anner Blysma .... he plays very well.
If Bylsma is such a great cellist, then why does he sound so awful so often?
You'll find out that once you get as old as he is you'll start losing the fine control you used to have of your body and hands, have some respect...
schumacherenator that shows how much you're listening...
That shows how much you're listening...
This "out of tune" you're probably talking about is because of the gut strings and the low tuning...other than that, he is a genius. He's the Magicians of the cello.
Magician
bored...
beautiful
super
2:35