Und nicht nur der absolute perfekte Ton, sie ist eine Einheit mit ihrer Geige und stellt sich ganz und gar in den Dienst der Musik, die sie spielt. Eine solche bescheidene Dienerschaft habe ich nur einmal bei David Oistrach erlebt.
Io credo che l'umanità debba imparare daccapo delle cose fondamentali:e prima di tutte le altre che noi esseri umani siamo delle macchine perfettissime,formate con materiale molto umile e comune.Che però,ecco,si possono percepire anche a sedici anni le prodigiose invenzioni musicali di un gigante come Bach.Non solo ma a interpretarlo con grazia e adesione mirabile.
This is startlingly good: immaculate, perfectly balanced, with wonderful detail revealed by the rather slow pace. The delicate transitions into and out of the major section in the Chaconne make your hair stand on end. Please, Sayaka Shoji, make us a CD of the whole set of sonatas and partitas. I would crawl ten miles over red-hot gravel to buy it.
Whereas one hears many interpretations idiomatic to the violin, hers transcends the nature of the violin itself and captures instead this space of reverence - using, as it were, only the most pure instrumentation in some ineffable dialog with that eternal resonance.
I think sayaka's performance of this partita surpasses hilary hahn's, itzhak Perlman, and Janine jansen. It is so pure and perfect. CONGRAGULATIONS, sayaka!!!!
I would give my right arm to be able to play like this, but that would leave me in a nasty Catch-22 situation I am afraid. Just to say how good I think she is, and how beautiful her tone is. I think that is the most important part of playing. You can play anything as wrong as sin, but if the tone is beautiful, the whole piece is beautiul anyway. She reminds me of Arthur Grumiaux.
I am not following any particular religion, but the feelings inspiring Bach's Ciaccona must be the closest approximation to "god"... and this is a great performance too!
+quinto34 I could have happy time with you on RUclips. I am very Japanese in mentality and don’t know enough the European way to express friendship and respect. My google channel will be deleted next month. I have to appreciate for your wonderful words at last . I hope you go well. MATE!
Next to H Hahn's great rendition of this piece, this is a wonderful version done beautifully by S Shoji. I'm now convinced that women violinists do greater justice to Bach's Chaconne than the less sensitive men. Am I wrong?
Yes, to the extent that the extreme bravura style displayed by most male virtuosos is simply over the top (Szeryng excepted, if you dig that style in Bach).
When Perlman plays this, his tempo is so fast, I find his performance less engaging than Shoji's. Technically, it's impressive, but like Heifetz when he plays Tchaikovsky's Violin Concerto #1, it's too fast to do justice to the music. Sayaka is technically brilliant but does not feel the necessity to show off her considerable skill. This is what is called integrity.
Not specifically focussing on the speed here (Julia Fischer for instance plays certain parts (e.g. the Gigue) faster than Perlman), but I certainly perfer Shoji' rendition of this eternal masterpiece. She has more "depth" and perhaps also more "integrity" and "authenticity". She is technical super brilliant too , that's obvious.
***** I agree, her highly emotive playing calls for it. Though the reverb could be digital, it sounds like it was recorded in an empty auditorium, which I could see her opting to do.
I would agree here, becaause for Bach one may think of the accoustics of a church, which are necessary to keep the echo of the harmonies ringing, otherwise the music sometimes makes little sense to the listener. And is impossible to perform as we would like on the fiddle, although we never tire of trying because it is so perfect. But this is the first time I have heard this lady, and she is amazing!
Truly sorry, there is no c#, but Sayaka plays b-natural instead of b-flat (last beat of bar 41). This mistake was made by David at his outdated edition.
palladin331 Yes it suppose to be b-flat, but she plays b-natural instead. By the way not all sources. David have “fixed” it for b-natural what you can hear unfortunately in this performance.
@@pole3323215 The Wiener Urtext Edition cites only manuscript sources. If there had been even one manuscript indicating the b natural, Wiener would have given the source as their notes are very detailed. Thus, it wouild appear that David made the change on his own when he published his edition. Note the International Joachim and Moser edition, which follows David's, provides a lower line that supposedly reflects the manuscript used by Joachim. That lower line has the accidental c natural but not an accidental to confirm the b flat, even though both would revert to the key signature without accidentals. So it's not perfect, but there is no reason to assume any original source changed the b flat to a b natural. The Barenreiter urtext edition agrees with the Wiener: both c natural and b flat reiterated. Clearly Ms Shoji used a David - Joachim edition (as most likely her teachers did also) and didn't consult an urtext version. Raphael Bronstein's edition follows the urtexts in this matter, although I don't know if that came from Auer or from an urtext.
No, I mean the intellectual quality of your vomment ("schwach") Wir können aber gerne in unserer Muttersprache weiter diskutieren, da sind meine Möglichkeiten, eine scharfe Klinge zu führen, deutlich ausgedehnter :D
今日2016・11・16は、はまりに、はまって、仕事をしながら、10時間以上、聞き続けています。研ぎ澄まされて行くのが、とても、心地いいですね。衝動買いもいいところだが、アマゾンでＣＤも買ってしまった。はまったな～。 80年代ロックを愛する、どこにでもいる親父より。
庄司さんの演奏は、とても繊細で美しくて、グイグイと引きこまれるダイナミクスのつけ方、とても正確な音程感
目を瞑って聴いてると、とてもリラックスできて心か洗われる思いがする
庄司さんの素敵な演奏、そしてアップしてくださったbaroque6hiroさん、ありがとう。
この曲は、このバイオリニストのものが一番心地よく聴けるので、何十回も聴いている。
他の人のも聴いてはみるのだが、テンポが違ってすごく聴きづらく感じるんだ。
だからいつも、ここに戻ってきます。
これは天使からの音楽だ！厚く、熱く、それでいてどこまでも透明で、心の奥に迫る！緻密の極致！
Diese Bescheidenheit baut eine Brücke zum Komponisten und seiner Zeit!, die ich selten so ohne abgelenkt zu werden, gehen konnte
心が浄化されていくようだ。この出会いは、嬉しい。
天空に拡がっていく旋律が心地よい。バッハに聴いてもらいたい🎻🎼🎻
西洋管弦楽器は日本人には難しいと以前は思っていましたが、今では日本人特有の繊細技量をもって新たに表現されて凌駕もする期待性が持たれます。既に楽器製作技術ではそのように到達しているようです。この演奏者は静寂旋律の中にわびさびの琴線のような音を感じる。西洋の音楽家にこの「ＷＡＢＩＳＡＢＩ」がどこまで理解されるかがテーマになるかも知れません。
控えめに言って、史上最高の演奏だと思う。
I love the slightly slower than expected tempo at which she plays this. I hope I will have a chance to hear Ms. Shoji play live one day.
YES...this is the right way to play the Chaconne. It's so pure and with the right sense of Bach's era. It sometimes almost sounds as an organ.
I am very glad to learn that YOU were in Bach's era . How old are you ? 350 years ? That's very , very good . Much better than the Queen of England .
@@Fritz_Maisenbacher Can it, Fritz.
バッハが神様に捧げていた全身全霊を彼女が再現しているかのようです。
she has very serene and pure style, much like her personality..
Can't wait to hear Himari play this. Shoji Sayaka is absolutely great, but then there is that miracle from Tokyo.
Und nicht nur der absolute perfekte Ton, sie ist eine Einheit mit ihrer Geige und stellt sich ganz und gar in den Dienst der Musik, die sie spielt. Eine solche bescheidene Dienerschaft habe ich nur einmal bei David Oistrach erlebt.
My favorite interpretation of partita, so emotional and tender.
Io credo che l'umanità debba imparare daccapo delle cose fondamentali:e prima di tutte le altre che noi esseri umani siamo delle macchine perfettissime,formate con materiale molto umile e comune.Che però,ecco,si possono percepire anche a sedici anni le prodigiose invenzioni musicali di un gigante come Bach.Non solo ma a interpretarlo con grazia e adesione mirabile.
すごい精巧なテクニックと優美を併せもっている・・・。まやかしなしに・・・選ばれた人だと感じる。
와..저렇게 젊은 나이에서 성숙한 표현이...감탄......
This is startlingly good: immaculate, perfectly balanced, with wonderful detail revealed by the rather slow pace. The delicate transitions into and out of the major section in the Chaconne make your hair stand on end. Please, Sayaka Shoji, make us a CD of the whole set of sonatas and partitas. I would crawl ten miles over red-hot gravel to buy it.
BACH ,, SAYAKA SHOJI ,, ÚNICOS ,,, !!!!
すごくきれい
she has great structure strength/knowlage...and her playing is exquisit of this difficult piece..:)..
Whereas one hears many interpretations idiomatic to the violin, hers transcends the nature of the violin itself and captures instead this space of reverence - using, as it were, only the most pure instrumentation in some ineffable dialog with that eternal resonance.
この素晴らしく深慮な情緒的表現 どうでしょう
つい最近この方のことを知ったのですが、
グラモフォンに在籍してますし、なんで知らなかったのか不思議で
divine playing by a divine lady.
I think sayaka's performance of this partita surpasses hilary hahn's, itzhak Perlman, and Janine jansen. It is so pure and perfect. CONGRAGULATIONS, sayaka!!!!
I agree! She even surpasses Mela Tenenbaum's performance which is a lot to say.
I agree. It's for me the best rendition, even taking into account Perlman, Szeryng, Fischer, Hahn and others.
I would give my right arm to be able to play like this, but that would leave me in a nasty Catch-22 situation I am afraid. Just to say how good I think she is, and how beautiful her tone is. I think that is the most important part of playing. You can play anything as wrong as sin, but if the tone is beautiful, the whole piece is beautiul anyway. She reminds me of Arthur Grumiaux.
Caroline, I couldn't agree with you more about the incredible beauty of the tones she creates. Magical!
Simple: she is the most magnificent violinist I ever heard, not only in this partita, but overall.
A "better" version of Grumiaux.
寒い冬の朝に、ベッドの中でこの曲を聴くのが最高です。
ギドン・クレーメルと前橋汀子のものをよく聴いていますが、庄司紗矢香もいいですね。
Magnífico.
上手く言えないが、ムターにも五嶋にも諏訪内にも感じる自己陶酔臭のようなものが、庄司紗矢香のバイオリンには不思議と感じない。曲に忠実に、無心に、という心境で演奏しているのだろうか。それでいて、消え入るようなピアニシモから圧倒的フォルテシモまでのメリハリ感と言うかダイナミズム感がすごい。
Simply beautiful.!!!
I am not following any particular religion, but the feelings inspiring Bach's Ciaccona must be the closest approximation to "god"... and this is a great performance too!
Even through the speakers on my 4s IPhone the incredible nature of this performance come through. Can't wait to hear her on my tube rig!
super, danke
Zakhar Bron was one of her violin instructors and who was an expert in Bach's musics.
Splendid!
thanks for uploading baroque6
+quinto34
I could have happy time with you on RUclips. I am very Japanese in mentality and don’t know enough the European way to express friendship and respect. My google channel will be deleted next month. I have to appreciate for your wonderful words at last . I hope you go well. MATE!
Next to H Hahn's great rendition of this piece, this is a wonderful version done beautifully by S Shoji. I'm now convinced that women violinists do greater justice to Bach's Chaconne than the less sensitive men. Am I wrong?
Yes, to the extent that the extreme bravura style displayed by most male virtuosos is simply over the top (Szeryng excepted, if you dig that style in Bach).
thanks
Perfect!
Lucky people of Orleans, were you treated to this divine music? ( B & R & Sayaka). Listening to it in the midnight hour - brings light.
When Perlman plays this, his tempo is so fast, I find his performance less engaging than Shoji's. Technically, it's impressive, but like Heifetz when he plays Tchaikovsky's Violin Concerto #1, it's too fast to do justice to the music. Sayaka is technically brilliant but does not feel the necessity to show off her considerable skill. This is what is called integrity.
Not specifically focussing on the speed here (Julia Fischer for instance plays certain parts (e.g. the Gigue) faster than Perlman), but I certainly perfer Shoji' rendition of this eternal masterpiece. She has more "depth" and perhaps also more "integrity" and "authenticity". She is technical super brilliant too , that's obvious.
Not her fault, but there's too much reverb. Sounds like it's in a vast indoor swimming pool.
*****
I agree, her highly emotive playing calls for it. Though the reverb could be digital, it sounds like it was recorded in an empty auditorium, which I could see her opting to do.
I would agree here, becaause for Bach one may think of the accoustics of a church, which are necessary to keep the echo of the harmonies ringing, otherwise the music sometimes makes little sense to the listener. And is impossible to perform as we would like on the fiddle, although we never tire of trying because it is so perfect.
But this is the first time I have heard this lady, and she is amazing!
動画がほしいい
I think the sarabande is played a touch on the slow side..., however her playing is still beautiful
Totally agree.
☝
Shoji Sayaka plays this piece mechanically,,,La Mecanique Celeste, cf. M. P.-S. Laplace.
No. She is just not slapping the emotions around yor ears. Listen carefully and leave the expectations from hearing other interpretations behind :)
It is the TOTAL CONTRARY. It is technically perfect AND extremely deeply felt. A genius playing the music of a supergenius.
The computer with very advanced sensitivity !
there is a C# only in your imavagination....
SOLENOID4 There’s no C#, there is b-natural she plays instead of b-flat (Corrente bar 41 last quarter)
Truly sorry, there is no c#, but Sayaka plays b-natural instead of b-flat (last beat of bar 41). This mistake was made by David at his outdated edition.
"b-flat according to all sources". - Wiener Urtext Edition. (Schott/Universal Edition).
palladin331 Yes it suppose to be b-flat, but she plays b-natural instead. By the way not all sources. David have “fixed” it for b-natural what you can hear unfortunately in this performance.
@@pole3323215 The Wiener Urtext Edition cites only manuscript sources. If there had been even one manuscript indicating the b natural, Wiener would have given the source as their notes are very detailed. Thus, it wouild appear that David made the change on his own when he published his edition. Note the International Joachim and Moser edition, which follows David's, provides a lower line that supposedly reflects the manuscript used by Joachim. That lower line has the accidental c natural but not an accidental to confirm the b flat, even though both would revert to the key signature without accidentals. So it's not perfect, but there is no reason to assume any original source changed the b flat to a b natural. The Barenreiter urtext edition agrees with the Wiener: both c natural and b flat reiterated. Clearly Ms Shoji used a David - Joachim edition (as most likely her teachers did also) and didn't consult an urtext version. Raphael Bronstein's edition follows the urtexts in this matter, although I don't know if that came from Auer or from an urtext.
palladin331 So many details to explain making not good choice by Ms.Shoji.
+Charles Hama how could you possibly compare perlman and her?!
最後途切れて中折れみたいになってもた
Too much echo!
酷い録音。
schwach...
Do you mean your comment? :D
MaySha ZSH , You mean, your ability to understand musical pieces and musical performance by players.
No, I mean the intellectual quality of your vomment ("schwach")
Wir können aber gerne in unserer Muttersprache weiter diskutieren, da sind meine Möglichkeiten, eine scharfe Klinge zu führen, deutlich ausgedehnter :D
Martin Singer vomment???
Mit mir kann man auch deutsch reden. ;-)
Und ja, aus meiner Hinsicht, ist diese Performance ziemlich schwach. Tut mir leid...
Makoto Kano Makoto, I play the violon since I was 5 years old. Also I studied it.