Some artists play Bach's pieces because they're pieces that can and must be played. Marcelle Meyer plays them because they're MUSIC that can and should be appreciated. Music begins to sound different at the hands of an artist who digs into the soul and fiber of the composition.
il Bach della Meyer è un Bach di una tale espressività che il "Ruscello" di Eisenach non avrebbe mai immaginato si sarebbe potuta esprimere nelle sue opere
I totally agree! 👍 A great musician become great because he (or she) listened to all other great musicians and learned from them. E.g. Gould publicly admired people like Edwin Fisher or Pablo Casals even though their styles are very different.
@@Ashun1970 No according to studies he admired Rosalyn Turek's Bach and disliked Landowska (i might spell that name wrong). No mention of Marcelle Meyer but he lived in an anglo saxon country Canada that is highly prejudiced against anything French. So recordings of Meyer might not have even reached his ears. .
@@goognamgoognw6637 You just happened to not stumble across one of Gould’s interviews where he acknowledge and admires hyper romantic exultant sensuous way of playing Bach demonstrated by people like Casals and Landowska though it is not his particular style of playing for himself. You just happen to be ignorant about it 😁Yes, you are correct that he admires Turek though in my opinion, he has FAR SURPASSED Turek!
@@Ashun1970 No it's you who don't understand the nuances of Glenn Gould's words. He was absolutely not influenced by Landowska although she was with Casal in his time the models teachers were following. Gould in his young years was conforming to society and not a contrarian so he listened to her but his words are clear, she exercised zero influence on him and he stopped listening to her already at age fifteen, until he discovered Tureck which he liked and was influenced by her. This proves he disliked Landowska's playing of Bach. And here are his actual words : ""I knew many of the Landowska recordings when i was a kid, but i have not heard any of them since I was about fifteen. [..] Rather than the playing of people like that, I was much more familiar with the recordings of Rosalyn Turek... [..] I did like Tureck's enormously - Tureck influenced me. And the models for the teachers of that generation were Casals and Landowska and Fisher. None of those people influenced me the least and the only one who really did was Tureck." This is a vote down for Landowska from Glenn Gould. Stopped listening to her as soon as he had discovered her and she did not influence him "the least". You are ignorant.
@@goognamgoognw6637 I highly suggest u to sharpen your comprehension skill😁 Quote from my past writing where I wrote “Gould was influenced” by Landowska. Look forward your reply.
Her style of playing Back is similar to Rachmaninov (recorded when he was old) but cleaner. I have huge admiration for her Rameau and Scarlatti recordings but here, she falls victim to her era late post romantic style anachronism and she is searching a way to phrase J.S. Back using odd rubatos and playing very lightly on keys at times that falls flat. It just does not work. Same with Rachmnaninov's playing of Bach. But there are historical performers who have used a vocal approach to performing Bach that is extremely successful and the best of them imo is Tatianna Nikolayeva, from Russia. I am a fan of Glenn Gould for the French and English suites and the Toccatas and maybe Turek but those three excepted i rejected all others approaches and touch to perform Bach i have heard, yes that include some big names contemporaries that gravitate around JS Bach's music.
Forma libera per eccellenza è difficile dire questa è giusta, quella è sbagliata. Il pianista nella toccata esprime la conoscenza dell' autore, del gusto dell' epoca e il proprio sentire musicale e perché no il proprio sentire tout court. Fatta questa premessa, ci sono interpretazioni oggettivamente egotistiche ( Gould), altre proprio non centrate nello spirito, nella tecnica alcune, le peggiori quelle suonate come farebbe un automa. Ecco, fra tutte questa è quella che più si avvicina a come le suono e meglio ancora come mi piacerebbe riuscirci. Sarà che non è musica da conservatorio ma trovare una interpretazione apprezzabile è molto difficile.
Une très grande Dame du piano !
Some artists play Bach's pieces because they're pieces that can and must be played. Marcelle Meyer plays them because they're MUSIC that can and should be appreciated.
Music begins to sound different at the hands of an artist who digs into the soul and fiber of the composition.
Pure Gold .
Wonderful pianist. Thank you for making theses historical gems available.
Magician performance, bravo lady!
Она бесподобна!!!
もう10年もするとグールドのあのゴールドベルク変奏曲が登場し、またそれからまた暫くして古楽、古楽奏法の時代が来ますが、1940年代に古さを全く感じさせないこんな新鮮なバッハを演奏する人が居たのですね。同じ時代には巨匠と呼ばれる演奏家は何人も居て、それぞれに芸術的な演奏をしていましたが、ただ時代を感じさせられました。メイエというピアニストは本当に驚きです！
il Bach della Meyer è un Bach di una tale espressività che il "Ruscello" di Eisenach non avrebbe mai immaginato si sarebbe potuta esprimere nelle sue opere
Beautiful. Thank you for this.
👏👏👏👏👏👏👏👏👏👏👏👏
...something tells me Gould has listened to these...
I totally agree! 👍 A great musician become great because he (or she) listened to all other great musicians and learned from them. E.g. Gould publicly admired people like Edwin Fisher or Pablo Casals even though their styles are very different.
@@Ashun1970 No according to studies he admired Rosalyn Turek's Bach and disliked Landowska (i might spell that name wrong). No mention of Marcelle Meyer but he lived in an anglo saxon country Canada that is highly prejudiced against anything French. So recordings of Meyer might not have even reached his ears.
.
@@goognamgoognw6637 You just happened to not stumble across one of Gould’s interviews where he acknowledge and admires hyper romantic exultant sensuous way of playing Bach demonstrated by people like Casals and Landowska though it is not his particular style of playing for himself. You just happen to be ignorant about it 😁Yes, you are correct that he admires Turek though in my opinion, he has FAR SURPASSED Turek!
@@Ashun1970 No it's you who don't understand the nuances of Glenn Gould's words. He was absolutely not influenced by Landowska although she was with Casal in his time the models teachers were following. Gould in his young years was conforming to society and not a contrarian so he listened to her but his words are clear, she exercised zero influence on him and he stopped listening to her already at age fifteen, until he discovered Tureck which he liked and was influenced by her. This proves he disliked Landowska's playing of Bach. And here are his actual words :
""I knew many of the Landowska recordings when i was a kid, but i have not heard any of them since I was about fifteen. [..] Rather than the playing of people like that, I was much more familiar with the recordings of Rosalyn Turek... [..] I did like Tureck's enormously - Tureck influenced me. And the models for the teachers of that generation were Casals and Landowska and Fisher. None of those people influenced me the least and the only one who really did was Tureck."
This is a vote down for Landowska from Glenn Gould. Stopped listening to her as soon as he had discovered her and she did not influence him "the least".
You are ignorant.
@@goognamgoognw6637 I highly suggest u to sharpen your comprehension skill😁 Quote from my past writing where I wrote “Gould was influenced” by Landowska. Look forward your reply.
Her style of playing Back is similar to Rachmaninov (recorded when he was old) but cleaner. I have huge admiration for her Rameau and Scarlatti recordings but here, she falls victim to her era late post romantic style anachronism and she is searching a way to phrase J.S. Back using odd rubatos and playing very lightly on keys at times that falls flat. It just does not work. Same with Rachmnaninov's playing of Bach. But there are historical performers who have used a vocal approach to performing Bach that is extremely successful and the best of them imo is Tatianna Nikolayeva, from Russia. I am a fan of Glenn Gould for the French and English suites and the Toccatas and maybe Turek but those three excepted i rejected all others approaches and touch to perform Bach i have heard, yes that include some big names contemporaries that gravitate around JS Bach's music.
Forma libera per eccellenza è difficile dire questa è giusta, quella è sbagliata. Il pianista nella toccata esprime la conoscenza dell' autore, del gusto dell' epoca e il proprio sentire musicale e perché no il proprio sentire tout court.
Fatta questa premessa, ci sono interpretazioni oggettivamente egotistiche ( Gould), altre proprio non centrate nello spirito, nella tecnica alcune, le peggiori quelle suonate come farebbe un automa. Ecco, fra tutte questa è quella che più si avvicina a come le suono e meglio ancora come mi piacerebbe riuscirci. Sarà che non è musica da conservatorio ma trovare una interpretazione apprezzabile è molto difficile.