One of my favorite Bach keyboard pieces. The melodies absolutely sing. It feels so joyous and straightforward, but still with that Bach complexity that makes it fascinating to return to over and over again. I always like to imagine Bach slaving all night over a cantata that he has to rehearse and perform the next day. He finishes in the morning, exhausted. As the sun rises and the shopkeepers begin to walk to work, he sits down at his harpsichord and improvises this little piece. 🥰
Thank you very much for this awesome depiction. I always felt that some of Bach's compositions had that kind of "early morning vibe" (like the C-major and G-major organ sonatas), but I quite never found the right wording for it. Now I did :)
Na nu!! If the "depiction" is even half true, if JSB tossed this off, tired and slugging at a jar of Kaffee, as the sun rose on Leipzig.....then the fellow was very much more a Genie than beleeved heretofore.
Lieber Mark Edwards, herzlichen Dank für diese beseelte Interpretation die ich mir mit wachsender Freude sicherlich wiederholt zu Gemüte führen werde. Alles Gute Ihnen und mögen Sie mit Ihrem Wirken viele Menschen glücklich mache und den Zugang zum Göttlichen eröffnen. Herzlich Martin Stadler
My goodness, this partita is played so much more expressively and lyrically than most recordings on piano, on an instrument that has no dynamics. Brilliant, and an excellent study on effective ornamentation of Bach, especially in the Sarabande!
The harpsichord has dynamics but bare to notice. For instance if you wanted to produce forte in the harpsichord and if the composer intended, then they would increase the amount of notes.
Most, if not all from Bach, is for harpsichord and pipe organ. Hammerklavier did not exist (at least not as a fully developed instrument) during his time and legends stated that he disliked the early version of that instrument. However, BWV 1080 seems to have some of the pieces written for hammerklavier or pianoforte. Christofori's piano was developed in Italy between 1711-1720, though Bach did not know the instrument until late 1735-1745, and he never met the Modern Grand Piano which was in full around the early 1800's. I don't despise modern transcription to modern/grand piano of Bach's music, though I consider this has been very abused from 1920ish until now. I will recommend always always always explore, memorizing, and fully embracing Bach's music on the intended and used instruments from his lifetime, specially BWV 988 which has been re-abused on these modern instruments including transcriptions to the key of G. Netherlands Bach Society and Voices of Music here in YT, fortunately, promote Bach's music with original instruments. Please have this small interaction as a goodwill to share the joy of inviting everybody to deeply exploring his music and not as an internetsplaining annoyance from a random guy such as myself. If you happen to enjoy more Bach on piano, that's absolutely amazing and I hope you continue taking the best from his music into your journey. Best regards. =)
@@megalomaniacko1 I'm well aware the history of Bach and the piano, I'm a piano teacher :) I don't think it's wrong to put Bach, or any music for that matter into a different context, if the music is well written and played with care and appreciation it will still be excellent. After all, the important thing is the music itself not the instrument it was made on. You could extend this idea to other music, should Beethoven, or Schubert only be played on a period accurate fortepiano? How about modern pieces written on an upright as opposed to a grand? It would sound more accurate to the composer's intentions, but I think most would disagree. Modern pianos are also significantly more common now than any instrument from Bach's time, either antique or modern recreations. I would love to have even a small clavichord or virginal for baroque music, but it isn't feasible for me or most people and has limited usage cases.
@@T3hMarz I agree on Beeth/Schub and other's cases, and indeed I have a common appreciation regarding resources and modern instruments, which is the natural development of music and overall topics. I don't think Bach should be only played on his era instruments, yet my thing is that Bach did write some works specifically for particular instruments even putting that on the title of the score itself. It was, in other words, intended, and for that is why I always encourage that experience (I blame nostalgia I guess). Nothing else. I acknowledge music is subjective and every person might have their own journey, certainly preferences will also be a thing. I am particularly biased on listening to him in every instrument possible (I love BWV 988, 1080 and others in Banjo, Mandolin, Harp, and so on) but the intended instrument is the one I consider the main one that settles Bach's aesthetics. I wish this reading doesn't sound ad verecundiam from my end, my apologies if that's the case. I am glad you shared your background and I appreciate it, please again receive my apologies if I sounded off in my interaction here. I think this would be an amazing conversation in a different scenario. Forgive me for missing the conservatory days, still putting time on history of music but nowadays as an ad-hoc activity since I got my grades on this topic back at the beginning of this millennium. Have my best regards.
@@megalomaniacko1 You definitely didn't come off too harsh! The internet isn't a great place for nuanced discussions unfortunately. I understand the point you're making and agree, ideally music written for a particular instrument should be performed on it. While modern performances might mostly be on modern instruments, I wish that all performers would still ornament and improvise, especially in an informed historical performance style. That's why this recording thrilled me so much! Have a fantastic day :)
It is so stunning how Bach managed to be so industrious and make so much great music on such a tight schedule, only to supplement it wish pages and pages of ingenious secular music of unparalleled brilliance and complexity. I read John Eliot Gardener's biography, and I'm not less mystified about how a human being could have achieved so much in one life. If I had a time machine, I would go back and sit in the back for as many Bach improvised harpsichord/organ recitals as possible. I'd also love to take a trip to Mendelsohn's "Bach Revival" concert series, to watch the faces of people discovering Bach for the first time and being stunned.
Wunderschöne Aufführung dieses perfekt komponierten Tanstenwerks in verschiedenen Tempi mit schimmerndem doch warmherzigem Klang des technisch fehlerlosen Cembalos und mit sorgfältig kontrollierter Dynamik. Wahrhaft intelligenter und genialer Cembalist!
Dear Mark, how lovely to discover you here on this prestigious platform performing this wonderful music as delightful as you are only capable of doing. Merci beaucoup, dankjewel!!
Beautiful and articulate playing on a superb harpsichord, Herr Bach himself would have been deeply pleased by this lovely performance, which is very eloquent and rhetorical, qualities that are required for this exquisite music! Hats off to the harpsichordist seen here - the Partitas are very difficult but equally beautiful and rewarding for anyone brave enough to devote themselves to doing them justice as seen and heard here!
The virtuoso performance of the Mark Edvards is further enhanced the obvious enjoyment of the artist in playing beautiful Bach partita in which Allemande remainded me why I love the work of my beloved Johann, so much 🎵🙂🎶
I myself now am learning to play at the piano Goldberg Variations and it is very easy to master a concert piano or a harpsichord.Its timber is jolly, cheerful, happy, and arpegiated.
Bravo! From the Allemande not being played allegro, to the varied repeats and ornaments, a HIP as standard to which other performance should be measured.
At times he reminds me of a good jazz vocalist who sings just a little behind the beat. In slow movements the right hand is never metronomic, but follows flexibly after the bass to lovely effect (as also with Francesco Corti). This is essential to expressiveness in an instrument with limited dynamic range.
Exquisitely lyrical and phrased. I learned this on piano in high school, at which time only a few recordings were available. One might think that the piano, given its range of dynamic capabilities, might have somewhat of an advantage over an harpsichord for playing lyrically. However, most of the artists who have made piano recordings of this play it . . . "dutifully, unvaryingly, precisely" . . . (one notable exception being Simone Dinnerstein, who captures the same lyrical quality as Mark in this performance). In this performance, the artist and harpsichord are an order of magnitude beyond those piano performances.
I agree with you! If you haven't heard it (a rare recording indeed) look up here on youtube Wanda Landowska's performance of the sarabande from this partita. I believe she only recorded partitas 1 and 2, but even though they sound very old, her Pleyel harpsichord with the lute stop is so brilliantly utilized, and her performance of the partita is quite powerful and unusual, and for that reason may not be to everybody's taste.
@@violinsinthevoid4579 thank you for the suggestion. I just checked it out, and whilst I do appreciate her playing, I can't really get over that instrument. The Pleyel Harpsichord has never sounded right to me, and I think there's only one instance I've ever thought it worked well.
I expected more improvisations during the whole partita, kind of what he did during the final part of the Minuet, and not just simple mordents. To me it could be played with more joy and variety. Anyways this is much better that I could do.
It's a tuning issue. Looking at his hands, it's definitely played in Bb. But by my ears, and by my piano, it's in A. The harpsichord must be tuned a half-step down from A440.
On a regular basis, musicians can memorize complex, extended pieces like this. How is that possible? What is the brain's mechanism for doing this? Animals like dogs and birds can memorize their names and complex commands. But this is on a whole different level. Note: this is a rhetorical question.
There’s an almighty creator who can even remember each one of the billions of aspects of the life’s of the billions of peoples who have inhabited this planet for thousands of years. His memory is one to be praised with awe.
also - if fingers evolved to grasp and manipulate things, why can they also move with such speed, dexterity and subtlety as here? Rhetorical of course. And if the answer is God then who, what, when and where is this being.
@@stephenlee1756 read His Holy Word, the Bible, and you will know, God's promise is everyone who diligently seeks Him will find Him. ““I love those who love me; And those who diligently seek me will find me.” (Proverbs 8:17, NASB)
![Eminem - Fuel (feat. JID) [Official Lyric Video]](http://i.ytimg.com/vi/t5H_CewqpKA/mqdefault.jpg)
One of my favorite Bach keyboard pieces. The melodies absolutely sing. It feels so joyous and straightforward, but still with that Bach complexity that makes it fascinating to return to over and over again.
I always like to imagine Bach slaving all night over a cantata that he has to rehearse and perform the next day. He finishes in the morning, exhausted. As the sun rises and the shopkeepers begin to walk to work, he sits down at his harpsichord and improvises this little piece. 🥰
Thank you very much for this awesome depiction. I always felt that some of Bach's compositions had that kind of "early morning vibe" (like the C-major and G-major organ sonatas), but I quite never found the right wording for it. Now I did :)
o@@IlmarcheseJacky
Na nu!! If the "depiction" is even half true, if JSB tossed this off, tired and slugging at a jar of Kaffee, as the sun rose on Leipzig.....then the fellow was very much more a Genie than beleeved heretofore.
The instrument sounds lovely in the large hall.
Lieber Mark Edwards,
herzlichen Dank für diese beseelte Interpretation die ich mir mit wachsender Freude sicherlich wiederholt zu Gemüte führen werde.
Alles Gute Ihnen und mögen Sie mit Ihrem Wirken viele Menschen glücklich mache und den Zugang zum Göttlichen eröffnen.
Herzlich Martin Stadler
Que j'aime le tempo de l'Allemande ! Enfin trouvé!
0:09 Praeludium
2:40 Allemande
7:53 Corrente
11:19 Sarabande
17:34 Menuet I
19:03 Menuet II
20:31 Giga
Absolutely stunning performance by Mr. Edwards. Thank you once again for these wonderful gifts of recordings, NBS!
studied such beautiful instrument with Prof. Edwards in Oberlin few years ago, great to meet him here. Fascinating performance!
My goodness, this partita is played so much more expressively and lyrically than most recordings on piano, on an instrument that has no dynamics. Brilliant, and an excellent study on effective ornamentation of Bach, especially in the Sarabande!
The harpsichord has dynamics but bare to notice. For instance if you wanted to produce forte in the harpsichord and if the composer intended, then they would increase the amount of notes.
Most, if not all from Bach, is for harpsichord and pipe organ. Hammerklavier did not exist (at least not as a fully developed instrument) during his time and legends stated that he disliked the early version of that instrument. However, BWV 1080 seems to have some of the pieces written for hammerklavier or pianoforte. Christofori's piano was developed in Italy between 1711-1720, though Bach did not know the instrument until late 1735-1745, and he never met the Modern Grand Piano which was in full around the early 1800's. I don't despise modern transcription to modern/grand piano of Bach's music, though I consider this has been very abused from 1920ish until now. I will recommend always always always explore, memorizing, and fully embracing Bach's music on the intended and used instruments from his lifetime, specially BWV 988 which has been re-abused on these modern instruments including transcriptions to the key of G. Netherlands Bach Society and Voices of Music here in YT, fortunately, promote Bach's music with original instruments. Please have this small interaction as a goodwill to share the joy of inviting everybody to deeply exploring his music and not as an internetsplaining annoyance from a random guy such as myself. If you happen to enjoy more Bach on piano, that's absolutely amazing and I hope you continue taking the best from his music into your journey. Best regards. =)
@@megalomaniacko1 I'm well aware the history of Bach and the piano, I'm a piano teacher :)
I don't think it's wrong to put Bach, or any music for that matter into a different context, if the music is well written and played with care and appreciation it will still be excellent. After all, the important thing is the music itself not the instrument it was made on.
You could extend this idea to other music, should Beethoven, or Schubert only be played on a period accurate fortepiano? How about modern pieces written on an upright as opposed to a grand? It would sound more accurate to the composer's intentions, but I think most would disagree.
Modern pianos are also significantly more common now than any instrument from Bach's time, either antique or modern recreations. I would love to have even a small clavichord or virginal for baroque music, but it isn't feasible for me or most people and has limited usage cases.
@@T3hMarz I agree on Beeth/Schub and other's cases, and indeed I have a common appreciation regarding resources and modern instruments, which is the natural development of music and overall topics. I don't think Bach should be only played on his era instruments, yet my thing is that Bach did write some works specifically for particular instruments even putting that on the title of the score itself. It was, in other words, intended, and for that is why I always encourage that experience (I blame nostalgia I guess). Nothing else. I acknowledge music is subjective and every person might have their own journey, certainly preferences will also be a thing. I am particularly biased on listening to him in every instrument possible (I love BWV 988, 1080 and others in Banjo, Mandolin, Harp, and so on) but the intended instrument is the one I consider the main one that settles Bach's aesthetics. I wish this reading doesn't sound ad verecundiam from my end, my apologies if that's the case. I am glad you shared your background and I appreciate it, please again receive my apologies if I sounded off in my interaction here. I think this would be an amazing conversation in a different scenario. Forgive me for missing the conservatory days, still putting time on history of music but nowadays as an ad-hoc activity since I got my grades on this topic back at the beginning of this millennium. Have my best regards.
@@megalomaniacko1 You definitely didn't come off too harsh! The internet isn't a great place for nuanced discussions unfortunately.
I understand the point you're making and agree, ideally music written for a particular instrument should be performed on it.
While modern performances might mostly be on modern instruments, I wish that all performers would still ornament and improvise, especially in an informed historical performance style. That's why this recording thrilled me so much!
Have a fantastic day :)
I particularly loved the ornamentation in the Sarabande and the way it was varied in the repeats. A beautiful interpretation, thank you!
Was looking for that comment, the ornaments are just perfect. Here I just heard the best version of the Sarabande so far.
Ahh yes... The best day of the week.
The day NBS posts.
One of my favorite pieces of all time thank you for this wonderful performance
I first heard Mark Edwards when he won the Jurow Competition in Cincinnati some years ago. It's wonderful to see him continue to play so well.
Bravo! Thank you, absolutely Bach is much more than music, best wishes from Santa Fe Argentina
NBS is top. This is fine art at its best, this interpretation is actually the best so far on the internet, leaving me speechless. Thanx.
It is so stunning how Bach managed to be so industrious and make so much great music on such a tight schedule, only to supplement it wish pages and pages of ingenious secular music of unparalleled brilliance and complexity. I read John Eliot Gardener's biography, and I'm not less mystified about how a human being could have achieved so much in one life. If I had a time machine, I would go back and sit in the back for as many Bach improvised harpsichord/organ recitals as possible. I'd also love to take a trip to Mendelsohn's "Bach Revival" concert series, to watch the faces of people discovering Bach for the first time and being stunned.
brilliant use of a time machine!
An exceptionally beautiful performance. Thank you so much Mark Edwards. I hope we can hear more from you.
What an amazing performance ☺️
Exquisite. Thank you for sharing!
Completely amazing performance of this splendid music; moved me to tears.
A man only with his instrument. Bravo 👍🏻
Wunderschöne Aufführung dieses perfekt komponierten Tanstenwerks in verschiedenen Tempi mit schimmerndem doch warmherzigem Klang des technisch fehlerlosen Cembalos und mit sorgfältig kontrollierter Dynamik. Wahrhaft intelligenter und genialer Cembalist!
Dear Mark, how lovely to discover you here on this prestigious platform performing this wonderful music as delightful as you are only capable of doing. Merci beaucoup, dankjewel!!
That's a really beautiful performance. Bravo!
those ornaments at Sarabande.... My Lord.... mesmerized by it's beauty
Mr Edwards, what magnificent performance. Mind, heart, soul, Soli Deo Gloria, would say J S Bach. God bless!
So good to hear that Menuet I again da capo al fine, it's what makes this piece perfect!
Beautiful and articulate playing on a superb harpsichord, Herr Bach himself would have been deeply pleased by this lovely performance, which is very eloquent and rhetorical, qualities that are required for this exquisite music! Hats off to the harpsichordist seen here - the Partitas are very difficult but equally beautiful and rewarding for anyone brave enough to devote themselves to doing them justice as seen and heard here!
Very beautiful played🍃thank you
This is a piece I've never heard before but I will definitely enjoy!
너무나도 아름다운 음악
만들어주셔 감사합니다
잘 들었습니다♡
Literally perfect.
Proud to give 100 euros help your monumental mission of recording "All of Bach"
It is so wonderful to not only hear but also SEE the playing of this magnificent Partita.
Bach ha pasado más de 300 años y que hermosa.
Terrific, warm and clear playing!
What a wonderful performance. Thank you very much for posting these videos of your talented musicians.
stunning performance on that great Mietke -harpsichord.
Listened to this whilst working-- Bach really does help with creativity! Excellent, clear performance from the NBS! Vielen Dank!
The virtuoso performance of the Mark Edvards is further enhanced the obvious enjoyment of the artist in playing beautiful Bach partita in which Allemande remainded me why I love the work of my beloved Johann, so much 🎵🙂🎶
Utterly masterful - and beautiful!! Thank you NBS for uploading!
I was mesmerized by the music and when I woke up I was finalizing a gift through Paypal... Crazy!
Interprétation très originale! Excellent! Bravo monsieur!
Beautiful performance.
Только И.С. Бах мог создать музыку такой красоты. Благодарим NBS за прекрасное её звучание.
Приятно видеть русский комментарий)
Nonsense. Many great composers created equally beautiful and important works.
@@remomazzetti8757 Да, много талантливых и прекрасных композиторов, но И.С.Бах - звезда первой величины, по моему мнению.
Most exquisite performance of this sarabande I've heard
How absolute wonderful! Lovely phrasing, and so joyful.
Absolutely stunningly played. Very inspiring!
I love these keyboard partitas!
Wow - amazing performance - I particular like the Corrente.
Such clarity.
And that Gigue is really impressive….
prealudium (and the rest as well actually) played beautifully pathetic; with a poetic tristezza which is quite unique. top notch
A sound I always end up coming back to. The foundation!
Lovely. One rarely hears Bach played with so much rubato.
The performance has the quality of improvisation that seems entirely appropriate to this music.
Hey molto fine performance! :-) Can’t wait to see what you’ve got next…
This is a revelatory performance for me. I hope you invite him back to record the rest of the partitas.
Bach. Nothing else.
Beautifully articulated. ❤❤❤
Que hermosa musica ❤
Bravo. Thank you.
Que obra prima! Lágrimas surgem nos olhos de tanta beleza.
Beautiful!
If Bach was alive today, he would have moved to the Netherlands.
I was about to comment that it might be a bit atheistic there for his tastes…then I saw your username.
Not necessarily. We are enjoying Bach’s music from the Netherlands all over the world through internet.
When you have listened to the NBS, it does seem possible that Bach is, indeed, alive today and is living in the Netherlands.
@@bigfred233 exactly 😌
@@emfox6280 praying for the Netherlands every day 🙏❤️🇳🇱
Extremely beautiful
I myself now am learning to play at the piano Goldberg Variations and it is very easy to master a concert piano or a harpsichord.Its timber is jolly, cheerful, happy, and arpegiated.
Only I.S. Bach could create music of such beauty.
Stunning
Sounds so much better in Baroque B flat than modern B flat
FANTASTIC !!!
Brilliant!
Bravo
WOW It's my favorite part !
Damn that giga is clean!!
Bravo! From the Allemande not being played allegro, to the varied repeats and ornaments, a HIP as standard to which other performance should be measured.
Finally! Every Suzuki piano student will remember the last 2 movements
Who Made the Harpsichord? It sounds just right for this piece.
Yes. I would like to know too.
My guess is Bruce Kennedy, after Michael Mietke (c. 1710)
Correct. The instrument was built by Bruce Kennedy in 1989.
Fantastic GIGA
OUTSTANDING!
Extra terrestrial Music
Bellissima sinfonia
👏👏👏 Eccellente...
At times he reminds me of a good jazz vocalist who sings just a little behind the beat. In slow movements the right hand is never metronomic, but follows flexibly after the bass to lovely effect (as also with Francesco Corti). This is essential to expressiveness in an instrument with limited dynamic range.
Bravo 👏
Exquisitely lyrical and phrased. I learned this on piano in high school, at which time only a few recordings were available. One might think that the piano, given its range of dynamic capabilities, might have somewhat of an advantage over an harpsichord for playing lyrically. However, most of the artists who have made piano recordings of this play it . . . "dutifully, unvaryingly, precisely" . . . (one notable exception being Simone Dinnerstein, who captures the same lyrical quality as Mark in this performance). In this performance, the artist and harpsichord are an order of magnitude beyond those piano performances.
In my opinion, this is Bachs greatest Sarabande (when played on harpsichord), followed closely by BWV 826. Though, I do prefer the latter on a Piano.
If not the best, then one of the best Bach’s Sarabande 🙂
I agree with you! If you haven't heard it (a rare recording indeed) look up here on youtube Wanda Landowska's performance of the sarabande from this partita. I believe she only recorded partitas 1 and 2, but even though they sound very old, her Pleyel harpsichord with the lute stop is so brilliantly utilized, and her performance of the partita is quite powerful and unusual, and for that reason may not be to everybody's taste.
@@violinsinthevoid4579 thank you for the suggestion. I just checked it out, and whilst I do appreciate her playing, I can't really get over that instrument. The Pleyel Harpsichord has never sounded right to me, and I think there's only one instance I've ever thought it worked well.
Nagyon szep.
I expected more improvisations during the whole partita, kind of what he did during the final part of the Minuet, and not just simple mordents. To me it could be played with more joy and variety. Anyways this is much better that I could do.
Joli jeu ”romantique” de cette fabuleuse partita du grand Bach..un petit décalage historique ?
❤🎉
bravo!
Divine!
GREAT
Giga I love
Can’t wait for other partitas
The only way to play Bach!!
Csodálatos !
It's a tuning issue. Looking at his hands, it's definitely played in Bb. But by my ears, and by my piano, it's in A. The harpsichord must be tuned a half-step down from A440.
The harpsichord is indeed tuned in A415Hz (baroque pitch)
지금까지 들어본 이 곡 연주중 가장 아름다운 연주입니다. 정말 훌륭합니다. 연주자님께 경의를 표합니다.
❤️
I hear Scott Ross's influence in the allemande.
On a regular basis, musicians can memorize complex, extended pieces like this. How is that possible? What is the brain's mechanism for doing this? Animals like dogs and birds can memorize their names and complex commands. But this is on a whole different level.
Note: this is a rhetorical question.
There’s an almighty creator who can even remember each one of the billions of aspects of the life’s of the billions of peoples who have inhabited this planet for thousands of years. His memory is one to be praised with awe.
also - if fingers evolved to grasp and manipulate things, why can they also move with such speed, dexterity and subtlety as here? Rhetorical of course. And if the answer is God then who, what, when and where is this being.
@@stephenlee1756 read His Holy Word, the Bible, and you will know, God's promise is everyone who diligently seeks Him will find Him.
““I love those who love me; And those who diligently seek me will find me.” (Proverbs 8:17, NASB)
@@ynetsv136 good answer
You mean Cleveland/Oberlin's own Mark Edwards!