This fine performance strikes me as an extreme manifestation of the (quite justifiable) idea that the default style for bowing in the Suites ought to be détaché rather than legato: an approach that is, one might say, spoken rather than sung. It's a challenge to make it work on a cello with a modern (rather than a Baroque) set-up, and using a modern bow. Peter Schmidt pulls it off admirably.Bravo!
Запись полное говно! Как так играть можно? Сарабанда это похоронное шествие!музыкальный смысл постоянно обрубается и игра бессмысленная ! Штрих хто вообще отдельная история, голосоведение, менуэт в таком темпе станцевать не возможно!а второй менуэт на удивление по всем правилам сыгран... Оба менуэта должны идти в другом темпе
I think you are unfamiliar with the "language" of Bach. If you are interested, you should consider listening to the "Brandenburg" Concertos. There are many recordings on the Internet. You might try the 5th Brandenburg Concerto, which usually has a piano or a harpsichord that plays with the strings. You probably have no idea what "counterpoint" is. It is the mixing of separate "lines" of melodies that have their own "definition" as they go along. Expressing "counterpoint" is almost impossible for a single string instrument. Bach uses as form of "suggestion" to get across the fact that he wants "separate lines" to co-mingle with each other. In order to understand that, you need to "know" his language, which is very different from what you are used to hearing. For now, if you are interested, just listen to the times when Bach plays a very LOW note. That is often how he identifies when to "end" a sequence of sounds. The cello should almost appear to "breathe" the sounds, which this soloist does. It has been a year since you posted your complaint, so chances are you will never read this. But I hope somehow you do. I wish you luck and am glad you came to listen...even if to complain. Sanjosemike
@@sanjosemike3137 You must be a very kind and friendly person that you give a highly sensitive answer to a highly rude and insensitive comment. The universe thanks you for that. You will be rewarded for this comment that's for sure. It certainly wasn't a waste of time.
@@peternemeth1777 Your kindness is overwhelming. For “fun” I love singing in German Jesus bleibet meine Freude along with Voces8. Their German is perfect. Much better than mine. I usually wait for my wife to leave the house. Then I turn on the stereo really loud! I am not actually a Christian. I don’t think Bach would have cared. Sanjosemike (no longer in CA)
The intonation bothers. F and F# are both high. It makes for a raw feeling, like a rash. At times I think he purposely is playing in equal temperament...maybe he is a slave to a chromatic tuner. Anyway, me no like it.
I cried in the first few seconds. Bach's music brings me to my knees and I applaud your interpretation!
Ameryn Peters fuck off ed sheeran
Amazing. 😍😍😍
Magnifique ! Merci !
Perfect! I'm preparing this suite for piano.
This fine performance strikes me as an extreme manifestation of the (quite justifiable) idea that the default style for bowing in the Suites ought to be détaché rather than legato: an approach that is, one might say, spoken rather than sung. It's a challenge to make it work on a cello with a modern (rather than a Baroque) set-up, and using a modern bow. Peter Schmidt pulls it off admirably.Bravo!
David Steven Tabbat yeah~~~~~
Magnificent cello masterpiece - and most unreal, Godlike It's part is Courante!
Excelente!
Belo!
wenn es Ihnen nichts ausmacht zu sagen: wer hat dieses cello gemacht?
Запись полное говно! Как так играть можно? Сарабанда это похоронное шествие!музыкальный смысл постоянно обрубается и игра бессмысленная ! Штрих хто вообще отдельная история, голосоведение, менуэт в таком темпе станцевать не возможно!а второй менуэт на удивление по всем правилам сыгран... Оба менуэта должны идти в другом темпе
I'm sorry but I couldn't listen to this any longer sounded like a cat being strangled
I think you are unfamiliar with the "language" of Bach. If you are interested, you should consider listening to the "Brandenburg" Concertos. There are many recordings on the Internet. You might try the 5th Brandenburg Concerto, which usually has a piano or a harpsichord that plays with the strings.
You probably have no idea what "counterpoint" is. It is the mixing of separate "lines" of melodies that have their own "definition" as they go along.
Expressing "counterpoint" is almost impossible for a single string instrument. Bach uses as form of "suggestion" to get across the fact that he wants "separate lines" to co-mingle with each other. In order to understand that, you need to "know" his language, which is very different from what you are used to hearing.
For now, if you are interested, just listen to the times when Bach plays a very LOW note. That is often how he identifies when to "end" a sequence of sounds.
The cello should almost appear to "breathe" the sounds, which this soloist does. It has been a year since you posted your complaint, so chances are you will never read this. But I hope somehow you do.
I wish you luck and am glad you came to listen...even if to complain.
Sanjosemike
@@sanjosemike3137
You must be a very kind and friendly person that you give a highly sensitive answer to a highly rude and insensitive comment. The universe thanks you for that. You will be rewarded for this comment that's for sure. It certainly wasn't a waste of time.
@@peternemeth1777 Your kindness is overwhelming. For “fun” I love singing in German Jesus bleibet meine Freude along with Voces8. Their German is perfect. Much better than mine. I usually wait for my wife to leave the house. Then I turn on the stereo really loud!
I am not actually a Christian. I don’t think Bach would have cared.
Sanjosemike (no longer in CA)
The intonation bothers. F and F# are both high. It makes for a raw feeling, like a rash. At times I think he purposely is playing in equal temperament...maybe he is a slave to a chromatic tuner. Anyway, me no like it.