Anner Bylsma: Bach Cello Solo Nr.1, BWV 1007 (7.2000)
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- Опубликовано: 8 июн 2011
- J.S. Bach: Suite for Solo Cello, Nr.1 in G major, BWV 1007
I. Prelude,
II. Allemande (skipped here, see the video after the Nr.5, BWV 1011 (2/2))
III. Courante
IV. Sarabande
V. Menuett I,II
VI. Gigue
Anner Bylsma
(July 11, 2000) 
Видеоклипы
RIP Anner You Are A Great Musician
The master of Bach and baroque cello.
Wenn Musik einen im Innersten berührt, ist es Musik. Das hier ist Musik.
Das ist für mich mit Abstand die emotionalste und leidenschaftlichste Interpretation! Wundervoll!
das Alte Testament am Cello - und ich hab Bylsma von Anfang bis Ende gerne zugehört. Großartige Musikalität und superinteressant interpretiert!
I love the many great interpretations of this work, and there are so many great ones, of course, but for me, no one plumbs this work with the poetic depth and nuance that Bylsma does. Purely my personal preference, and yes, I love Rostropovich, Casals, Maisky, Yo-Yo Ma, and more, and they all bring their vision and individuality to the work. But Bylsma's vision seems the deepest to me.
RichardFeynmanRules I have the same idea.. He is the best. Poetic and pure.
I'm totally agree with you
by far the most mature. but i dont care for Rostropov....one you left out is Pierre Fournier
You've never heard such poetic depth and nuance? ......Listen to the Danish cellist Erling Blöndal Bengtsson. There you can talk about genuine musical depth and nuance. You have never heard a musician play with such understanding of breathing and phrasing as he does. Here each phrase is allowed to fully breathe out before the next phrase sets in. I admire Anner Bijlsma very much, but he plays all the turns far too quickly, not to say stumblingly fast. That's a great shame, considering the rest of his extremely beautiful performance. Blöndal Bengtssons playing, on the other hand, is all deep contemplation and peace and serenity and eternal bliss.
You may also, hopefully, enjoy the unique legato of Mr Bengtsson's playing, ......compared with the somewhat odd detaché style of Bijlsma's bowing.
@@Blightyish dude first of all bylsma plays in a neo-baroque style on a period instrument, so he is technically limited within Bach's intentions. In terms of phrasing and breathing, this is neither chamber music nor some romantic cello sonata. Even so, with the dynamical limitations of his instrument, this cellist is able to speak what very well may have been Bach's own words in his musicality. After all, however, this is only my opinion based on my own humble personal experiences with Bach and performing classical music, and is just preference in the end. It is quite disrespectful to one's preference that is within reason to label it as naïvety and inexperience and that you yourself are the only educated one. I respect your opinion, please respect ours.
hes my favorite cellist
00:07 I. Prelude
03:27 II. Allemande (skipped here, see the video after the Nr.5, BWV 1011 (2/2))
03:30 III. Courante
06:23 IV. Sarabande
09:09 V. Menuett I & II
12:37 VI. Gigue
The voice of Bach allowed to speak. Not the rushing mess you often hear. Amazing.
Das ist so bewegend und hinreißend gespielt, noch dazu in genau der Kirche, wo der Herr Bach seine Maria Barbara heiratete.
Stimmt! - 'bewegend' ...
Rip beste man. Wees verzekerd dat elke keer dat ik je hoor het kippevel krijg zo mooi.
What a marvelous performance. He is a true artist!
Anner, I would thank you for the emotions I have been having since I approached Bach through your interpretations, some 40 years ago. Now times have changed, and I can finally see you on You Tube. Thanks, many thanks, to win081 for posting that masterpiece.
Great Cellist Anner Bylsma.Thank you.
I couldn't agree more! Too often people state their opinions as if they are fact and then become aggressive an d/or abusive if challenged. Appreciation of the arts is always subjective and in music perhaps more than most. Unfortunately there is a great amount of ignorance and unreasonable bias also involved. These videos are here for people's enjoyment, not for uninformed and unpleasant criticism!
I miss this guy a bunch at least he'll be rememberd
love this tempo
Hes the best musician
this is the best prelude i ve ever heard, and i ve heard a lot lol
the courante is AMAZING!!! love it!!!
brilliant will still be an understatement!!
This is marvelous, such wonderful piece!
combien cela fait pleuré mon coeur..
Incredibly great!
I agree, yet what annoyed me the most is not that this guy disliked this, to which she/he is entitled,but that he/she suggested that there is only one acceptable interpretation of any given piece of music, an idea which I consider not only to come from at the least partial ignorance but that is also pretty intolerant and agressive to creative interpretations.
RIP Anne......
This is Bach... !!!!!
My favourite interpretation - it loses so much if you play it too fast, this is exactly perfect.
Ya, savor it a bit.
Absolut Perfect!!!
Vielen Dank!
Stunning!
Marvelous tone, intonation - all with a fine phrasing that is, all at once, both energetick, yet reserved. Would 'sublime' be the adjective? Yes, for me it would be!
Wonderful !
RIP ANNER
Heavenly! Thank you!
優しく心に伝わるバロック チエロ・の響き いいね。
beautiful !
thanks
THE BEST
Bylsma knows this music so well and so deeply that he plays it differently every time, and in different times of his life. He chose this slow tempo this time, another time it may be different. However, the line is entirely evident no matter what tempo he is playing. I suggest you leave your own habits out of it when listening to a master play and try to hear his depth of life experience.
I hope To Get This Good At 50
Bravo ,what a haunting melody played with passion and feeling ,goosebumps galore !
Very persuasive.
Anner Bylsma, nom de scène d'Anne Bijlsma, né le 17 février 1934 à La Haye et mort le 25 juillet 2019 à Amsterdam, est un violoncelliste néerlandais, à la fois interprète du répertoire moderne et du répertoire baroque sur instruments anciens.
Biographie
Étant donné que le prénom féminin d'Anne était source de confusion, il s'est ensuite appelé Anner. Anner Bylsma reçoit ses premières leçons de musique auprès de son père, violoniste, tromboniste, chef d’orchestre et compositeur. Il étudie auprès de Carel van Boomkamp au Conservatoire royal de La Haye qui l'initie à l'art du violoncelle baroque[2], et remporte, en 1959, le Premier prix au Concours international Pablo Casals de Mexico .De 1962 à 1968, il est violoncelle solo à l'Orchestre du Concertgebouw d'AmsterdamTrès tôt, le violoncelliste a fustigé l’utilisation des cordes en acier pour utiliser des cordes « baroques » en boyaux qui magnifient sa sonorité et son expression musicales.
Pour le répertoire baroque, il joue sur un Goffriller de 1695 et pour le répertoire moderne sur un Pressenda de 1835. Il utilise également un Stradivarius de 1701, le Servais, que lui prête le Smithsonian Institute de Washington. En 1979, Bylsma enregistre les six suites pour violoncelle de Bach, la première du genre sur un instrument d'époque. Il enregistre avec un Stadivarius de 1701 sa seconde version des suites de Bach, près de 20 ans après la première.
Bylsma était marié à la violoniste néerlandaise Vera Beths (mère de l'actrice néerlandaise Katja Herbers ). Ils ont eu un fils et une fille, la réalisatrice de documentaires Carine Bijlsma.
awesome
Wow, never heard of it like this before
Great....
Rip Anner Bijlsma
Thanks for your Master class arenas de san Pedro
Very good!
indeed. i can't understand how people attempt to assign 'objective' assessments to what are wholly subjective experiences of each person who listens and/or views works in the performing or plastic arts. i've never been able to tell another person that they shouldn't like some form of artistic expression, even if i can't stand it. the only thing i had to clarify one time to a student was that a sunset is nature, not art, but they can certainly be beautiful and inspire wonderful artworks.
Magnífico!!!
Perfect!!!
BEST
I think anyone who takes the arts seriously will agree that you can establish criteria by which you judge something, and that can make your assessment more valid and accessible to others. If you say 'well people just like what they like' it all falls apart. You wrote this a year ago, but you're a top comment for one of my favourite interpretations.
It is not wholly subjective, but also an intellectual experience. You can like what you like, but you can know why something is more impressive too.
Excellent.
Fantastic!!
Do you know where I find this recording? (this interpretation)
Thanks
Hallo Lieber! Joao Escossia!!!Danke meine Kinder spielt auf Cello.nochmal Dankeschön.
懷抱著十字架
R.I.P. - 07/25/2019
Williamstown William is in good 👍 👏 😀 👌 🙌 😳 👍 👏 😀 👌 🙌 😳 👍 👏 😀 👌 🙌 what a day.
William is my best friend ❤️ 💕 💓 💗 💛 ♥️ ❤️ 💕 💓 💗 💛 ♥️ ❤️ 💕 💓 💗 💛 ♥️ ❤️ 💕 💓 💗 💛 ♥️ ❤️ 💕 💓 💗 💛 ♥️ ❤️ 💕 💓 💗 💛 ♥️ ❤️ 💕 💓 💗 💛 ♥️ ❤️ 💕 💓 💗 💛 ♥️ ❤️ 💕 💓 💗
INTERESANTE QUE TOQUE A LA USANZA ANTIGUA CON INSTRUMENTO BARROCO,,,, UNA INTERPRETACIÓN MUY DIFERENTE,,,, CON UN SONIDO MUY PROFUNDO Y LIMPIO,,,,:)
This is best performance on cello without the stand. On cello with a stand, Starker is the best.
A little slow I thought, it loses the feeling that Bach's music invokes. Then he has a different tempo from bar 22 . I like this piece played by Paul the best. Tortellier
@ZSSolomon have you actually ever seen a bach manuscript? how "precise" and "clear" can black dots on a piece of paper be? Also, when did Bach last tell you what he meant? Just curious...
Mais sur quel instrument joue-t-il? Le Goffriller, le Pressandra ou le Servais? Vu le montage baroque, je pencherais pour le Goffriller.
le servais
yves guimard c'est un violoncelle
440 tuning. Anyone know when he started doing this or in what circumstances?
Where can I buy this recording???
Con cuerdas de tripa y sin pica, la Excelencia Holandesa
🍋💙😉
RIP ♥ :'(
id beg to differ, Rostropowich is incredble
12:36
I sincerely hope that you may play so awfully well in your lifetime!!!
is this the recording using the servais?
no. it is the gofriller.
the servais stays in the smithsonian institute in washington!
6:23
i play the sax and cello
WHY DO U SKIP THE ALEMANDE ???
ruclips.net/video/GKloR7tK394/видео.html
Why is allemande skipped? That's a crime
Wie vielen Kirchenakkustick braucht er um ein Prelidium so ecsessiv in drei verschiedene Tempi zu spielen ?
While I enjoy this rendition, I believe that every movement except for the prelude should have been played with a steady rhythm, and maybe a bit faster for the minuets and courante. My reasoning is that these were meant to be dances, while the prelude was an improvisation left open to interpretation. Then again, who cares.
Yo Yo Ma has nothing on Bylsma.
Why no end pin?
In the baroque period (when Bach was alive), cellos did not have endpins - this was a later invention. As a result many modern "baroque cellists", or people who decide to play in a traditional style, will play with an instrument that is more similar to one which would have been used at the time. So, no endpin, gut strings rather than steel, and often some changes to the structure of the cello. :)
He does have an endpin: if you look closely you will see that it is one of those modern ones that goes from the bottom of the cello on to the seat of the chair. All he has to do is sit with his rear on the extended pin that looks like a miniature bicycle seat to hold that cello firm. Much better than that oldstyle wobbly pin poking into the floor. All the cellos built in Bach's/Stradivari's time had those old fashioned floor pins. If you go back further in time, before the modern Stradivari cellos, some of them indeed had no pins.
@@alooshanotea2753 Sorry, This is nonsense that you’re writing.
Interessantes Tempo......
This is how the cello ought to sound.
Judicious use of vibrato--in Bach the vibrato is more or less an ornament, not to be used on every note. With the rest of cellists vibrato is autonomic, all vibrato, all the time, max speed and depth, from the very beginning of the note. After five minutes of it I've had enough.
Bylsma also understands that the use of exaggerated agogic accents (talking to you, Yo-yo Ma) utterly destroys the rhythmic integrity of the line. This is dance music. It's supposed to have a beat, for God's sake.
Except for the gigue (way too fast), bravo, bravo, bravo.
Wonder why skipped the Allemande. My favorite music.
BANTER, BICKER, BICKER, BIGGER, BETTER, BEST
THE SLOW ONE NOW WILL LATER BE FAST
KEEP YOUR ONE EYE FIXED WHILE YOUR OTHER ONE
TRIES TO FIGURE OUT HOW TO PLAY AS GOOD OR AS WELL AS ANNER
Baroque in every aspect. Better than Rostropowich
@ZSSolomon Certainly not. I doubt that Bach looked like this bitter character you present. You argue a lot, for free. This is often the lot of incompetents.
3 russian cellists don't like this....
you can't compare a modern interpretation like rostropovichs to a baroque one
Yes yes just like some people think mc donalds is more highclass then the olive garden many people would probly say the olive garden is better but everyone is entitled to there own opinion or there own analysis of it.
He tries to suck out music from every note. He skipped the Allemande who knows why ? He sticks to the score without any embellishments trilles or apggiaturas which Papa Bach would wish some personal touch. He playes the old period cello without a pick holding it instead between his legs . Bylsma influenced many players to embrace the old instruments practice which sound is unique and more appropriate.
If Bach really wanted all of these tempo changes all the time... I am pretty sure that he would mark them.
You don't understand the baroque era at all do you? 😂 I'm one to stick to a more rigid tempo in Bach, but music of the era (especially for a solo instrument) was generally performed in a way that felt improvisatory. Ornament, dynamic variation, and fluid tempo are the keystones of this improvisatory feel. The genius of bach is in structure and counterpoint. As long as what you do doesn't get in the way of those two things it is a matter of interpretation
Many solo Baroque Preludes could be play freely like a Fantasy. Other Suite movements are dance related and still in some of them could have more freedom as they are not written to be dance with. It depends.
The older Bylsma got the more freedom he took in his interpretations but always keeping logical phrasing and accents.
lol how is this "baroque in every aspect" with his tempo changing every 5 measure
Rostropovich and Dupre are the best when it comes to Bach
Also personally I think its awful to play like this playing rubato everywhere
too "exaggerated" :P again, just an opinion
@Greentighy When it comes to Bach, Rostropovich is the only one that I would never choose (and I do like him otherwise). As to the rubato issue, go get informed.
The crescendo in Cello suite 1 doesn't do it for me at all, it's too slow and the feeling is just lost
this super slow tempo makes it hard to get a sense of line and phrasing. i realize he is the definitive on the "true baroque" interpretation, but it leaves a lot to be desired.
boring
Very bad interpretation. Bach would have killed him. Bach is not to be interpreted anyway. He was very precise and clear about how to play his music. This rollercoaster ride does not even come close to what Bach meant. I dislike musicians who do this many interpretations when playing... though on the other hand it's their only way of becoming "unique", so who am I to blame them for wanting some fame in a world where being unique counts more than just being good, even if it's the "normal" way.
How do you know how the Suites would have been played in Bach's day, there are no surviving recordings.
@What about it!? You seem really clueless. Interesting how you claim knowledge of „what Bach meant“ - you ridicule yourself.
Many solo Baroque pieces are ment to be played like fantasies. Depands on the style of the movement. Preludes could be more free.
Very sorry, but I gave thumbs down because Imhad turned the volume way down as I had earbuds in, and then the volume of the ad came on full blast. I am beyond annoyed with that. From now on, all thumbs down until that horrible decision is fixed.