Gidon Kremer: Back to Bach (Documentary) - with English subtitles

A good twenty years after his first recording of Bach's Partitas, Gidon Kremer has rethought these unique works and now offers a new interpretation of them. In a perceptive documentary, the master violonist talks about his view of this music and of the way in which over the years Bach has repeatedly permeated his life as both man and artist. This is a film about a great musician, about otherwordly works and about the secret of music making.
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His violin bow swooshes through the air like a saber. Again and again, the final bar of the famous E Major Partita for Solo Violin fills the empty baroque church in Lockenhaus. Gidon Kremer has holed up for several days here in the Austrian state of Burgenland to record Bach’s three solo partitas. It will be his last encounter
with these milestone compositions in violin literature.
The film accompanies the famous violin virtuoso for one week, showing rehearsals, recording sessions and discussions with a few trusted confidants. For Kremer, born in Latvia, this is an important time in his life: “Bach accompanies a musician his whole life,” he says, recalling his first performances of the composer’s works. Kremer is, and has always been, one of the most headstrong and original artists in the music business.
The film goes on to show his other encounters with J.S. Bach’s works. In the early 1980s, after being declared a persona non grata in the Soviet Union, Kremer moved to the West and made a recording of the solo partitas. The Phillips record went down in music history and for decades was the benchmark in the music guild. The young virtuoso was catapulted to fame virtually
overnight in the Western world. Archival footage shows the gawky, long-haired Kremer at his first concerts - he hasn’t played the partitas in public for over twenty years. “But there are important works to which a person always returns, and my desire has grown to return to Bach,”
he says in a discussion with both filmmakers, Daniel Finkernagel and Alexander Lück, who followed the musician’s career for five years. The film shows Gidon Kremer’s most important encounters with Bach. It is a deliberately subjective and non-chronological biography. In a very personal way, the film Gidon Kremer - Back to Bach portrays an artist’s attempt to answer this question. Showing Gidon Kremer’s engagement with Bach, it reveals the most
important artistic and personal developments of his life.
TV Directors: Daniel Finkernagel, Alexander Lück
Produced by: finkernagel&lück, EuroArts, RBB/ARTE

[@michaeldumas4907]

I like his thought process to seeing Bach...as he said there are thousands of ways to see Bach and mine is just one of them...the problem with musicologists is they do not take into account the "feelings"....well put by Gidon

[@ROBINdulce]

¡Magnífico documental!
La notación disponible para los compositores brinda la suficiente libertad de interpretación.
El mismo artista cambia con el tiempo la manera de abordar una misma obra.
Sofiya Gubaidúlina hace la conexión de las obras de BACH con una ofrenda contemporánea para liberar el Espíritu.
Yo aprendí francés con las canciones de Jacques Brel, comparto pues el entusiasmo por su capacidad de conmover al público.
El propio Gidon Kremer nos invita a aprehender el sentido universal de las obras de Johann Sebastian Bach.

[@Euroarts]

Muchas gracias por tu comentario Salvador! :) Nos alegra saber que te ha gustado el documental!

[@gerardoyanez9072]

Realmente exelente intérprete de la música del Titán J.S.Bach.
Un documento visual y acústico que dá y dará muchas troncales instructivas a los jóvenes violinistas.

[@ClaudioCesarGuglielmino]

Thank You

[@YQ2138]

Danke♥️💐☕️👏

[@tim2muntu954]

Wonderful.

[@lizagacol6611]

Wunderbar

[@raoultak]

Beautiful

[@eporze]

Un Artista integro,lleno de sentimientos a expresar.En un dialogo espiritual,personal y profundo,con el Cantor de Santo Tomas!!.-

[@ritamonkovich1469]

Are you the composer of piece to violin solo dedicated to Ukrainian children? As being the composer by myself I find this piece interesting - except the citing of Ukrainian song. This post is written here and not as my impression of the piece because of my cmp's disability to send the message in the requested place - those who are my correspondents already know about this weakness.

[@fusekaire]

0:14 What is this song?

[@JustFiddler]

have no idea

[@OttoKuus]

Presto from the 1st partita (double of courante)