Jean-Guihen Queyras: Bach Cello Suites - Suite 2, Sarabande: Hommage to Ingmar Bergman.

Jean-Guihen Queyras takes us on a journey into the secrets of one of the most famous works for cello solo. His guest in this episode is French jazz vocalist Camille Bertault.
Rostropovitch at the Berlin Wall, Ingmar Bergman in his drama “Through a Glass Darkly”: This Sarabande has been an incarnation of longing and tragedy for three centuries. We will explore how Bach constructs its compelling dramaturgy.

[@TheMatthalto]

Thanks for all these informations 🙏

[@anita-maekahan3123]

Merci beaucoup Jean-Guihen! Ces vidéos sont superbes

[@asherwade]

Loved hearing your insights into this awe-inspiring 2nd Sarabande by JS Bach. I've been "enraptured, captivated" by Bach for the last cir. 56 years; first via Piano (also Yamaha ❣), then on the violin and later with the viola {Bratche`}.
Your spoken words truly [for me] embrace the cerebral-emotive essence of what I feel, not only within, but, indeed, via the instruments I play which resonates, as Rostropovich says, "the Living presence of Bach, himself, in the performance of his music." ~ Thank you very much.

[@natalierobinson143]

Thank you so much for creating this wonderful series. I really appreciate the skill and time you devote to each episode. But more than that, you demonstrate a generosity of spirit in bringing all of your experience, knowledge and deep insight into each and every movement. Your obvious love for the music is inspirational, and through this series you are making Bach accessible and relevant for all. Thank you.
I also have a question about how Bach chooses and uses the different keys. Obviously there's the practical consideration that some keys simply sit more comfortably on the cello, and Bach makes full use of this (I appreciate that he wrote wonderful music that even beginner/early cellists like me can sink their teeth into). But more generally, i.e. beyond the cello, I wonder if you could explain whether some keys had particular or special meaning for Bach. And how we can understand and express this in our playing? Thank you (from New Zealand).

[@MusicaAngela]

I loved your insights into this Sarabande, especially your explanation of the last few bars, that Anna Magdalena wrote what Sebastian really intended.

[@goodluckchilerens]

steve nash？