A revelation! I have always shied away, even resisted the harpsichord finding preferring the rich sonorities of the piano. However, I have been blown away listening to this. For the first time i can hear colours that I would never have associated with the instrument. Many thanks Mr Hill for giving me a new appreciation of this evergreen work.
@@beasheerhan4482 I am listening, and I'd be willing to wager many others are as well. It's a shame your bitterness and hatred prevent you from receiving the message of peace and open-heartedness that Mr Bach and Mr Hill have jointly left for us here. Soli Deo Gloria, my good woman.
Loved and feeling moved by the beautiful introduction, and the idea of start the concert with it is so fantastic, so much in the spirit of Bach Ecstatic invention. Thank You for giving this to the world Maestro Robert.
Celui qui a dit que le clavecin n’avait pas la sensibilité du piano, ni sa subtilité, celui-ci devrait vous écouter plus souvent .... Merci de mettre votre talent au service de cet instrument !
My Dear Mr Hill - I have been a great admirer of your playing for many years, after first having read your article 'Echtheit angezweifelt' with great interest in 1985. I first started listening to you in your Musica Antiqua Köln days. I also went to great trouble to track down all three of your "Young JS Bach" Hanssler CDs, which were truly magnificent. Thank you for the peace and inspiration your music has provided me for all these years. I am greatly in your debt. Incidentally, your brother builds a very fine Pascal Taskin as well. Hats off to him too!
Well you sure spend your time wisely. Mr Hill blows it out. I listened to many versions; this one opens new doors. I love itt, this guy is something else.
I simply love this work. This is the third time in a row that I listen to it. And the fact that Mr. Hill plays it on the harpsichord just adds a touch of fantasy to it that the piano cannot deliver. Thank you so much for giving us this beautiful art Mr. Hill, and Bach, of course!
Thanks for your comments. If you wish to listen to this performance over again, you can send my your email address and I can provide a link to download a higher quality version.
Hi Robert, I was in the audience of a performance you gave of this piece at a church in Grand Rapids, Michigan, I think around 1976 or 1977. The instrument on that occasion I remember had walnut veneer and carvings and was also made by your brother Keith Hill. I visited him in his shop on S. Division a few times. Wonderful to hear it again, and thank you for uploading. All best wishes.
it is such an honor to thank this man! very pleased to send a comment to Mr.Robert Hill. i feel so small lol thank u sir for all your deep research into bach keyboard works. such an honor to hear this now live! thank u ps( u and michael behringer 2 of the best harpsichordists ever. such sentivity to both.
The jolly ornament in Quodlibet is out of this world, even special for me who isn't necessarily a fan of heavy ornamentation by Bach. Thank you Mr. Hill, fascinating interpretation.
Some mistakes in performance can distract a bit here, but in other aspects - this is the most beautiful rubato I've heard ever, this recording proved for me that even more boring variations can shine in their own way, and endings of many variations (various g major cadences) just send shivers down my spine, they are extremely beautiful Wish I could play like mr. Hill, especially rubato :D
Maestro, con un muy buen amigo mío nos hemos dado a la tarea de buscar y escuchar (en estas últimas semanas) numerosas interpretaciones de las Variaciones Goldberg, y ha sido un gran hallazgo el descubrir su interpretación, le agradezco el darnos la posibilidad de disfrutar de esta gran obra.
Many thanks for your remarks, you are clearly responding in the way that I imagine listeners in Bach's own time listened and responded: Music is NOT sound, music is CARRIED by sound!
Ow !! Great , such an interpretation, i mean this one has a special effect, the beginning everything, i think it's my best harpsichord version !!, happy i'm here , thank you very much Robert Hill , this made my day
Glorious rich sound! I was in the mood for Goldberg and stumbled upon your inspiring performance. Sounds much like my Sabathil harpsichord, which has an aluminium frame. Thanks for sharing!
In Variatio 25 à 2 Clav. adagio, is it true that the left hand should be playing on the lute setting? The small number of times I've heard it played like this, it always strikes me as the right way...greater, deeper emotional impact. Incredible!
There is no way to know if Bach might have had a lute stop on his harpsichord, and if he might have played Var. 25 with the LH on the lute stop, as I (and some other players) do. I choose this registration because I think it helps the listener to focus on the declamatory effect of the melody, which you apparently react well to (which of course pleases me very much!). If you notice, I also play Var. 24 on the lute stop, which has the effect of reducing the brilliance of the sound of the harpsichord for the 3 minutes or so of Var. 24; when the RH enters in Var. 25, the listener (I assume) perceives the melody voice as more sostenuto, and therefore more like an actual human voice, which is what I am trying to emulate. Thanks for listening!
Dr. Hill-I’ve thoroughly enjoyed this and many other recordings you’ve made over the years. Your interpretation is very unique compared to other recordings, particularly with respect to the ornaments and also the tempo variation within a line. It’s my impression that the tempo variation is how this piece was originally performed. Can you provide some insight on this? The reason I ask is that almost every other recording plays the tempo within a movement very even, but yours varies. It’s extremely interesting and a wonderful style. Thank you.
Art, Thanks for your comments, especially about the principle of tempo variation. The short answer to your question: the almost universally accepted present-day understanding about counting practice in the 18th century is that the pulse, or counting unit, was relatively quick and very stable. The broad acceptance of this assumption is what lies behind most of those performances you are referring to, with a very even tempo. However, it is important to bear in mind that this model of counting, seen in historical perspective, is arguably a fairly recent convention. The evidence for this lies in the counting behavior found in early 20th century recordings of classical music, especially those recordings made before the first world war, that is, between ca. 1890 and ca. 1915. While the counting conventions practiced at the end of the late-Romantic period may on the face of it not seem to have much to do with 18th-century counting practice, a counting approached based on analysis of pre-WW I recordings has in my experience proven extremely effective at mitigating the most intractable problems in developing an expressive style of harpsichord playing. The harpsichord is an instrument for which the manipulation of time is its most potent expressive resource. The clear accents of attack as well as release of notes make it very easy to perceive even the tiniest variations of timing. Since the harpsichord sound itself is relatively homogeneous within a given color, that makes it even easier for the listener to hear clearly timing nuances. But performing expressive timing well takes a great deal of practice, and careful guidance to learn it. If the musician does not allow him- or herself to integrate expressive timing as part of their understanding of the resources of the instrument, the results can easily come across as badly proportioned, exposing the player to criticism on that score alone. But in order to fully embrace the techniques necessary to master timing as an expressive resource, the musician also has to be made aware that the counting paradigm they have been taught needs to be seen as a modern paradigm. It may be well suited to the performance of most 20th century repertoire, but applying it unquestioningly to earlier repertoires inhibits a whole range of potential musical expression. Whether that spectrum of musical expression is historically provable is moot, since it is also not possible to prove beyond doubt the universal relevance of the modern counting paradigm. To summarize: the musical behavior of the harpsichord exposes a fundamental weakness in the modern counting paradigm. Adapting late-Romantic counting practices to earlier repertoires has proven to be a successful method to broaden the musician's sophisticated use of counting procedures.
@@RobertHillearlymusic wow This is like an online masterclass for free Thanks so so much I've heard about what Glenn Gould said about expressive timing, but what you said makes even more sense...I guess the last few decades have seem such surge in interest and research of period music as period music Thanks professor Hill
Forget glen gould, I thought my records melted in the car because of the inane HUMMMM, and it’s such a different instrument. This comment was, as you said, a MASTERCLASS. The subtitles of timing are making me hear new notes. History matters. Without people like Mr Hill, it all gets lost. The white race is on death’s door. This is our heritage. They ((())) are killing our people and their minds. It is of utmost importance that Mr Hill and his knowledge and artistry be preserved for the future of the White race. Sure go ahead and share it if you desire. But it is essential ESSENTIAL I say for the posterity of our race. We will all soon be dead. Will Mr Bach and his courier Mr Hill survive? ONLY IF WE MAKE SURE OF IT. you already know what I am saying. Do you even care about western civilization? WE WILL SEE.
Where and why was my soul sleeping all these? No matter, now that your most beautiful, free-spirited and interesting interpretation - awakens it with the sound of this great masterpiece. Bravo and thanks for uploading. By the way - on which harpsichord you play here?
I didn't realize you were Keith Hill's brother! I studied with Ed Parmentier at Michigan, who of course has had several of Keith's harpsichords. Such glorious instruments!
Robert Hill very often plays with instruments made by his own brother, Keith Hill, so he would be my first guess on who made it. I have no idea what it could made after. I still think it's a good idea to give his website a read because he goes indepth about some of the keyboard instruments he made.
Mr. Hill. How does one justify the elaborate introduction when none is given in the original score? I thoroughly enjoy your interpretation but feel the introduction does not provide a truly authentic performance of Bach's intentions. Please comment on your rationale to add the introduction.
Henry, Thanks for your question. Improvising a prelude before beginning a piece of music was a very common feature of instrumental performances in the 18th century, and not just on harpsichord. We can add to this the issue that the Goldberg Variations are a musical text that is very widely known to listeners. One of my goals as a performer is to bring my listeners to a place where they experience a musical text as if for the first time, even though they may know the text intimately. Taking the listener through a prelude based on the harmonic scheme of the Aria is essentially performing a variation in advance of the variations to come, to act as a portal to enter my world of the Goldbergs. Robert Hill
![YoungBoy Never Broke Again - Catch Me [Official Video]](http://i.ytimg.com/vi/KxwEXXFQMTY/mqdefault.jpg)
A revelation! I have always shied away, even resisted the harpsichord finding preferring the rich sonorities of the piano. However, I have been blown away listening to this. For the first time i can hear colours that I would never have associated with the instrument. Many thanks Mr Hill for giving me a new appreciation of this evergreen work.
Thanks for your feedback! It is listeners like you that I play for.
it is necessary to know HOW to play an harpsicord in order to make it properly sound :) and it has colours and nuances ...
Robert - you are an incredibly generous and great musician. Thank you.
tbl2001
Thanks for listening!
Who said he was listening? After all these years, and you still think someone is listening?
@@beasheerhan4482 I am listening, and I'd be willing to wager many others are as well. It's a shame your bitterness and hatred prevent you from receiving the message of peace and open-heartedness that Mr Bach and Mr Hill have jointly left for us here. Soli Deo Gloria, my good woman.
@@jasonhurd4379 Dear Jason, you are projecting, though, as it is unwittingly so, it has to be let go. Be well!
@@beasheerhan4482 I revisit works. I am doing so know.
The improvisation was a very pleasant surprise ☺️
Can’t stop this guy!!!!
very impressive Mr. Hill
Loved and feeling moved by the beautiful introduction, and the idea of start the concert with it is so fantastic, so much in the spirit of Bach Ecstatic invention. Thank You for giving this to the world Maestro Robert.
Celui qui a dit que le clavecin n’avait pas la sensibilité du piano, ni sa subtilité, celui-ci devrait vous écouter plus souvent ....
Merci de mettre votre talent au service de cet instrument !
What a thoughtful and æsthetically genial interpretation. Marvelous playing. Just beautiful. Thank you RH!
My Dear Mr Hill - I have been a great admirer of your playing for many years, after first having read your article 'Echtheit angezweifelt' with great interest in 1985. I first started listening to you in your Musica Antiqua Köln days. I also went to great trouble to track down all three of your "Young JS Bach" Hanssler CDs, which were truly magnificent. Thank you for the peace and inspiration your music has provided me for all these years. I am greatly in your debt. Incidentally, your brother builds a very fine Pascal Taskin as well. Hats off to him too!
Hello, I just saw your comments, thanks very much for them, and thanks for listening!
Well you sure spend your time wisely.
Mr Hill blows it out. I listened to many versions; this one opens new doors.
I love itt, this guy is something else.
I can hear more notes here than any other recording
Excellente interprétation ❤❤❤❤
Yes!!
I simply love this work. This is the third time in a row that I listen to it. And the fact that Mr. Hill plays it on the harpsichord just adds a touch of fantasy to it that the piano cannot deliver. Thank you so much for giving us this beautiful art Mr. Hill, and Bach, of course!
Thanks for your comments. If you wish to listen to this performance over again, you can send my your email address and I can provide a link to download a higher quality version.
Please send me the link. Thanks!
ing074@yahoo.com.ar
Just sent it.
Robert Hill Thank you very much!
Wonderful Quodlibet !! I like very much your good sence for the Bach ornamentations in all Variations and Aria .
So rarely one can enjoy Live Music . I feel it not by ears - by heart !!! Tepper Michael.
Hi Robert, I was in the audience of a performance you gave of this piece at a church in Grand Rapids, Michigan, I think around 1976 or 1977. The instrument on that occasion I remember had walnut veneer and carvings and was also made by your brother Keith Hill. I visited him in his shop on S. Division a few times. Wonderful to hear it again, and thank you for uploading. All best wishes.
‘70’s my man
Nothing like it.
This is magnificent. Like listening to an ancient palace sing of the people who walked within it and their stories.
Holy shit bro!!!!!
You have the proper imagination!!!!
Yo man you like that hp lovecraft?
The quest of iranon, the other gods, memory, you Already kno.
it is such an honor to thank this man! very pleased to send a comment to Mr.Robert Hill. i feel so small lol thank u sir for all your deep research into bach keyboard works. such an honor to hear this now live! thank u
ps( u and michael behringer 2 of the best harpsichordists ever. such sentivity to both.
Preciosa improvisación introductoria. Magistral interpretación. Mil gracias
Caro Maestro, è un gran piacere riascoltarti, magnifica esecuzione. Un grande abbraccio. Donatella Mitolo
Grazie, Donatella! How is the baby (by now a growing boy!)?
Words fail me. Wonderful in every way. Thank you.
Very nice indexing. With a very pretty touch in french style but inside of the Bach music
Bach known for improv,
sounded almost similar to das wholtiempre,
GREat to include bru.
The jolly ornament in Quodlibet is out of this world, even special for me who isn't necessarily a fan of heavy ornamentation by Bach. Thank you Mr. Hill, fascinating interpretation.
Damn bro what’s quiloit? [sp{
I NEED to know
Just tell me man
Quilibet
Quolibet
Wondrous music and playing!
Danke sehr! Es ist schön. Vielen Dank .
Wow.... VERY nice. Thanks for posting!
Some mistakes in performance can distract a bit here, but in other aspects - this is the most beautiful rubato I've heard ever, this recording proved for me that even more boring variations can shine in their own way, and endings of many variations (various g major cadences) just send shivers down my spine, they are extremely beautiful
Wish I could play like mr. Hill, especially rubato :D
Oh crap you heard that too lolol
Maestro, con un muy buen amigo mío nos hemos dado a la tarea de buscar y escuchar (en estas últimas semanas) numerosas interpretaciones de las Variaciones Goldberg, y ha sido un gran hallazgo el descubrir su interpretación, le agradezco el darnos la posibilidad de disfrutar de esta gran obra.
Como se dice
Sublime!!!!! Thank you very much!!!
Wir können sehr selten lebende Musik hören. Ich fühle es nicht mit meinen Ohren - mit mein Herz !!! Tepper Michael.
Many thanks for your remarks, you are clearly responding in the way that I imagine listeners in Bach's own time listened and responded: Music is NOT sound, music is CARRIED by sound!
Wow, the introduction is just so good😁
Trully masterful rendition. All the ornamentation is there.
Ow !! Great , such an interpretation, i mean this one has a special effect, the beginning everything, i think it's my best harpsichord version !!, happy i'm here , thank you very much Robert Hill , this made my day
Yes the improv, Mr Bach supposedly engaged regularly
Glorious rich sound! I was in the mood for Goldberg and stumbled upon your inspiring performance.
Sounds much like my Sabathil harpsichord, which has an aluminium frame.
Thanks for sharing!
WOWOWOW!!! soo full of inspiration!!
I love your interpretation of the Goldberg Variations. Keep up the great work.
your take on variation 18 is so good! :)
Wunderbar!!!
Merci !
That improv though !!
I was going to ask what the first piece is but read the disruption. Amazing that it's an improvisation.
Thank you,небесно!
Bravo!
amazing!!!!!!
It’s a BLOWOUT
피아노랑 느낌이달라서 좋네요
그러네요
Tnx man
In Variatio 25 à 2 Clav. adagio, is it true that the left hand should be playing on the lute setting? The small number of times I've heard it played like this, it always strikes me as the right way...greater, deeper emotional impact. Incredible!
There is no way to know if Bach might have had a lute stop on his harpsichord, and if he might have played Var. 25 with the LH on the lute stop, as I (and some other players) do. I choose this registration because I think it helps the listener to focus on the declamatory effect of the melody, which you apparently react well to (which of course pleases me very much!). If you notice, I also play Var. 24 on the lute stop, which has the effect of reducing the brilliance of the sound of the harpsichord for the 3 minutes or so of Var. 24; when the RH enters in Var. 25, the listener (I assume) perceives the melody voice as more sostenuto, and therefore more like an actual human voice, which is what I am trying to emulate.
Thanks for listening!
Dr. Hill-I’ve thoroughly enjoyed this and many other recordings you’ve made over the years. Your interpretation is very unique compared to other recordings, particularly with respect to the ornaments and also the tempo variation within a line. It’s my impression that the tempo variation is how this piece was originally performed. Can you provide some insight on this? The reason I ask is that almost every other recording plays the tempo within a movement very even, but yours varies. It’s extremely interesting and a wonderful style. Thank you.
Art,
Thanks for your comments, especially about the principle of tempo variation. The short answer to your question: the almost universally accepted present-day understanding about counting practice in the 18th century is that the pulse, or counting unit, was relatively quick and very stable. The broad acceptance of this assumption is what lies behind most of those performances you are referring to, with a very even tempo.
However, it is important to bear in mind that this model of counting, seen in historical perspective, is arguably a fairly recent convention. The evidence for this lies in the counting behavior found in early 20th century recordings of classical music, especially those recordings made before the first world war, that is, between ca. 1890 and ca. 1915.
While the counting conventions practiced at the end of the late-Romantic period may on the face of it not seem to have much to do with 18th-century counting practice, a counting approached based on analysis of pre-WW I recordings has in my experience proven extremely effective at mitigating the most intractable problems in developing an expressive style of harpsichord playing.
The harpsichord is an instrument for which the manipulation of time is its most potent expressive resource. The clear accents of attack as well as release of notes make it very easy to perceive even the tiniest variations of timing. Since the harpsichord sound itself is relatively homogeneous within a given color, that makes it even easier for the listener to hear clearly timing nuances.
But performing expressive timing well takes a great deal of practice, and careful guidance to learn it. If the musician does not allow him- or herself to integrate expressive timing as part of their understanding of the resources of the instrument, the results can easily come across as badly proportioned, exposing the player to criticism on that score alone.
But in order to fully embrace the techniques necessary to master timing as an expressive resource, the musician also has to be made aware that the counting paradigm they have been taught needs to be seen as a modern paradigm. It may be well suited to the performance of most 20th century repertoire, but applying it unquestioningly to earlier repertoires inhibits a whole range of potential musical expression. Whether that spectrum of musical expression is historically provable is moot, since it is also not possible to prove beyond doubt the universal relevance of the modern counting paradigm.
To summarize: the musical behavior of the harpsichord exposes a fundamental weakness in the modern counting paradigm. Adapting late-Romantic counting practices to earlier repertoires has proven to be a successful method to broaden the musician's sophisticated use of counting procedures.
@@RobertHillearlymusic Thank you for your thorough answer, Dr. Hill! Do you know which resources can help achieving that kind of techniques?
@@RobertHillearlymusic wow
This is like an online masterclass for free
Thanks so so much
I've heard about what Glenn Gould said about expressive timing, but what you said makes even more sense...I guess the last few decades have seem such surge in interest and research of period music as period music
Thanks professor Hill
Forget glen gould, I thought my records melted in the car because of the inane HUMMMM, and it’s such a different instrument.
This comment was, as you said, a MASTERCLASS.
The subtitles of timing are making me hear new notes.
History matters.
Without people like Mr Hill, it all gets lost.
The white race is on death’s door.
This is our heritage.
They ((())) are killing our people and their minds.
It is of utmost importance that Mr Hill and his knowledge and artistry be preserved for the future of the White race.
Sure go ahead and share it if you desire.
But it is essential ESSENTIAL I say for the posterity of our race.
We will all soon be dead.
Will Mr Bach and his courier Mr Hill survive?
ONLY IF WE MAKE SURE OF IT.
you already know what I am saying.
Do you even care about western civilization?
WE WILL SEE.
Autocorrect. Lol.
I tried to say “subtleties”.
Fuck these gadgets.
Where and why was my soul sleeping all these? No matter, now that your most beautiful, free-spirited and interesting interpretation - awakens it with the sound of this great masterpiece. Bravo and thanks for uploading. By the way - on which harpsichord you play here?
wolkowy1 Thanks for this and your other comments, I appreciate them. The harpsichord was made by Keith Hill (my brother), after Pascal Taskin.
I didn't realize you were Keith Hill's brother! I studied with Ed Parmentier at Michigan, who of course has had several of Keith's harpsichords. Such glorious instruments!
Thanks for listening, please check out some of my other videos!
Yes best interpretation ever
I heard a LOT of them on records, this guy is a fucking BOSS.
I’m hearing notes I’ve never heard before
newborn of K.Richter，H.Walcha
Hi very very nice
What is the instrument plz
Thanks for listening, the harpsichord is a Taskin model by Keith Hill, ca. 1998.
@@RobertHillearlymusic oh wow right! That's where I have seen your music before I remember now!!!
what is the first piece? i can't find it in any performance including fist piece
RH IS A MONSTER
just do it
Who made this harpsichord? Who was it made after? I really like its tone and mellow feel.
Robert Hill very often plays with instruments made by his own brother, Keith Hill, so he would be my first guess on who made it. I have no idea what it could made after. I still think it's a good idea to give his website a read because he goes indepth about some of the keyboard instruments he made.
Why so hurry? Why Glen Gould didn’t play harps?
Mr. Hill. How does one justify the elaborate introduction when none is given in the original score? I thoroughly enjoy your interpretation but feel the introduction does not provide a truly authentic performance of Bach's intentions. Please comment on your rationale to add the introduction.
Henry, Thanks for your question. Improvising a prelude before beginning a piece of music was a very common feature of instrumental performances in the 18th century, and not just on harpsichord.
We can add to this the issue that the Goldberg Variations are a musical text that is very widely known to listeners. One of my goals as a performer is to bring my listeners to a place where they experience a musical text as if for the first time, even though they may know the text intimately. Taking the listener through a prelude based on the harmonic scheme of the Aria is essentially performing a variation in advance of the variations to come, to act as a portal to enter my world of the Goldbergs.
Robert Hill
@@RobertHillearlymusic I love that. You’re so awesome, dude.
2:40
Needs more humming. lol
We need an album of just Gould humming, get the sound engineers to do the process in reverse.
Perfect Butchery - nicely delivered - however - i would've liked the Aria have been a touch more well done (little slower - Adagio)
That opening variation was just a fucking bizarre interpretation.
And the rest of it wasn't much better.
I have to agree. The wrong notes (purposeful or otherwise) make my skin crawl. The interpretation is not one that I connect with.