Bach - Partita no. 4 in D major BWV 828 - Albach | Netherlands Bach Society
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- Опубликовано: 26 июл 2024
- Between 1731 and 1741, Bach wrote his Clavier-Übung: four books in which he focuses on different sorts of keyboard music. The first book is devoted to the suite, here referred to by its Italian name: ‘partita’. This Partita in D major, performed by Elina Albach for All of Bach, is part of the first book. Years earlier, Bach had already composed his English and French suites. Compared to these earlier suites, the partitas are more serious in character. At a riper age, Bach appears to be less interested in dance rhythms and more in polyphonic structures that actively involve both listener and performer in the music and give them food for thought. This is the sort of music Bach wants to pass on to future generations.
For more information and credits on BWV 828 go to www.bachvereniging.nl/en/bwv/...
Recorded for the project All of Bach on June 2nd 2021 at the Philharmonie, Haarlem. If you want to help us complete All of Bach, please subscribe to our channel bit.ly/2vhCeFB and consider donating bit.ly/3J5uprM.
All of Bach is a project of the Netherlands Bach Society, offering high-quality film recordings of the works by Johann Sebastian Bach, performed by the Netherlands Bach Society and its guest musicians. Visit our free online treasury for more videos and background material on www.bachvereniging.nl/en/allo... For concert dates and tickets go to www.bachvereniging.nl/en/conc....
Elina Albach, harpsichord
Instrument: Markus Krebs, 2009 after Michael Mietke
00:00 Ouverture
06:50 Allemande
16:30 Courante
20:11 Sarabande
27:31 Aria
29:57 Menuet
31:29 Gigue 
Видеоклипы
00:06 Ouverture
06:50 Allemande
16:30 Courante
20:11 Sarabande
27:31 Aria
29:57 Menuet
31:29 Gigue
😢
When there is such an amazing harpsichord player called Albach, you cannot *not* hire them for the All of Bach project :)
Amazing performance, absolutely beautifully played!
Very funny😆
After I listened to this beautiful performance, I could say: Elina, you made my day! In times where pianists become famous by playing Bach like on a sewing machine it is so pleasing to learn that there are still musicians who have a feeling for the sensuality and cantability which I believe was intended by the great master JSB. As his son Carl Philipp Emmanuel wrote: "You have to play from your soul and not like a trained bird".
An excellent performance of an excellent piece. Netherlands Bach Society continues to provide the pinnacle of Bach performances. We are all very lucky to have the Netherlands Bach Society doing such good work.
The allemande at 06:50 is super!
Hear, Hear!!
It takes years and years of hard work to be able to play this piece : bravo Elina Albach for all of this hard work you did to be able to offer us a part of the incredibly beautiful music of Johannes Sebastian Bach ♥ God bless you and all the talented musicians in the world who did the same . ♥
Wow and Wow. And I’ve just listened the first bar. Albach is a true harpsichord Maestro (a)
Another bravo for Alina! Magnificent performance with a truly expressive spirit that reflects her joy in playing Bach. So many thanks to NBS for bringing such auditory and visual joy of Bach into our universe.
I am a Glenn Gould fan which is a huge contrast to most recordings of Bach but I have to say the recording of this partita is the best I’ve heard. The harpsichord gives a respect to the originality of Bach’s style that really transports me through time. Maybe it’s because of this wonderful player’s expressiveness. The patience on that last note of the Allemande was just so satisfying. Beautiful.
The harpsichord is a hard instrument to master, but like the piano, it offers many different ways of expressing oneself in the right hands.
Let's be real : playing the harpsichord after the piano was invented is mostly retarded.
Glenn Gould was 100% right to play the partitas on a piano.
Here the sound of the harpsichord is a nightmare for my ears.
For some pieces the harpsichord is fine (Les Barricades mystérieuses), but not for this one.
wonderful！
Wunderschöne und detaillierte Aufführung dieser perfekt komponierten Tastensuite im veränderlichen Tempo mit schimmerndem doch warmherzigem Klang des technisch fehlerlosen Cembalos und mit perfekt kontrollierter Dynamik. Wahrlich intelligente und geniale Cembalistin!
Can't help but keep coming back to this. Truly mind-blowing. What a pleasure ❤❤❤
Absolument merveilleux!! Un vrai cadeau a l'esprit!! Superbe!!
finally, been waiting on this one for ages! the overture is incredible.
Albach の演奏大好き！
Masaaki Suzuki’s recordings of the partitas are also excellent if anybody’s interested in further listening :)
Exquisite: Perfect union of poetry and genius. Thank You 🙏
Gorgeous! Thank you very much.
Bravo! What a superb performance!
Resplendent!
this Allemande is the best of all allemandes ever written, a masterpiece! beautifully and thoughtfully played, thanks to NBS and much thanks to Mrs Albach for this magnificent performance. tears of joy running down.
and i forgot to add that the amount of silence she took between Allemande's end and commencing the Courante was perfect. one of the delights of a live performance.
yeah it's an allemande to end all allemandes.. I really am amazed by how he came up with such a melody
Bravo Mad Albach pour votre remarquable prestation pleine de sensibilité et ce clavecin quel son ! (c'est la première fois que j'ai plaisir à écouter du clavecin) ; bravo aussi Netherlands Bach Society pour la prise de son formidable !
Not to mention the skillful page turns!
An exquisite performance - thank you so much.
Absolutely wonderfully played
Thank you🍃
Such a deep understanding and deep feeling in this perormance! The true masterpiece ❤ So narrative and sweet in the same time. Thank You!
This is beautifly played! What a joy to listen to it!
Netherlands Bach Society always has the best interpretations! I would love to hear you play BWV 532 Prelude and Fugue in D major.
Gorgeous. 🙏🏼
Very interesting rendering, both sensitive and structured
I love it! So free! Spontaneous! Inspired by the moment.
This is my type of workout every morning, stretching the nerves in my brain as much as possible. Together with the contol of my breath it makes my mind going further and further. And then a nice cup of tea.
The improvisation of the Sarabande is extremelz creative!
As we mostly listen to Bach´s clavier on piano today it is always nice to come back to the origin. I find this interpretation by Elina Albach on harpsichord very genuine, with my little knowledge of this, and find her playing quite overwhelming. And I also admire this hapsichord, with all its ways to produce a nice sound.
Excellent!
Superb!❤
Bravo!
Bravissima Alina! Super.
Nice!
This performance strikes me as a revelation. This is why we have harpsichords too.
Magnífic
*Harika bir yorum Bach'a övgü ve saygısını sunuyor.Teşekkürler.* 👏🎼👏🎶🤝🙏🥀👋
😊😊😊😊
Jeu fascinant 🙏🌹
Un placer!
20:14 Wonderful !
Really enjoyed this interpretation thank you. Especially being so rubato. This is definitely not one where a mechanistic approach is called for!
The allemande ❤
Al(lof)bach is the best!
♥♥
🤩
❤
❤☕️dank
Wow! The Ouverture is a bit similar to the Orchestral suite No.4! (Unser Mund sei voll Lachens either)
They sound like the dances they are.
Interesting use of the "lute-harpsichord" stops. Apparently it was one of Bach's favorite instruments but it's seldom used in recording nowadays.
I feel it is a joy to express oneself through this particular instrument.
🥲
😢 3:02
I don't 'get' the Sarabande in this Partita ... I can't feel the rythm of it 😐How come?
It is in an improvisatory style…and indeed does come across as unusual compared to the typical ones appearing in French Suites
A resolute no from me with regard to the ouverture. Come on. 😐
Wat een absoluut brutale en smakeloze manier om je tegenover Elina Albach te uiten. Ik kan slechts hopen , dat ze meteen begreep dat het commentaar slechts een treurig portret is van de schrijver , en niets met haar te doen heeft.
Ik bewonder de uitvoering , waarin Elina Albach de ingewikkelde strukturen van Bachs werk in een ontwapenende eenvoud weet duidelijk te maken , en ze gelijktijdig weet te gebruiken om haar persoonlijk hart te uiten.
Super !
PS : ik vond het prachtige instrument van Markus Krebs een zeer inspirerende keuze voor de uitvoering.
Why? Just curious
@@renzola13I think he's talking about how the tempo she chooses for the French rhythm.
It is common practice to make it more slow and solemn specifically on keyboard, but in orchestral suites thulis rhythm is presented the same way Albach does, therefore hearing it played so "jumpy"and fast may be a surprise to some, especially those who are used to the keyboard or piano praxis of execution of French style ouvertures.
Personally the ouverture played like an orchestral French ouverture was a more than pleasant surprise since no one that I've heard has done it before.
Also thank God it works on harpsichord because on piano it would be terrible, the piano should keep its solemn interpretation of French rhythm as it would sound noisy and heavy on piano.
@@renzola13 by French rhythm I mean the dotted quavers with semiquavers I the opening
@@amedeofabris1268 Thank you for the explanation. I love her rendition of this piece.
Madame Albach sait très bien ce qu'est un clavecin mais son interprétation est souvent trop maniérée, à la limite du non-sens et du mauvais goût.
On se demande comment c'était interprété à l'époque.
here speaks envy.
@@KlavierKannNichtMehr Why should it? I wouldn't in any case like to play like her and, vice e versa, I assume that she wouldn't like to play like me.
❤