My honest impression is that Diego Ares will divide opinions about the execution and technique of Bach on his instrument of choice just as it happened with Glenn Gould. In such cases, I always tend to believe that this is a characteristic of geniuses. In the case of Diego Ares, I can say without a shadow of a doubt that his interpretation of the Corrente is one of the most interesting and expressive I've ever heard of any keyboard suite ever recorded.
I entirely agree with you particularly in relation to this Courrente; I've heard this movement a thousand of times. Ares' interpretation is simply marvelous.
También lo imaginé: Como en una sala con los habituales adornos de la época, con su traje barroco, cuyas mangas blancas llegaban hasta las muñecas. Oscurenciendo; cayendo la noche, con velas encendidas distribuidas por el salón con su característico olor a cera... qué maravillosa época.
@@mathevsrodrigves7352 музыка заставляет вас романтизировать то время . А вы представьте , что не было ни воды , ни канализации . 🤣 И стиральных машин не было ( белые рукава ) 😍
@@SVETLANKA139 Caray, ¿acaso crees que la gente como Bach estaba en el barro de las calles haciendo trabajos manuales? Era músico de la corte, era de buena condición. Si salía a la calle, lo hacía en carruaje; y además, en toda época hubo barro en las calles; en las zonas más olvidadas de las ciudades y hay muchas personas aun hoy no tienen alcantarillado.
@@mathevsrodrigves7352 приятно думать ,что вам тоже повезло бы родиться в те времена каким нибудь знатным придворным .😃. Я не романтизирую то время . Меня вполне устраивает сегодняшнее ,когда все ,кто захочет, могут наслаждаться этой музыкой..😍
What an exquisite performance. The fingering at the fugue, using both keyboards with just one hand, is something out of this world... wonderful use of this instrument colors. Considering also when this was recorded (Nov 20), amidst the pandemics and isolation worst moments, it's quite unique to imagine and feel the deep thoughts that Mr. Ares gives us through this already serious and heavy music.
@@alpinoalpini3849 I know it is, I do it myself, but the way he did, applying different touché to contrast the tenor and bass line, is pretty curious to me. Benjamin Alard taught me this thinking about diminuendo techniques. Well, maybe it’s still common somewhere…
Of all of our inventions, music is one of magic. On its own, or as an underlayment to happenings of our day or to other art forms (graphic, film, dance, etc.), it fills the voids in our lives with something unique. Some would say it’s spiritual or heavenly… and I admit that I’m with Mr. Bach on that one.
Then (if you haven't done so already) you must experience Sir Andràs Schiff playing Bach's English and French Suites from memory in recital - much of the time with his eyes closed.(!) (It's on YT.)
Being used to listen to Dutch harpsichordists (or from the school of Leonhardt himself) this concert pleased me a lot though he doesn't use the articulation of the historic fingering. Still musicality is on front here with all the legato.❤
Lyrische und wunderschöne Aufführung dieser perfekt komponierten Tastensuite im veränderlichen Tempo mit klarem doch warmherzigem Klang des technisch fehlerlosen Cembalos und mit perfekt kontrollierter Dynamik. Wahrlich intelligenter und genialer Cembalist!
The playing is exquisite as always, but the camera work is so delicious! It really highlights and accentuates the phrasing and technique of Mr Ares' playing! Thank you as always NBS! ❤
I love the shot of the cameraman tracking slightly to change angles on Diego Ares. I would now love to see a shot of the camera operator who captured the camera operator who captured to harpsichordist. They must be up in the flies somewhere. Then a shot of that camera person. Finally a shot of god watching the most distant camera operator from on high. Of course, one would then want to see the camera-person who caught god watching and listening. And it was good.
de Griotte. 🍒 JUSTE quelques éclairs de joie intime de Mr Ares qui parsèment cette réflexion si profonde, ce sont des lueurs de sourire qui nous prennent par le coeur pour avancer encore un peu et quand même ! Un très grand merci pour avoir éclairé le drame perpétré pendant ces sombres années 2020,21,22..., où nous avons, pour beaucoup, plongé dans un massacre de notre Liberté les yeux grands ouverts! Bach nous a pardonné, mais nous, jamais sans doute. Amen. 💜 🇨🇵 💜 ( de France )
The Corrente reminds me of some of the Goldberg's virtuosic hand-crossing variations, in that it takes a concept (in this case, syncopation) and carries it to its logical extreme. My favorite parts are the ends of those climactic arpeggiated chromatic sections, where the hands finally get in sync for one satisfying bar to produce a solid cadence, and then immediately fly off the handle again. There is definitely an element of deliberate comedy here, much like many of the Goldbergs. The right hand just REFUSES to play on the beat.
Wonderful recording! Thanks as always. One minor thing: I think you're missing a chapter marker for the "Air" at 15:43 - it's a separate movement, not part of the Corrente 🙂
Not to be too picky but Maestro Diego’s hands seem to be a good deal hairier than Gouldy Glenn’s. I think this must qualify your observations concerning the relative distances of each man’s posterior to the center of the earth.
In this recording Diego Ares plays a harpsichord by Joel Katzman, 1991 after Ruckers, 1638. In his Bach recordings with us, Richard Egarr plays an original harpsichord by Johannes Ruckers, 1640 from the collection of the Rijksmuseum: ruclips.net/video/LHjbRMIIhuM/видео.html
@@bach I appreciate this response. I should have been more specific and stated his Goldberg Variations and English Suite recordings through Harmonica Mundi.
It now occurs to me that the harpsichord used in this video is indeed owned by Richard Egarr. So very likely you are right that it is the same instrument.
@@bach, zo apart beluisterd, kan de passage ook doen denken aan de hoofdmotieven uit het praeludium XII in f mineur uit WK II, binnen de toonsoort een terts hoger weliswaar .
![Bach 6 Clavier Suiten [Partiten] BWV 825 826 827 828 829 830 András Schiff](http://i.ytimg.com/vi/MV4VyhMS0ds/mqdefault.jpg)
My honest impression is that Diego Ares will divide opinions about the execution and technique of Bach on his instrument of choice just as it happened with Glenn Gould. In such cases, I always tend to believe that this is a characteristic of geniuses. In the case of Diego Ares, I can say without a shadow of a doubt that his interpretation of the Corrente is one of the most interesting and expressive I've ever heard of any keyboard suite ever recorded.
I entirely agree with you particularly in relation to this Courrente; I've heard this movement a thousand of times. Ares' interpretation is simply marvelous.
Beautiful! If I close my eyes, I feel like Bach is playing these melodies for us. ❤
Thanks to Diego Ares and NBS for this experience!
También lo imaginé: Como en una sala con los habituales adornos de la época, con su traje barroco, cuyas mangas blancas llegaban hasta las muñecas.
Oscurenciendo; cayendo la noche, con velas encendidas distribuidas por el salón con su característico olor a cera... qué maravillosa época.
@@mathevsrodrigves7352 музыка заставляет вас романтизировать то время . А вы представьте , что не было ни воды , ни канализации . 🤣 И стиральных машин не было ( белые рукава ) 😍
@@SVETLANKA139 Caray, ¿acaso crees que la gente como Bach estaba en el barro de las calles haciendo trabajos manuales? Era músico de la corte, era de buena condición. Si salía a la calle, lo hacía en carruaje; y además, en toda época hubo barro en las calles; en las zonas más olvidadas de las ciudades y hay muchas personas aun hoy no tienen alcantarillado.
@@mathevsrodrigves7352 приятно думать ,что вам тоже повезло бы родиться в те времена каким нибудь знатным придворным .😃. Я не романтизирую то время . Меня вполне устраивает сегодняшнее ,когда все ,кто захочет, могут наслаждаться этой музыкой..😍
Thank you Diego Ares for giving us - the listeners - more than half an hour of excellent performance. Bravo!
Been waiting for this video for years. So long that meanwhile I learned playing the piano just to play BWV830 .
Ares is one of my favourite harpsichordists and helped inspire my musical journey❤
He is indeed incredibly inspiring
What an exquisite performance. The fingering at the fugue, using both keyboards with just one hand, is something out of this world... wonderful use of this instrument colors. Considering also when this was recorded (Nov 20), amidst the pandemics and isolation worst moments, it's quite unique to imagine and feel the deep thoughts that Mr. Ares gives us through this already serious and heavy music.
@@alpinoalpini3849 I know it is, I do it myself, but the way he did, applying different touché to contrast the tenor and bass line, is pretty curious to me. Benjamin Alard taught me this thinking about diminuendo techniques. Well, maybe it’s still common somewhere…
Heavenly and magic, a transit into magic... gracias infinitas...
Of all of our inventions, music is one of magic. On its own, or as an underlayment to happenings of our day or to other art forms (graphic, film, dance, etc.), it fills the voids in our lives with something unique. Some would say it’s spiritual or heavenly… and I admit that I’m with Mr. Bach on that one.
Is music a human invention or a human discovery?
@@Liquidskwid perhaps a bit of both?
@@rex-racer Almost certainly.
Благодарю! Браво!
11.09.2023.
Всего Вам доброго!
My dearest friend congratulations! I am very proud of you! Such a marvelous way of making Music! God bless you! 😃😃😃
Beautifully played and a great instrument fully in control
Very personal musicality. Fascinating.
Wonderful recording of a great piece! Loved the phrasing in the toccata at 0.37 seconds in
I always seem to like those performances that are memorized. This was great. Authority, confidence, great tempos and spicy Katzman!
Then (if you haven't done so already) you must experience Sir Andràs Schiff playing Bach's English and French Suites from memory in recital - much of the time with his eyes closed.(!) (It's on YT.)
listening to this for the second time now. really powerful performance
Being used to listen to Dutch harpsichordists (or from the school of Leonhardt himself)
this concert pleased me a lot though he doesn't use the articulation of the historic fingering.
Still musicality is on front here with all the legato.❤
Lyrische und wunderschöne Aufführung dieser perfekt komponierten Tastensuite im veränderlichen Tempo mit klarem doch warmherzigem Klang des technisch fehlerlosen Cembalos und mit perfekt kontrollierter Dynamik. Wahrlich intelligenter und genialer Cembalist!
Hypnotic and ingenious
une telle légèreté de toucher quel regal pour la sonorité !
Olé! :-) Just amazing, such deep musicality, such a singing way of playing. Thank you Diego Ares!
Simply exquisite. Thank you NBS.
The playing is exquisite as always, but the camera work is so delicious! It really highlights and accentuates the phrasing and technique of Mr Ares' playing! Thank you as always NBS! ❤
The sarabande is totally masterful.
This interpretation is divine
Merci pour cette interprétation remarquable qui me fait découvrir cette œuvre
Cordialement Olivier
Fantastico 😍😍😍
Stunning performance! The instrument is wonderful. 👏👏👏
I love the shot of the cameraman tracking slightly to change angles on Diego Ares. I would now love to see a shot of the camera operator who captured the camera operator who captured to harpsichordist. They must be up in the flies somewhere. Then a shot of that camera person. Finally a shot of god watching the most distant camera operator from on high. Of course, one would then want to see the camera-person who caught god watching and listening.
And it was good.
*Fantastik ve mükemmel bir yorum yüreğimizi ışığı ile huzura eriştirdi.* 🎼👏🎶👏🤝🙏🥀👋
Thank yu so much for recording this masterpiece - an outstanding wonderful performance.
de Griotte. 🍒
JUSTE quelques éclairs de joie intime de Mr Ares qui parsèment cette réflexion si profonde, ce sont des lueurs de sourire qui nous prennent par le coeur pour avancer encore un peu et quand même !
Un très grand merci pour avoir éclairé le drame perpétré pendant ces sombres années 2020,21,22..., où nous avons, pour beaucoup, plongé dans un massacre de notre Liberté les yeux grands ouverts!
Bach nous a pardonné, mais nous, jamais sans doute.
Amen. 💜 🇨🇵 💜
( de France )
Masterful.
Virtuosity exemplified.
Bravo, enhorabuena.
Heavenly music, brilliantly played. Danke! Thank you! ¡Gracias!
Spectacular, bravo
¡Gracias! ❤
Wonderful again! Thank you! I am fond of the Ruckers' instruments.
Awesome performance.
Absolutamente chocado... que técnica. Incrível.
Me encanto ❤
🎉
The Corrente reminds me of some of the Goldberg's virtuosic hand-crossing variations, in that it takes a concept (in this case, syncopation) and carries it to its logical extreme. My favorite parts are the ends of those climactic arpeggiated chromatic sections, where the hands finally get in sync for one satisfying bar to produce a solid cadence, and then immediately fly off the handle again. There is definitely an element of deliberate comedy here, much like many of the Goldbergs. The right hand just REFUSES to play on the beat.
Wonderful
Wonderful recording! Thanks as always. One minor thing: I think you're missing a chapter marker for the "Air" at 15:43 - it's a separate movement, not part of the Corrente 🙂
Muy bien
❤
Diego seems to be sitting rather low on that chair - very "Glenn Gouldy" approach to the keys
I feel like it has something to do with the fact that he tenses his fingers
Not to be too picky but Maestro Diego’s hands seem to be a good deal hairier than Gouldy Glenn’s. I think this must qualify your observations concerning the relative distances of each man’s posterior to the center of the earth.
❤❤❤
He has Wanda Landowska claws.
Didn't Richard Egarr play a harpsichord exactly like this one in his Bach recordings? This harpsichord is my favorite of the modern day harpsichords.
In this recording Diego Ares plays a harpsichord by Joel Katzman, 1991 after Ruckers, 1638. In his Bach recordings with us, Richard Egarr plays an original harpsichord by Johannes Ruckers, 1640 from the collection of the Rijksmuseum: ruclips.net/video/LHjbRMIIhuM/видео.html
@@bach I appreciate this response. I should have been more specific and stated his Goldberg Variations and English Suite recordings through Harmonica Mundi.
Ah I am not sure which harpsichord he used for that recordings as the Netherlands Bach Society was not involved
@@bach You're right. I should have thought better when asking such a question. Thank you for a response, nevertheless.
It now occurs to me that the harpsichord used in this video is indeed owned by Richard Egarr. So very likely you are right that it is the same instrument.
🕊️🌹
❤️💕💞❣️💟💓💖💝💗
😮
Höchst interessante - auch eigenwillige - Interpretation... Sehr sorgfältig analysierte Strukturen - Kein Ton ist unkontrolliert.
2:21 to 2:25 this part reminds me of something, but I can't recall what... Maybe it was used in a modern composition?
also 3:04 to 3:10 and 3:46 to 3:55.. it's kinda nostalgic :P
I dare not say, maybe one of our followers knows?
J. S. Bach's Invention 4 in D Minor, BWV 775, perhaps?
@@bach,
zo apart beluisterd, kan de passage ook doen denken aan de hoofdmotieven uit het praeludium XII in f mineur uit WK II, binnen de toonsoort een terts hoger weliswaar .
@@bach,
of zou het kunnen zijn een suggestie aan César Franck, het thema van zijn pianofuga in b mineur voor prélude, choral et fugue .
Bach: "That creep can roll, man!"
E se la corrente fosse "puntata" nei sedicesimi e quindi più lenta ?
I feel a lot of stress coming from Ares’ hands
His technique is the idea of tensing the fingers and releasing like a drop quite cool wanda landowska also used the same technique
@@PORIO171 I understand that. I used to play harpsichord too. I just fell that’s too much tension. Sound is good but stress permeates it.
@@MARTIN201199 yea ive tried playing like that i dont really like it either i instead imagine that the finger is falling from the knuckle
32:52
😱
❤