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Partita No. 1 in B-flat major (BWV ) - Johann Sebastian Bach | Sheet music to download
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- Partita for Keyboard No.1 in B Flat Major, BWV 825!
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- Bach: Partita No. 1 in B-Flat Major, BWV - EP by Yoon Soo Lee on Apple Music.
For convenience I have provided an audio file along with the other examples, but you will probably hear it better by logging on to the Naxos website The disc no. Instead his approach seems exploratory, tentative.
Each phrase seems like a discovery that the musician is sharing at that moment with the listener. I suspect that this effect is only achieved by the artist painstakingly rethinking each bar of the work for himself. Neither of these performances seems right and the other wrong : both reveal different aspects of a rich piece of music. Turning to the performances on harpsichord Maggie Cole 's performance - like her playing generally- gives me great pleasure. The approach is straightforward, without eccentricity, but still with a fine feeling for the inner spirit of the music.
Partita No. 1 in B-flat Major, BWV 825: VI. Gigue [Music Download]
If I seem lukewarm in my praise, it is because I feel that a good performance by Cole is surpassed by a great performance by Leonhardt. Quite apart from the fact that the harpsichord played by Leonhardt is a richer, more pleasingly resonant instrument , there is a rightness and authority about Leonhardt 's playing of this movement that I find totally convincing.
It is majestic but not in the least pompous, both dynamic and lyrical. I cannot help feeling that such a magisterial rendition of this music is what Bach intended ' for music lovers, to delight their spirits'.
It is possible to hear samples from other performances of the praeludium on the net. There is a clarity and intelligent energy about his approach which intrigued me. What shape any discussion may take and whether this experiment will add positively to the list and be continued - now depends on you. I am a musician, not a writer. I'm not good at writing my feelings about recordings, but I am going to give it a try. Hopefully this will inspire better writers to try. Firstly I will confess that I am biased towards the piano. I enjoyed the Lipatti.
I liked the tempo. As you said, he shaped the movement well. It is much too slow and mannered for my taste. I listened to the Hewitt clip.
J. S. Bach - Partita No.1 - B flat major - Menuet 1 - BWV 825
To me, this seems like just the right tempo! I don't have the CD, but I have heard it on the radio. It's lovely. Of all the harpsichord versions I enjoy Leonhart's the best. Perhaps it's a bit too slow for me. I am looking forward to hearing from others.
The piece is called a prelude and should be, according to basic logic, an introduction, a sort of warm-up. Now it sounds like a relaxed sarabande, suitable after a speedy movement. The ending also left me confused: increasing volume, march-like solemn mood all of a sudden and abrupt cut-off at the very end.
Thus interested, I 'had a go' myself. I recommend to those who have access to a sustaining keyboard and the score that they should play it through; you will hear the continuous 3-part harmony and many of the striking discords that are usually lost on non-sustaining keyboards ie, pianos and harpsichords , especially where one of the parts has notes a minim or longer in length, but in other places as well.
I played it on a Casio keyboard set to "organ". Especially striking is the penultimate bar which increases to 4 or more parts , in which we have a 4-note chromatic descending scale in the bass, a 'D' tied so that we have a G,D,E flat,G discord, passing through a diminished 7 th chord on its way to resolution in B flat, with octaves in the bass unusual in Bach's keyboard writing.
I will leave it for others to judge the other recordings which were kindly supplied by Francis and Aryeh. Funny how a piano sounds 'plain' immediately after listenng to a harpsichord, but neverthless I think the pianists are able to bring more dynamic variety and musical interest to the piece. The idea of an audience gathered to hear this music played by a solitary keyboardist would have been alien to him.
We must remember that the recital format, as we know it, was invented by Liszt in the midth century. An elaborate opening movement is followed by four stylized dances: the Allemande, Courante, Sarabande, and Gigue, with one or more extra dances interpolated before the Gigue. The courante also tends toward a moderate pace in triple meter, but in this Partita, as in the 3rd, 5th, and 6th Partitas, Bach titles this movement corrente, opting for the somewhat faster pulse of the Italian rather than the French version of the dance.
It was here that Bach confided his deepest reflections.