The prelude is something special... It is a little window to heaven. Everything is perfect: the armony, the libitum style and the sound of piano in such a special music moment. This is wonderful on the harpsichord, but unforgettable on piano. Handel was really on the top of the possibility for that time. Schiff is a gift for us to listen Handel be played in such an exquisite way.
ninjaassassin27 I met him at a coffee shop in San Francisco some years ago. Very friendly chap, he was enjoying an espresso. I heard him perform an all Beethoven concert that evening at the symphony hall and he was fantastic. He’s a first rate musician, not a mere virtuoso.
Yes, and damn if the distinction between musician and virtuoso must be recognized more clearly. The best combination of the two to date exists in the form of Hamelin, and even that's a stretch.
In my opinion, Schiff's playing of Bach in particular is a bit dry. That's not to say I don't respect his as a musician, or that I can in any way hold a candle to his pianistic abilities. However, I think his attitude towards the pedal in Bach doesn't compliment the historical context of the period instruments. Bach wrote a lot of his keyboard music for the harpsichord, an instrument which has a lot of natural resonance despite not having a damper pedal. Using a subtle half pedal in Bach really brings out the more resonant sound that Bach would have experienced in his day, as long as you do not compromise the clean sound that comes from moto perpetuo. Also in his works for organ, the pedal should obviously be used to create the rich soundscape that we expect from a church organ piece. If you want an example of a pianist who uses a very respectable amount of pedal in Bach, Perahia is my go to. Also, I realize that literally no one asked for this paragraph but I wanna have a discussion with people so idgaf.
@@jabarzey honestly, I feel the exact opposite. Perahia is dry and not clear enough (except for his recordings of the Bach concertos), whereas with Schiff, everything is clear. you can hear every melody clearly, everything has a purpose, from accent to phrasing, you can tell it's been masterfully placed, not on a whim. if he used pedal, it would feel sluggish, overlap melodies from one another, not my cup of tea.
Reminiscent of later organ concertos but you can hear this is a young composer finding his notch. Beautiful Thanks for sharing Schiff is such a wonderful musician
Большое спасибо! По-другому посмотрел на Шиффа... Это исполнение абсолютно гениальное! Честно говоря, по глупости недооценил его раньше, но эта запись поставила всё на свои места! Какое благородство, какая игра интонаций!.. Это что-то...
@@PEDRO_boaro Beethoven certainly appreciated Handel and understood why he was a great composer; the ‘favourite composer’ bit is quoted all over UA-cam but is probably not the case.
@@elaineblackhurst1509why shouldn't it? Beethoven said Handel was his personal favourite various times. Just because nowadays Bach is generally perceived to be greater than Handel, doesn't mean that every great composer is contractually obliged to prefer Bach over others
I really don't care about all this controversy. This rendition by Schiff just makes my heart leap up! The iron law of performance-- does it work? Here, it sure does!
Interprétation très raffinée de cette suite qui en révèle toute la beauté. Andras Schiff ne fait pas partie de mes pianistes préférés ....mais ici je lève mon chapeau.
This is so beautiful the piano's mellow sound in the menuetto sounds like an angel singing her aria of consolation. In all honesty I do believe the piano very much has the harpsichord beat here . I've always believed that music should never be judged on era for music lives in a different world. I Believe that true music should connect to someone's heart and personally I think the piano does this's much better then the harpsichord.
Hayek why are you bringing in the well tempered clavier like bach didnt write SO much more stuff on the piano. Caleb has a point that bach composed stuff like handle on occasion
Schiff has just the right touch for this. He also understands the music so well. In this work Haendel reminds me of Scarlatti but with even greater writing and longer wind. People should stop blaming the piano for being invented in and for the romantic era. It serves Bach and Haendel better than any tinkering antique. The piano has also had time to maeander through Debussy and Ravel before returning to the great Baroque composers. Nothing could possibly enrich our musical lives more than the instrument which was perfected in the first two decades of the 19th Cent.
@@ytyt3922 Yes, it was but not what we know as such. It had much less resonance than our Steinways and Bösendorfers. Beethoven was the first composer to exploit the possibilites of a more modern instrument. And boy did he know how to make it sing. I listen to one of his sonatas almost every day. Nothing fascinates me quite as much.
The piano was invented in 1700, though it remained a novelty until JC Bach and CF Abel popularized it in the 1760s. Though early pianos were built on the same design principles as harpsichords. They didn’t appear in their modern form until the mid 19th century.
Fantastic playing! I would like to hear a recording of Schiff playing clavichord. He plays clavichord privately, which must help a lot with his interpretations on piano. I don’t think he has released anything on clavichord, which is a pity. Maybe some private recordings will get released one day.
There is an other version of maestro Schiff playing that suite on youtube but with a different beginning, I was wondering what is the deal with that? Did Händel write two different versions?
The prelude sounds a bit progressive for its time but probably because of it being played on the piano as opposed to the harpsichord. The thing about baroque music is it is very hard to hide mistakes since it is so antiseptic and pristine. Handel has some very beautiful music which fits the hand quite well, I find his advanced level music a little easier to play than Bach's.
Beautiful suite, one of the best along with 7 in G minor (with that brilliant Passacaglia) and 8 in F minor that opens with an Adagio and Fugue that's one of his best. I feel like the Menuetto could be placed before the Aria & Variations; feels slightly anti-climactic to close with it instead of the Aria.
Andras Schiff siempre nos maravilla con sus grandes interpretaciones. En el Aria, pienso que el tema pudo haber sido tocado de manera algo más solemne - es mi modesta opinión
A mi me gusta mas cuando Schiff interpreta a Handel y a Scarlatti que al propio Bach. También pienso que el Aria en particular requería mayor solemnidad, aunque las variaciones no demasiado.
06:52 menuet. In measure 31 (@8:28 ) we hear (D C B A) or (re do si la) and the sheet gives (C B A G) or (do si la sol). I think the interpret is correct.
Why does the prelude sound so much better here than everyone else's recordings? Is it an extra improvisation by Schiff? There is a strong melodic line from the very start in this one whereas the others just sound like a succession of chords.
For this piece I have the score printed in Barenreiter’s 4-volumes, in book #2. In this volume they list the 4th movement as separate from the rest of the suite, listing it in the back of the book in the appendix. My question is why did they take out the Minuet from the rest of the score? If anybody has any idea as to this I’d love to hear the historical context. Other than this, very well executed performance and very enjoyable! Thank you!
Disculpa que no conteste en Inglés, pero explicártelo se me dificulta mucho, por lo que te respondo en español: El segundo set de suites (Londres, 1733) sobrevive en diversas fuentes bibliográficas: 1. Fragmentos autógrafos de Handel. 2. Publicaciones de contemporáneos. 3. Copias manuscritos de contemporáneos de Handel. 4. Copias manuscritas alemanas preservadas en la biblioteca de Berlin. Para esta Sonata HWV 434, las ediciones Urtext como Baerenreiter o Henle tomaron como fuente dos copias contemporáneas preservadas en la librería británica, además también tomaron una impresión contemporánea publicada en Amsterdam por J. Roger y otra impresión previa anónima de 1727 (probablemente publicada por el editor John Walsh). De todas estas fuentes bibliográficas mencionadas solo la impresión anonima de 1727 incluye ese minué en G menor como movimiento final, todas las demás fuentes no lo incluyen. Por lo tanto, al no ser incluido ese minué en todas las demás fuentes, y al estar en G menor que es una tonalidad completamente distinta a todas las demás partes de la sonata, se considera que no pertenece a la sonata y que alguien distinto a Handel fue quien lo agregó al final. Por eso decidieron dejarlo en un apéndice final. Espero haberme dado a entender, es algo confuso 😅
Yes, also Suite No 3. in D Minor (HWV 428), Allemande, has the same figure as the Allemande of the C Minor Partita of Bach. It seems to me, that Bach has studied Handels music closely
Thank you so much. We are showcasing this video on our 1P2DE page for the Music with the Scores Section. Could not have a more marvellous entry. Thank you too, Master Schiff (we crossed at Wigmore Hall about Beethoven and on the sidewalk next) • denEden Agency members ARE distinctive.
Me gusta esta interpretación del Minueto de Handel en B menor. Les recomiendo también la interpretación de Kathia Buniathisvilli. La diferencia es que esta suena muy "profesional", pero la de Kathia es más "sentimental".
Hey-O. Quick question for anyone that might be willing to answer. How did the performer know to end the Sonata as he/she did? Was it just musical intuition to know not to continue on with that run and just stop at the Fermata? Or is there a rule for traditional Baroque performing with regards to Fermata's and Repeat's? Obviously it would sound very jarring to end the piece on the A so abruptly. But why didn't Handel feel the need to put in a measure for an ending?
Hey Phomnosical, it's basically a variation on a widespread baroque structure, where a piece has an ABA structure. If it's a longer piece the composer would write out both the A and the B parts and then write down Da Capo, meaning from the head or the top of the piece, to let the player play the A part again. He then had various ways to indicate to the players where the piece should end. He could either place a segno (a sign) somewhere which would indicate the end of that section or the piece. He would then write da capo al segno (to the segno) to indicate what to look out for. Another option is a "fine" (end) marking where he would literally write "end" to indicate where to stop. A third option would be to write a separate ending, a coda, and indicate that the player should play from the top (da capo) to a certain point (indicated by coda) and then play the actual coda. The composer could also choose to indicate to start from another place than the top by placing a sign and having the player play from this sign" (Dal segno) until either a different sign or a coda or a fine. Using a repeat to only repeat a small section of the sonata can be used to replace this use of a Segno. A fermata is apparently used to replace the "fine" that one would expect to see. I've mostly come across this use in arias where there's usually a small rest after the fine or the fermata before the accompaniment picks up again.
This piece is certainly HWV434. But I think it's not Suite No. 1. Because Suite No. 1 is HWV426, actually. HWV434 is not Suite No. 1, but no numbered Suite B flat major.
There are two sets of suites: -London 1720: first set, the “eight great suites” HWV 426 -London 1733: second set, includes this work and the famous great Chaconne in G
Beautifully performed, but I think I prefer this work on harpsichord. Piano makes this suite sound more classical or romantic than baroque in my opinion.
***** This is obviously a subject of debate, but I do believe that musicians should do their best to be historically accurate. The fact of the matter is that this work was written for harpsichord, not piano, and the two aren't perfectly interchangeable. Harpsichords can make sounds that a piano could never emulate, and vice versa. With a piano, it's impossible to get exactly the sound that was intended for this piece. Baroque - style instruments in general create much brighter, more vibrant sounds than their modern counterparts. As a result of playing baroque music on modern instruments, you lose some of the essence of what the composer originally wanted listeners to experience.
***** You are correct, the original composers did want the best instruments available. However, their definition of a "good" instrument is very different from our modern definition of good. A piano is not an improved version of a harpsichord; it's a fundamentally different type of keyboard instrument. I would encourage you to listen to, for example, a baroque piece for strings, and compare recordings using period and modern instruments. I think that if you do you will notice a rather large difference. Modern string instruments are designed to be able to play slow, lyrical melodies. Baroque instruments, on the other hand, are designed to be much more sensitive and agile, allowing them to play quick counterpoint much more easily.
Exactly, and that's why I believe baroque instruments to be better suited and designed to playing in that style. (although I would not personally use the words "nervous" and "fidgeting" to describe baroque music)
+Alter Kater I do also think these great pieces like this one and Bach's partitas sound way better and deep on the harpsichord. On the piano they lose all their light and just sound like little happy scale runs.
+ClassicMusicVids Why should we care what the composer thought? Music is sound. If it sounds good, it is musically justified. This hero-worship of dead composers is puzzling to me.
De acuerdo a las sugerencias de la editorial Henle, los acordes de notas redondas y blancas se tocan empezando desde la nota inferior hacia arriba, y luego de regreso de arriba hacia abajo sin nunca soltar las teclas. Y cuando son dos acordes de notas negras o corcheas, se toca el primer acorde desde la nota inferior hacia arriba y a continuación el segundo acorde de arriba hacia abajo. Espero haberme dado a entender jajaja, es complicado de explicar por mensaje.
Ese menuetto al final fue agregado por el editor y no por Handel. De las diversas fuentes originales que existen de esta suite la mayoría terminan con el Aria y variaciones. Por esa razón la editorial Baerenreiter y Henle no incluyen al Menuetto en la suite, sino en un apéndice aparte.
That menuetto is out of this world
You should hear the Kempff arrangement. Transcendent.
The tune occurs in a concerto by one of the baroque Venetian composers (Benedetto Marcello I think) I wonder if Handel borrowed it or vice versa?
The prelude is something special... It is a little window to heaven. Everything is perfect: the armony, the libitum style and the sound of piano in such a special music moment. This is wonderful on the harpsichord, but unforgettable on piano. Handel was really on the top of the possibility for that time. Schiff is a gift for us to listen Handel be played in such an exquisite way.
my goodness! this is easily the most *energetic* and *vibrant* use of the piano. Thanks Handel. Thanks Schiff.
And of B Flat
Schiff is so underrated. His musicality in this work is amazing.
ninjaassassin27 I met him at a coffee shop in San Francisco some years ago. Very friendly chap, he was enjoying an espresso. I heard him perform an all Beethoven concert that evening at the symphony hall and he was fantastic. He’s a first rate musician, not a mere virtuoso.
Yes, and damn if the distinction between musician and virtuoso must be recognized more clearly. The best combination of the two to date exists in the form of Hamelin, and even that's a stretch.
Now, who is underrating Schiff? They must be completely ignorant.
In my opinion, Schiff's playing of Bach in particular is a bit dry. That's not to say I don't respect his as a musician, or that I can in any way hold a candle to his pianistic abilities. However, I think his attitude towards the pedal in Bach doesn't compliment the historical context of the period instruments. Bach wrote a lot of his keyboard music for the harpsichord, an instrument which has a lot of natural resonance despite not having a damper pedal. Using a subtle half pedal in Bach really brings out the more resonant sound that Bach would have experienced in his day, as long as you do not compromise the clean sound that comes from moto perpetuo. Also in his works for organ, the pedal should obviously be used to create the rich soundscape that we expect from a church organ piece.
If you want an example of a pianist who uses a very respectable amount of pedal in Bach, Perahia is my go to.
Also, I realize that literally no one asked for this paragraph but I wanna have a discussion with people so idgaf.
@@jabarzey honestly, I feel the exact opposite. Perahia is dry and not clear enough (except for his recordings of the Bach concertos), whereas with Schiff, everything is clear. you can hear every melody clearly, everything has a purpose, from accent to phrasing, you can tell it's been masterfully placed, not on a whim. if he used pedal, it would feel sluggish, overlap melodies from one another, not my cup of tea.
Reminiscent of later organ concertos but you can hear this is a young composer finding his notch.
Beautiful
Thanks for sharing
Schiff is such a wonderful musician
Enjoyed this one. I have a copy of this piece on the wall. Never had heard it in its entirety.
More Handel please.
Большое спасибо! По-другому посмотрел на Шиффа... Это исполнение абсолютно гениальное! Честно говоря, по глупости недооценил его раньше, но эта запись поставила всё на свои места! Какое благородство, какая игра интонаций!.. Это что-то...
The Händel Suites are wonderful and remind me a lot of Beethoven. I think it is that dramatic essence strongly present in both composers
Yeah, I agree, also some of the organ concerto you can hear a similar dramatic essence to Beethoven, especially no. 4 in F major
ua-cam.com/video/CDKy3ZxDTMU/v-deo.html
Beethoven's favorite composer was Hændel
@@PEDRO_boaro
Beethoven certainly appreciated Handel and understood why he was a great composer; the ‘favourite composer’ bit is quoted all over UA-cam but is probably not the case.
@@elaineblackhurst1509why shouldn't it? Beethoven said Handel was his personal favourite various times. Just because nowadays Bach is generally perceived to be greater than Handel, doesn't mean that every great composer is contractually obliged to prefer Bach over others
I really don't care about all this controversy. This rendition by Schiff just makes my heart leap up! The iron law of performance-- does it work? Here, it sure does!
The minuet is astonishing. Thanks for uploading!
Interprétation très raffinée de cette suite qui en révèle toute la beauté. Andras Schiff ne fait pas partie de mes pianistes préférés ....mais ici je lève mon chapeau.
My favorite Handel Suite! So beautifully played!!
The great Mr.Handel anticipating the romantics.
This is so beautiful the piano's mellow sound in the menuetto sounds like an angel singing her aria of consolation. In all honesty I do believe the piano very much has the harpsichord beat here . I've always believed that music should never be judged on era for music lives in a different world. I Believe that true music should connect to someone's heart and personally I think the piano does this's much better then the harpsichord.
It suddenly hit me... listening to a harpsichord is like listening to a beehive singing.
The irony is that it's a variation of La Folia, with the progression reversed.
My first experience with Handel piano pieces is so different from Bach. He is warmer, easy-going, and relaxed than the Great Bach.
Not easy but less complicated
Caleb Hu this price is much easier to learn than the stuff form the well tempered clavier.
@@m-hayek1985 Mostly, yes
Hayek why are you bringing in the well tempered clavier like bach didnt write SO much more stuff on the piano. Caleb has a point that bach composed stuff like handle on occasion
Yeah this is a nice overture sounding piece that bac wouldnt never write. Bach and HANDLE were both set on innovation but in entirely different ways
Oh, Handel, great among time and space!
Currently playing the Aria for an audition and oh my goodness he plays it WITH SO MUCH CLARITY and I find the trills so difficult!
Too beautiful and the minuet, divine! Tks Haendel! Tks Ashish!
Schiff has just the right touch for this. He also understands the music so well. In this work Haendel reminds me of Scarlatti but with even greater writing and longer wind. People should stop blaming the piano for being invented in and for the romantic era. It serves Bach and Haendel better than any tinkering antique. The piano has also had time to maeander through Debussy and Ravel before returning to the great Baroque composers. Nothing could possibly enrich our musical lives more than the instrument which was perfected in the first two decades of the 19th Cent.
Mehmet Iksel huh? The piano was around in Mozart’s era
@@ytyt3922 Yes, it was but not what we know as such. It had much less resonance than our Steinways and Bösendorfers. Beethoven was the first composer to exploit the possibilites of a more modern instrument. And boy did he know how to make it sing. I listen to one of his sonatas almost every day. Nothing fascinates me quite as much.
The piano was invented in 1700, though it remained a novelty until JC Bach and CF Abel popularized it in the 1760s. Though early pianos were built on the same design principles as harpsichords. They didn’t appear in their modern form until the mid 19th century.
@@ytyt3922 The piano existed, but the sustain pedal did not. Until Beethoven...
Fun all the way to the stunningly beautiful minuet. Handel's sense of drama and form is dazzling.
this song is so good i can't even Handel it
Hogia909 Poison them with bleach
Good joke
@@leonard2000s it sounds like Germans saying the English word 'handle', to be fair :P
great sense of humor
This isn’t a "song" 😠
That menuetto is out of this world..
Amazing performance by one of my favorite pianists!
I'm taking on this piece. It is so beautiful!
Oh le menuet de la fin magique d une grande beaute magique et magnifique merci quel musicien!
I can't Haendel this music! It sounds so suite!
this is soooo beautiful piece
Have always adored this inimitable TELDEC recording from the Concertgebouw. Thanks for posting it!
Фантастически красиво!!! 🌷🌷🌷
Woah I’ve been missing out on Handel
The piano has a lovely warm tone
The minuet is beautiful.
Surprised to hear some of the dislike..what a brilliant performance by our generations expert
I am in total awe!!
3:18 so that's the theme Brahms' handel variations are based on
Good Lord those first three chords of the Prelude are so shocking, hard to imagine how he wrote them in that time
7:00 it's like a piece of song from heaven
Menuetto at 6:52 is..ravishing.
You should try the Kempff transcription. It takes advantage of the greater possibilities of the pianoforte.
Beautiful ornamentations
Por esta razón amo a Handel.
¿Algún Latinoamericano presente?
si
Siii. Escucha también la versión de Kathia buniatishvili y te morirás de emoción😊
@@pagano1905 gracias, eso haré.
Ne
¡Esooooo! 💪🏼
Fantastic!!!😊😊😊😊😊
The ads in the middle of this really add a totally new dimension to the experience…
3:18
Here you go, Sir Brahms!
6:21 my fav part
Very beautiful, thank you for uploading!
Just a single letter correction to the title, it should be HWV, not BWV.
Of course -- thanks for pointing that out.
Ah, but H in German is B in English!
Underrated joke
@@klop4228 It's a conspiracy! Proof that "B"ach and "H"andel were the same person.
@@tfpp1 Bandel!
I agree❤❤
美しい旋律で、素晴らしい❗
Andras Schiff - second to none
THIS PIECE IS AWESOME ......
Fantastic playing! I would like to hear a recording of Schiff playing clavichord. He plays clavichord privately, which must help a lot with his interpretations on piano. I don’t think he has released anything on clavichord, which is a pity. Maybe some private recordings will get released one day.
He released an album played on clavichord recently. Go try it
6:52 Menuetto
Gotta love that harpsichord.
fantastic.....
Marvellous!
thank you! 🥰
very much enjoy this
Hmm it's a decent piece but he should have added some arpeggios to improve it.
bosh. this cake needs no more frosting
It’s sad that improvisational techniques like that has gone out of fashion
Joking?
@@trblcleft No.
BAHAHAHAHAHAHA
ヘンデル最高です❗
So Handelesque!!! 😀😍
The second mov. (Sonata) is so handelian.
Menuetto 6:53, speed 0.75
Perfect
The menuetto is so elegantly melancholic...
There is an other version of maestro Schiff playing that suite on youtube but with a different beginning, I was wondering what is the deal with that? Did Händel write two different versions?
I'm no expert, but I imagine it could be either a different printing, or a stylistic choice.
Absolutely one of my favorite pieces! I tried to learn it but couldn't get there!
The prelude sounds a bit progressive for its time but probably because of it being played on the piano as opposed to the harpsichord. The thing about baroque music is it is very hard to hide mistakes since it is so antiseptic and pristine. Handel has some very beautiful music which fits the hand quite well, I find his advanced level music a little easier to play than Bach's.
Beautiful suite, one of the best along with 7 in G minor (with that brilliant Passacaglia) and 8 in F minor that opens with an Adagio and Fugue that's one of his best. I feel like the Menuetto could be placed before the Aria & Variations; feels slightly anti-climactic to close with it instead of the Aria.
Andras Schiff siempre nos maravilla con sus grandes interpretaciones. En el Aria, pienso que el tema pudo haber sido tocado de manera algo más solemne - es mi modesta opinión
A mi me gusta mas cuando Schiff interpreta a Handel y a Scarlatti que al propio Bach.
También pienso que el Aria en particular requería mayor solemnidad, aunque las variaciones no demasiado.
8:45 that was unexpected
06:52 menuet. In measure 31 (@8:28 ) we hear (D C B A) or (re do si la) and the sheet gives (C B A G) or (do si la sol). I think the interpret is correct.
Why does the prelude sound so much better here than everyone else's recordings? Is it an extra improvisation by Schiff? There is a strong melodic line from the very start in this one whereas the others just sound like a succession of chords.
much extra, schiff puts the improv in baroque like it's supposed to be.
For this piece I have the score printed in Barenreiter’s 4-volumes, in book #2. In this volume they list the 4th movement as separate from the rest of the suite, listing it in the back of the book in the appendix. My question is why did they take out the Minuet from the rest of the score? If anybody has any idea as to this I’d love to hear the historical context. Other than this, very well executed performance and very enjoyable! Thank you!
Disculpa que no conteste en Inglés, pero explicártelo se me dificulta mucho, por lo que te respondo en español:
El segundo set de suites (Londres, 1733) sobrevive en diversas fuentes bibliográficas:
1. Fragmentos autógrafos de Handel.
2. Publicaciones de contemporáneos.
3. Copias manuscritos de contemporáneos de Handel.
4. Copias manuscritas alemanas preservadas en la biblioteca de Berlin.
Para esta Sonata HWV 434, las ediciones Urtext como Baerenreiter o Henle tomaron como fuente dos copias contemporáneas preservadas en la librería británica, además también tomaron una impresión contemporánea publicada en Amsterdam por J. Roger y otra impresión previa anónima de 1727 (probablemente publicada por el editor John Walsh). De todas estas fuentes bibliográficas mencionadas solo la impresión anonima de 1727 incluye ese minué en G menor como movimiento final, todas las demás fuentes no lo incluyen.
Por lo tanto, al no ser incluido ese minué en todas las demás fuentes, y al estar en G menor que es una tonalidad completamente distinta a todas las demás partes de la sonata, se considera que no pertenece a la sonata y que alguien distinto a Handel fue quien lo agregó al final. Por eso decidieron dejarlo en un apéndice final.
Espero haberme dado a entender, es algo confuso 😅
That ad in the middle is killer...
Handël
Han̈del
Ḧandel
@@ChristianJiang how was the weed?
@2:44 does anyone see the resemblance to Bach’s partita no 2 in c minor capriccio?
Yes, also Suite No 3. in D Minor (HWV 428), Allemande, has the same figure as the Allemande of the C Minor Partita of Bach. It seems to me, that Bach has studied Handels music closely
@@magoit "Bach has studied Handels music closely." Reer. Snarky!
Thank you so much. We are showcasing this video on our 1P2DE page for the Music with the Scores Section. Could not have a more marvellous entry. Thank you too, Master Schiff (we crossed at Wigmore Hall about Beethoven and on the sidewalk next) • denEden Agency members ARE distinctive.
Me gusta esta interpretación del Minueto de Handel en B menor. Les recomiendo también la interpretación de Kathia Buniathisvilli. La diferencia es que esta suena muy "profesional", pero la de Kathia es más "sentimental".
The beginning, with the chords in arpeggio form, reminds me of Fantasia and Fuga BWV 944 by J.s. Bach. Doesn’t anyone?
The menuetto is G minor. Is such an ending intentional (because it’s strange for an otherwise B flat piece).
Hey-O. Quick question for anyone that might be willing to answer. How did the performer know to end the Sonata as he/she did? Was it just musical intuition to know not to continue on with that run and just stop at the Fermata? Or is there a rule for traditional Baroque performing with regards to Fermata's and Repeat's? Obviously it would sound very jarring to end the piece on the A so abruptly. But why didn't Handel feel the need to put in a measure for an ending?
Hey Phomnosical, it's basically a variation on a widespread baroque structure, where a piece has an ABA structure. If it's a longer piece the composer would write out both the A and the B parts and then write down Da Capo, meaning from the head or the top of the piece, to let the player play the A part again. He then had various ways to indicate to the players where the piece should end. He could either place a segno (a sign) somewhere which would indicate the end of that section or the piece. He would then write da capo al segno (to the segno) to indicate what to look out for. Another option is a "fine" (end) marking where he would literally write "end" to indicate where to stop. A third option would be to write a separate ending, a coda, and indicate that the player should play from the top (da capo) to a certain point (indicated by coda) and then play the actual coda. The composer could also choose to indicate to start from another place than the top by placing a sign and having the player play from this sign" (Dal segno) until either a different sign or a coda or a fine. Using a repeat to only repeat a small section of the sonata can be used to replace this use of a Segno. A fermata is apparently used to replace the "fine" that one would expect to see. I've mostly come across this use in arias where there's usually a small rest after the fine or the fermata before the accompaniment picks up again.
@@tijmendr1 Thanks for taking the time to answer, I appreciate it! Have a great day, my guy.
03:18
This song is 👍 good
아메리카노먹고있다ㅋㅋㅋ
귀여워?? ㅡㅡㅋㅋㅋㅋㅋ
뭐란디야 ,음악이참좋으시네요ㅋㅋ
After 4:08, I was expecting hearing something else..............
Hear what?
@@vt2637 Brahms probably :-P
So, play it till 4:08 and then switch to “something else”.
Wow
Haendel ist mein bevorzugsten Komponist
This piece is certainly HWV434.
But I think it's not Suite No. 1.
Because Suite No. 1 is HWV426, actually.
HWV434 is not Suite No. 1, but no numbered Suite B flat major.
There are two sets of suites:
-London 1720: first set, the “eight great suites” HWV 426
-London 1733: second set, includes this work and the famous great Chaconne in G
@@ruperttmls7985
Thank you so much for the explanation.
7:24
Where can I get the scheet Music? And is it Handel's original score??
great
oh! betutifulb ^-^
Sounds romantic !
reminds me of Bach's Chromatic Fantasia and Fugue in d minor
very sensitive performance
Beautifully performed, but I think I prefer this work on harpsichord. Piano makes this suite sound more classical or romantic than baroque in my opinion.
***** This is obviously a subject of debate, but I do believe that musicians should do their best to be historically accurate. The fact of the matter is that this work was written for harpsichord, not piano, and the two aren't perfectly interchangeable. Harpsichords can make sounds that a piano could never emulate, and vice versa. With a piano, it's impossible to get exactly the sound that was intended for this piece. Baroque - style instruments in general create much brighter, more vibrant sounds than their modern counterparts. As a result of playing baroque music on modern instruments, you lose some of the essence of what the composer originally wanted listeners to experience.
***** You are correct, the original composers did want the best instruments available. However, their definition of a "good" instrument is very different from our modern definition of good. A piano is not an improved version of a harpsichord; it's a fundamentally different type of keyboard instrument. I would encourage you to listen to, for example, a baroque piece for strings, and compare recordings using period and modern instruments. I think that if you do you will notice a rather large difference. Modern string instruments are designed to be able to play slow, lyrical melodies. Baroque instruments, on the other hand, are designed to be much more sensitive and agile, allowing them to play quick counterpoint much more easily.
Exactly, and that's why I believe baroque instruments to be better suited and designed to playing in that style. (although I would not personally use the words "nervous" and "fidgeting" to describe baroque music)
+Alter Kater I do also think these great pieces like this one and Bach's partitas sound way better and deep on the harpsichord. On the piano they lose all their light and just sound like little happy scale runs.
+ClassicMusicVids Why should we care what the composer thought? Music is sound. If it sounds good, it is musically justified. This hero-worship of dead composers is puzzling to me.
Please help me get the sheet for the modified opening he is playing
It's not "modified", it's just the way it's meant to be played according to 18th century rules about long chords on harpsichord
Actually called “arpeggio chords”
Is there anyone who can help me with the arpeggios(prelude). These are played in a specific manner.
Seems a little bit improvised to me, as was the nature of much of Baroque performance
They are rolled for full beat (eg. if chord is 4 beats long... 2 beats to roll chord up and 2 to roll down...)
De acuerdo a las sugerencias de la editorial Henle, los acordes de notas redondas y blancas se tocan empezando desde la nota inferior hacia arriba, y luego de regreso de arriba hacia abajo sin nunca soltar las teclas. Y cuando son dos acordes de notas negras o corcheas, se toca el primer acorde desde la nota inferior hacia arriba y a continuación el segundo acorde de arriba hacia abajo.
Espero haberme dado a entender jajaja, es complicado de explicar por mensaje.
Como es que gente tan vulgar como tu llega a estos videos?
Es obvio que solo eres un troll... #bloqueado
Shouldn’t there be a finale movement back in B-flat? Seems unfinished
Compare and contrast with this rendition by Khatia Buniatishvili (from 34:50): ua-cam.com/video/wTl7mkcJKHw/v-deo.html
How odd that he finishes the piece in the relative minor
Ese menuetto al final fue agregado por el editor y no por Handel. De las diversas fuentes originales que existen de esta suite la mayoría terminan con el Aria y variaciones.
Por esa razón la editorial Baerenreiter y Henle no incluyen al Menuetto en la suite, sino en un apéndice aparte.
@@ruperttmls7985 ¡Ah! Entiendo. Quizás sería una buena tocar el menuetto en otro lugar en la suite. No sé donde es lo mejor, pero quizás funcionaría
So much better on piano. Wow.
💯👌👌👌