Just a few observations from the performer about this recording of the Bach Partitas. The recording was made during the summer heat in 2013 in Boston's beautiful (and climate-controlled) Church of the Redeemer in Chestnut Hill, just down the road from where I teach at Boston College. The harpsichord used is the magnificent German instrument built for me in 1999 by Alastair McAllister, doyen of Australian harpsichord makers. It was to have been built for Anthony Jennings (1945 - 1995), the great New Zealand harpsichordist and organist, a close friend of both Alastair and me. When Tony died very prematurely in 1995 at the age of 50, I took over the commission of the instrument, which was half finished; it was completed in early 1999, and made its debut in Melbourne at the International Autumn Festival of Organ & Harpsichord. The instrument is patterned after a surviving harpsichord by Johann Heinrich Harrass (d. 1714), another of whose instruments was reputed to have been inherited by Bach's eldest son, Wilhelm Friedemann from his father in 1750. (This is the famous "Bach-Cembalo" in the Berlin City Museum, which was accepted in the late 19th century as having belonged to Bach and which has been more-or-less re-instated in more recent years as likely to have been Bach's own instrument.) At least, this harpsichord (recommended to Alastair as a highly suitable prototype by the Swiss harpsichordist Christiane Jaccottet) is one that Bach would have been very familiar with. It is a very long instrument (9'), and has three sets of strings (upper manual 8', buff; lower manual 8' & 4'; manual coupler). This copy is beautifully and elaborately veneered in Tasmanian Blackwood, a rare and precious (now protected) native Australian hardwood. For just a few movements a pedal harpsichord by Hubbard & Broekman (Boston, 1990) is used underneath the main instrument. (Partita No. 1: Praeludium; Partita no. 2: Sinfonia; Partita No. 6: Toccata). The ornamentation in the repeats was improvised at the sessions. The engineer (as for all of my recordings since 1998) was Joel Gordon, and the session producer was the distinguished fortepianist, Penelope Crawford. The score seen here is the first printing of the Partitas, Bach's op.1, published from 1726-30. The first collective print is from 1731. You will perhaps notice in Partita no. 6 the unusual rhythms in the two final movements: the Tempo di Gavotta is one of those instances where Bach writes two contradictory rhythms simultaneously: dotted figures against flowing triplets. In this case, the dotted rhythms are sharpened in such a way that they remain distinct from the prevailing triplet rhythm in the other voice: harder to play, but, I think, what Bach intended here. The Gigue is of the old-fashioned French type that Froberger used, in common time. Here it is played that way, with sharp over-dotting, which gives it a strange, angular sound, a fitting close to Bach's most extraordinary set of keyboard suites and a mixing of the "old" with the "new".. Martin Jarman, to whom the recording is dedicated, was THE instrument mover (Cartage of New England) of the entire Boston musical community for many years, sadly missed. As always, he took impeccable care of both instruments for these sessions, the last he was to undertake. Peter Watchorn
I'm a modern pianist, going to play the Sixth Partita this upcoming autumn on a long concert tour. And the infos and impressions you're giving me here with your WONDERFUL interpretation and your helpful notes, represent the biggest help to clear some doubts. I especially like your tempos and, I swear, even before listening to your rendition, I was thinking that the Courante must be played lyrically instead of brilliantly: it's so full of melancholy, just as the whole Sixth Partita is imbued with sadness, rage and regret. Same goes for the Gigue: I thought I could be condemnable because of my tempo choices - slow, carved like a sculpture, dramatic - but now I know that I can even base my choices of tempo on solid grounds. Same applies to the Air, that most of the pianists play utterly fast... Thank you very much for relieving me.
PS: The portrait used for the cover of this recording was painted by E. G. Haussmann, who also painted portraits of Bach in 1746 & 1748. In this case I have used Haussmann's portrait of Bach's great champion, Rector of St. Thomas's in Leipzig, Johann Matthias Gesner (1691-1761), who supported his publication of the Partitas. Bach's fortunes in Leipzig were to change when Gesner departed and was succeeded by a "Man of the new generation", Johann August Ernesti (1706-1781), who became Bach's antagonist after Gesner's departure in 1734. Therefore, Gesner deserves to be honoured with his portrait on the cover of this release of Bach's incomparable Partitas.
Thank you very much for these notes (I was wondering about the portrait), and also I'd like to express deep gratitude for recording and sharing JSB's sublime art with us. Superb performance!
I've loved the harpsichord all my life and Bach for as long. I did a report on the harpsichord I 8th grade. His ,music is the best soul music. Music for and from.the Soul.
Lovely playing. Really interesting to hear story of instrument. Tony Jennings was my teacher at Auck University. A great teacher. Thanks for posting this great video.
The pedalboard instrument under the main harpsichord has a 16' register, which you hear in the openings to 1, 2 & 6. The harpsichord proper, copied from the Sondershausen instrument by J.H.Harrass is itself 9'1" in length, but with no separate16'
Wunderschöne und detaillierte Interpretation dieser sechs perfekt komponierten Partiten in verschiedenen Tempi mit schimmerndem Klang des technisch fehlerlosen Cembalos und mit sorgfältig kontrollierter Dynamik. Wahrhaft intelligenter und genialer Cembalist!
The harpsichordist is commended for a spectacular performance! This is the best recording I have ever heard. The music is not rushed and the result is absolutely splendid! This is a very good recording. I sincerely congratulate you and thank you very much for your effort. I had been listening to Bach's music for over 50 years now. Again, beautiful job!!!
Thankyou, Theresa! I am pleased that you enjoyed it. Recording all of Bach's harpsichord works is a big job, so it's nice when people appreciate the effort!
Bello bello. Los tiempos correctos las repeticiones improvisadas pero siempre siendo Bach. No me queda claro quien es que las toca. Muchísimas gracias por compartir esta versión cuidada de don Bach.
Another bouquet of fine pieces. I hardly can get enough of Bach. The sound of the harpsichord is unusually but convincingly male. This timbre fits well to the manners of the player. Thank you again, Master B!
@@yvonnevasquez5569 :. Really!? 😂.. Perhaps any appreciation through the words becomes in something ineffable to express, given the fact that when your soul is shivering thanks to these melodies you only have got symbols to do....!! 👌🏻🎼❤️🎵... Be Well Yvonne🤗🤗🤗🌹
So far all videos I uploaded are done by copyists. For the Partitas video I used the first Edition of 1731. Copyists are not listed. The Violin Sonatas, French Suites, Well Tempered Klavier were done mainly by Johann Christoph Altnikol (1720-1759) Bach's son-in-law. The English Suites by Johann Friedrich Agricola (1720-1774) and Johann Philipp Kirnberger (1721-1783) plus an Anonymous scribe. Agricola's contribution has not been confirmed.
It sounds that way to your ears because pitch standards in the Baroque era were different from today's concert pitch. This harpsichord is tuned to a common 18th century pitch where A=415 HZ, a semitone (half-step) lower than modern concert pitch. Therefore, B flat major (Partita no. 1, BWV 825) will sound like A major at modern concert pitch. Italian pitch standards in the second half of the 18th century were often a half-step HIGHER than modern pitch, so A=465 HZ. Harpsichords built according to 18th century principles (like the one used here) are scaled for "low" pitch. The organ in Bach's church at Leipzig was tuned to A=465, or a whole step above chamber instruments such as the flute or violin (or harpsichord). Peter Watchorn
@@trysubscribe25 It is our modern mindset that frames the issue this way, as today we have an international "concert" pitch. There was no such standard pitch in earlier centuries (pitch could be either higher or lower than today's). many modern listeners find this disconcerting at first: A on this harpsichord sounds like G# to a pianist. A common pitch for instruments such as harpsichords and violins in Bach's day was around A=410hz, so A=415HZ is a slight compromise (though it existed, too, in some places). In Leipzig, if you played the organ in Bach's church, you would have noticed that it was tuned an entire step higher than the chamber instruments. Therefore, if the violins, oboes etc. played in C minor, the organ would have to play DOWN a step in B flat minor to match the pitch. The first attempts at an international standard pitch was around 1900, and this was set at A=435hz. In Beethoven's Vienna this standard was around A=430. Today the standard is A=440hz, but in Berlin and Vienna, for example, orchestras tune a few cycles above that. Most people are used to hearing their pianos tuned at A=440hz in equal temperament, but this was not Bach's practice. Peter Watchorn
Just a few observations from the performer about this recording of the Bach Partitas. The recording was made during the summer heat in 2013 in Boston's beautiful (and climate-controlled) Church of the Redeemer in Chestnut Hill, just down the road from where I teach at Boston College. The harpsichord used is the magnificent German instrument built for me in 1999 by Alastair McAllister, doyen of Australian harpsichord makers. It was to have been built for Anthony Jennings (1945 - 1995), the great New Zealand harpsichordist and organist, a close friend of both Alastair and me. When Tony died very prematurely in 1995 at the age of 50, I took over the commission of the instrument, which was half finished; it was completed in early 1999, and made its debut in Melbourne at the International Autumn Festival of Organ & Harpsichord.
The instrument is patterned after a surviving harpsichord by Johann Heinrich Harrass (d. 1714), another of whose instruments was reputed to have been inherited by Bach's eldest son, Wilhelm Friedemann from his father in 1750. (This is the famous "Bach-Cembalo" in the Berlin City Museum, which was accepted in the late 19th century as having belonged to Bach and which has been more-or-less re-instated in more recent years as likely to have been Bach's own instrument.) At least, this harpsichord (recommended to Alastair as a highly suitable prototype by the Swiss harpsichordist Christiane Jaccottet) is one that Bach would have been very familiar with. It is a very long instrument (9'), and has three sets of strings (upper manual 8', buff; lower manual 8' & 4'; manual coupler). This copy is beautifully and elaborately veneered in Tasmanian Blackwood, a rare and precious (now protected) native Australian hardwood. For just a few movements a pedal harpsichord by Hubbard & Broekman (Boston, 1990) is used underneath the main instrument. (Partita No. 1: Praeludium; Partita no. 2: Sinfonia; Partita No. 6: Toccata). The ornamentation in the repeats was improvised at the sessions. The engineer (as for all of my recordings since 1998) was Joel Gordon, and the session producer was the distinguished fortepianist, Penelope Crawford. The score seen here is the first printing of the Partitas, Bach's op.1, published from 1726-30. The first collective print is from 1731.
You will perhaps notice in Partita no. 6 the unusual rhythms in the two final movements: the Tempo di Gavotta is one of those instances where Bach writes two contradictory rhythms simultaneously: dotted figures against flowing triplets. In this case, the dotted rhythms are sharpened in such a way that they remain distinct from the prevailing triplet rhythm in the other voice: harder to play, but, I think, what Bach intended here. The Gigue is of the old-fashioned French type that Froberger used, in common time. Here it is played that way, with sharp over-dotting, which gives it a strange, angular sound, a fitting close to Bach's most extraordinary set of keyboard suites and a mixing of the "old" with the "new"..
Martin Jarman, to whom the recording is dedicated, was THE instrument mover (Cartage of New England) of the entire Boston musical community for many years, sadly missed. As always, he took impeccable care of both instruments for these sessions, the last he was to undertake.
Peter Watchorn
Anthony Jennings was my harmony teacher at Auckland Univerisity who invited me to the Baroque club in my second year.
I appreciate your music very much, dear Peter Watchorn! Sincere greetings from Dubai!
I'm a modern pianist, going to play the Sixth Partita this upcoming autumn on a long concert tour. And the infos and impressions you're giving me here with your WONDERFUL interpretation and your helpful notes, represent the biggest help to clear some doubts. I especially like your tempos and, I swear, even before listening to your rendition, I was thinking that the Courante must be played lyrically instead of brilliantly: it's so full of melancholy, just as the whole Sixth Partita is imbued with sadness, rage and regret. Same goes for the Gigue: I thought I could be condemnable because of my tempo choices - slow, carved like a sculpture, dramatic - but now I know that I can even base my choices of tempo on solid grounds. Same applies to the Air, that most of the pianists play utterly fast... Thank you very much for relieving me.
PS: The portrait used for the cover of this recording was painted by E. G. Haussmann, who also painted portraits of Bach in 1746 & 1748. In this case I have used Haussmann's portrait of Bach's great champion, Rector of St. Thomas's in Leipzig, Johann Matthias Gesner (1691-1761), who supported his publication of the Partitas. Bach's fortunes in Leipzig were to change when Gesner departed and was succeeded by a "Man of the new generation", Johann August Ernesti (1706-1781), who became Bach's antagonist after Gesner's departure in 1734. Therefore, Gesner deserves to be honoured with his portrait on the cover of this release of Bach's incomparable Partitas.
Thank you very much for these notes (I was wondering about the portrait), and also I'd like to express deep gratitude for recording and sharing JSB's sublime art with us. Superb performance!
I've loved the harpsichord all my life and Bach for as long. I did a report on the harpsichord I 8th grade. His ,music is the best soul music. Music for and from.the Soul.
Lovely playing. Really interesting to hear story of instrument. Tony Jennings was my teacher at Auck University. A great teacher. Thanks for posting this great video.
The comfort of these melodies is irreplaceable, and off the charts.
何と雅やかなハプシコードの演奏でしょうか。ペーター.ワッチホーンさんの見事な演奏を初めて聴きました。すっかり感動しました。バッハの意図通りに繰り返して本当に正当な演奏だと思いました。ハプシコードの製作日やペダル付きであることや製作者など詳細な情報なども知ることが出来ました。演奏に3時間ほども要する長大な楽曲でありますこと。パルティータの楽曲が舞曲でありますこと。そしてバッハの原譜付きの美しい原稿と楽曲ごとの情報とを見ながら堪能しています。第一人者の演奏家であることも分かりました。今後の活躍を期待しております。そして次は映像と共にバッハの全楽曲を聞かせてください。私は素晴らしい時間を満喫しています。ありがとうございます。
The great length of this instrument tricks my ear into believing a 16' register is present. A very satisfying performance.
The pedalboard instrument under the main harpsichord has a 16' register, which you hear in the openings to 1, 2 & 6. The harpsichord proper, copied from the Sondershausen instrument by J.H.Harrass is itself 9'1" in length, but with no separate16'
Wunderschöne und detaillierte Interpretation dieser sechs perfekt komponierten Partiten in verschiedenen Tempi mit schimmerndem Klang des technisch fehlerlosen Cembalos und mit sorgfältig kontrollierter Dynamik. Wahrhaft intelligenter und genialer Cembalist!
the sinfonia of the 2nd partita has to be one of the most genius things ever written
Amazing performance. I listened few times and ca n't stop. Probably, the best sound of harpsichord.
The harpsichordist is commended for a spectacular performance! This is the best recording I have ever heard. The music is not rushed and the result is absolutely splendid! This is a very good recording. I sincerely congratulate you and thank you very much for your effort. I had been listening to Bach's music for over 50 years now. Again, beautiful job!!!
Thankyou, Theresa! I am pleased that you enjoyed it. Recording all of Bach's harpsichord works is a big job, so it's nice when people appreciate the effort!
Superb in every way including the notes which are very illuminating. Thank you.
Bello bello. Los tiempos correctos las repeticiones improvisadas pero siempre siendo Bach. No me queda claro quien es que las toca. Muchísimas gracias por compartir esta versión cuidada de don Bach.
Amazing !! Devine music and preformence
Interprétation splendide. Merci !!!!!!
Bellissima musica e bellissima interpretazione! ❤
Excelente!¡!!! Mil gracias!!!!!
Preciosa versión. Enhorabuena
Another bouquet of fine pieces. I hardly can get enough of Bach. The sound of the harpsichord is unusually but convincingly male. This timbre fits well to the manners of the player. Thank you again, Master B!
Cool piece, as always
Definitely 👌🏻👌🏻❤️🎵🎼🎶❤️🎵🎼🎶🎵❤️🎼🎵🎶
I "noted" that you are a man of few words.
@@yvonnevasquez5569 :. Really!? 😂.. Perhaps any appreciation through the words becomes in something ineffable to express, given the fact that when your soul is shivering thanks to these melodies you only have got symbols to do....!! 👌🏻🎼❤️🎵... Be Well Yvonne🤗🤗🤗🌹
"Bach no es un arrollo, es un río".
Exquisite!
I found performance of most of partita 1 transcendent. Enough for one listen.
❤️
Awaken attention
2nd
3rd partita
6. Scherzo
1:04:14
Hello,
I have been following your channel for quite a time, just quite curious to know, are thèse bach's own manuscript's and hand writing?
So far all videos I uploaded are done by copyists. For the Partitas video I used the first Edition of 1731. Copyists are not listed. The Violin Sonatas, French Suites, Well Tempered Klavier were done mainly by Johann Christoph Altnikol (1720-1759) Bach's son-in-law. The English Suites by Johann Friedrich Agricola (1720-1774) and
Johann Philipp Kirnberger (1721-1783) plus an Anonymous scribe. Agricola's contribution has not been confirmed.
where did you get the original sheet music for that!
Lausica clasica es espledida se tenia que fomentar pir la adminitracion.
Is there any reason your videos of JC Bach's op 1 & 7 are removed?
Uuh yes. Copyright. Blocked world wide.
@@bartjebartmans what a shame!
Whose handwriting is this? It doesnt look like Bach
It is the first edition of 1731.
Must be some copyist's. "There are no straight lines in Bach---only curves." Sir Andras Schiff
@@lindacowles756 if you want to see some beautiful handwriting, check out Christoph Graupner's original scores
@@lindacowles756 When publishing a piece of music they would have to write it out clearer
Why does the tonality a half note lower than the music ifself?Like Bb major becomes A major in BWV 825.
It sounds that way to your ears because pitch standards in the Baroque era were different from today's concert pitch. This harpsichord is tuned to a common 18th century pitch where A=415 HZ, a semitone (half-step) lower than modern concert pitch. Therefore, B flat major (Partita no. 1, BWV 825) will sound like A major at modern concert pitch. Italian pitch standards in the second half of the 18th century were often a half-step HIGHER than modern pitch, so A=465 HZ. Harpsichords built according to 18th century principles (like the one used here) are scaled for "low" pitch. The organ in Bach's church at Leipzig was tuned to A=465, or a whole step above chamber instruments such as the flute or violin (or harpsichord). Peter Watchorn
Because of baroque pitch
Means baroque people hear and assume Bb major to A major?
@@trysubscribe25 It is our modern mindset that frames the issue this way, as today we have an international "concert" pitch. There was no such standard pitch in earlier centuries (pitch could be either higher or lower than today's). many modern listeners find this disconcerting at first: A on this harpsichord sounds like G# to a pianist. A common pitch for instruments such as harpsichords and violins in Bach's day was around A=410hz, so A=415HZ is a slight compromise (though it existed, too, in some places). In Leipzig, if you played the organ in Bach's church, you would have noticed that it was tuned an entire step higher than the chamber instruments. Therefore, if the violins, oboes etc. played in C minor, the organ would have to play DOWN a step in B flat minor to match the pitch. The first attempts at an international standard pitch was around 1900, and this was set at A=435hz. In Beethoven's Vienna this standard was around A=430. Today the standard is A=440hz, but in Berlin and Vienna, for example, orchestras tune a few cycles above that. Most people are used to hearing their pianos tuned at A=440hz in equal temperament, but this was not Bach's practice. Peter Watchorn
Title looks Sex Pistols
Tres tarder
???
There's a trend of playing too fast in modern times. These tempi are fantastic.