Simone is such a gem. We are all so fortunate to get to listen to her play, let alone explain the music she is playing. So many more people should know of her.
JS Bach est reconnaissable dès les premières mesures. Et quand j'écoute JS Bach, quelque soit l'oeuvre, très vite les larmes envahissent mes yeux tant les émotions sont fortes. Voilà une des facettes de l'immense génie de Bach. JS Bach is recognizable from the first bars. And when I listen to JS Bach, whatever the work, very quickly tears invade my eyes, the emotions are so strong. This is one of the facets of Bach's immense genius. Sorry for this english google but but i never learned to speak english.
Vielen Dank für diese sehr eindrücklichen, überzeugenden Einblicke, besonders, weil sie mit der eingestandenen Gewißheit artikuliert werden, daß wir den Boden/die Essenz nicht ergründen können, aber es hilft, die "Außenschalen" zu erforschen: prima!
This is terrific! Thank you, Simone! :D I always wondered why I never heard the melody in the variations. Now I know: it's about the BASS LINE. Reminds me of how Beethoven took the bass line of his contredanse theme and put all sorts of spins to it in the finale of the Eroica Symphony! :) BTW, love your analogy about "individuality and commonality!" And the symmetry of 32's and 3's and that "mirror" in Var. 15 is fascinating! I learned tons!
Dinnerstein's talk was enlightening, pointing out structural aspects of this marvelous composition. I own several CD's of this work by various pianists, harpsichordists, and a string quartet, and look forward to getting her version. The NY City Ballet does a magnificent ballet based on this piece, with a pianist providing the music. While, as she points out, this is not a traditional "theme and variations", it seems not that different from jazz improvisation; I'm surprised that she did not mention that.
The multi-layered structure of M. C. Escher's art might interest you, although I feel I don't need to remind you of this. If not, there is a wonderful treatise entitled Godel, Escher, and Bach which has been part of my life over the last half-century. Thank you, Maestro, for this fascinating insight.
If people want to learn more about the Goldberg-variations they should listen to the brilliant explanation and performance of Beatrice Rana. The recordings and explantations of Green Gould are for eternity. Also I can recommend Rosalyn Turek from Canada. That's pretty much and reaches out. Not realy brand new things told by Mrs. Dinnerstein. Of course she might love Bach but there's a big family loving and performing Bach and she's only one of them.
I like how you said there was breathing in the lines also motion or almost a human gesture. Im sure when people play from what they hear inside, it dosnt matter the instrument or how long ago it was written, itll always come out with that human quality people are so keen on spotting.
I am convinced that Bach was influenced by the new type of music that made its appearance at the time and that is Opera and that his Goldberg variation does have an operatic gendre.
The number 32 is used often in the bible and has spiritual significance. Bach being a religious man probably knew this and incorporated this number into the significance of 32 among men and the overall significance of 32 to God. The word God appears 32 times in the Book of Genesis....food for thought I guess
To me, speaking as a rare and singular composer, Simone is the most virtuosistic woman pianist alive. Complet , genial and transcendental. No one today can surpass him in music superior expression. ( If you want to know and see how great composer I really am click in my name and go to my YT channel. Be ready for a major discovery in your life.Significative and definitive) Bach by the extraordinary, unique Simone Dinnerstein : “United superbly by God, that ressonates and spreads this sublime music over all Universe. An infinite fited, adequated, stage for them. Luminous and vast. And the galaxies and stars fully absorved by both reverentily brigthens more and more. With grace, plentiness, ressonance and gratitude, in reverence, imensity and communion." >>> .ARS SEMPER.VITA PLENA.HIC VIVIT FELICITATEM Gratias tibi tam Simone! ― Yan Ayrton, classical composer. I//////////////////////////////////////////////////////// Itaque Vita Aeternum
Simone is such a gem. We are all so fortunate to get to listen to her play, let alone explain the music she is playing. So many more people should know of her.
This is awesome. thanks!
JS Bach est reconnaissable dès les premières mesures. Et quand j'écoute JS Bach, quelque soit l'oeuvre, très vite les larmes envahissent mes yeux tant les émotions sont fortes. Voilà une des facettes de l'immense génie de Bach.
JS Bach is recognizable from the first bars. And when I listen to JS Bach, whatever the work, very quickly tears invade my eyes, the emotions are so strong. This is one of the facets of Bach's immense genius. Sorry for this english google but but i never learned to speak english.
Best analysis, i appreciate for the explanation.
bravissimo~!
the music theory mumbo jumbo is amazing
i first heard this piece on tape - Gould's 1981 recording - 30 years ago
Thanks for the class. People like you help people get deeper into this great world of Bach's music
I'm really thankfull for this lecture! Pure delight!
Wonderful commentary. Thank you so much for sharing your deep knowledge with us.
Great video!
Loved the special (visual) hint on 15th mirroring
#Keywords: breath, motion, humanity
Thank you very much!
Vielen Dank für diese sehr eindrücklichen, überzeugenden Einblicke, besonders, weil sie mit der eingestandenen Gewißheit artikuliert werden, daß wir den Boden/die Essenz nicht ergründen können, aber es hilft, die "Außenschalen" zu erforschen: prima!
Simone is wonderful explaining this intricate music
This is terrific! Thank you, Simone! :D I always wondered why I never heard the melody in the variations. Now I know: it's about the BASS LINE. Reminds me of how Beethoven took the bass line of his contredanse theme and put all sorts of spins to it in the finale of the Eroica Symphony! :) BTW, love your analogy about "individuality and commonality!" And the symmetry of 32's and 3's and that "mirror" in Var. 15 is fascinating! I learned tons!
I like whistling improvised melodies to Bach preludes.
Excellent thankyou for this
Remarkable and sensitive commentary. It brings to mind Jan Swafford's writing.
Dinnerstein's talk was enlightening, pointing out structural aspects of this marvelous composition. I own several CD's of this work by various pianists, harpsichordists, and a string quartet, and look forward to getting her version. The NY City Ballet does a magnificent ballet based on this piece, with a pianist providing the music. While, as she points out, this is not a traditional "theme and variations", it seems not that different from jazz improvisation; I'm surprised that she did not mention that.
The multi-layered structure of M. C. Escher's art might interest you, although I feel I don't need to remind you of this. If not, there is a wonderful treatise entitled Godel, Escher, and Bach which has been part of my life over the last half-century. Thank you, Maestro, for this fascinating insight.
If people want to learn more about the Goldberg-variations they should listen to the brilliant explanation and performance of Beatrice Rana. The recordings and explantations of Green Gould are for eternity. Also I can recommend Rosalyn Turek from Canada. That's pretty much and reaches out. Not realy brand new things told by Mrs. Dinnerstein. Of course she might love Bach but there's a big family loving and performing Bach and she's only one of them.
Could you please post a lecture about the 14 canons? I'll be so thankful?
I like how you said there was breathing in the lines also motion or almost a human gesture. Im sure when people play from what they hear inside, it dosnt matter the instrument or how long ago it was written, itll always come out with that human quality people are so keen on spotting.
I am convinced that Bach was influenced by the new type of music that made its appearance at the time and that is Opera and that his Goldberg variation does have an operatic gendre.
The number 32 is used often in the bible and has spiritual significance. Bach being a religious man probably knew this and incorporated this number into the significance of 32 among men and the overall significance of 32 to God. The word God appears 32 times in the Book of Genesis....food for thought I guess
I like she talks with no rush. away from American life style.
tldr: Bach is alien intelligence
To me, speaking as a rare and singular composer, Simone is the most virtuosistic woman pianist alive.
Complet , genial and transcendental. No one today can surpass him in music superior expression.
( If you want to know and see how great composer I really am click in my name and go to my YT channel.
Be ready for a major discovery in your life.Significative and definitive)
Bach by the extraordinary, unique Simone Dinnerstein
:
“United superbly by God,
that ressonates and spreads
this sublime music
over all Universe.
An infinite fited, adequated, stage for them.
Luminous and vast.
And the galaxies and stars
fully absorved by both
reverentily brigthens
more and more.
With grace,
plentiness,
ressonance and gratitude,
in reverence, imensity and communion."
>>> .ARS SEMPER.VITA PLENA.HIC VIVIT FELICITATEM Gratias tibi tam Simone! ― Yan Ayrton, classical composer. I//////////////////////////////////////////////////////// Itaque Vita Aeternum