♪ Partita No. 1 in B minor, BWV 1002 (1720) 00:28 i. Allemanda -- 05:05 Double 07:20 ii. Corrente -- 10:49 Double (Presto) 14:12 iii. Sarabande -- 17:28 Double 20:35 iv. Tempo di Borea -- 24:05 Double ♪ Partita No. 2 in D minor, BWV 1004 (1717-1723) 27:37 i. Allemanda 31:54 ii. Corrente 34:21 iii. Sarabanda 37:50 iv. Giga 41:53 v. Ciaccona ♪ Partita No. 3 in E major, BWV 1006 (1720) 56:06 i. Preludio 59:25 ii. Loure 1:03:10 iii. Gavotte en rondeau 1:06:08 iv. Menuet I 1:07:46 v. Menuet II 1:10:13 vi. Bourrée 1:11:29 vii. Gigue
Listening to Gidon Kremer is quite a unique experience. At first one is a little surprised by the lightness of his touch and the dance-like character with which he infuses his pieces. Yet one is soon won over by his charm, delicacy and flawless technique. These are truly incredible performnces.
THANK-YOU TO THE KIND SOUL WHO DECIDED TO PUBLISH THESE INCREDIBLE PARTITAS.....AND WHAT A MAESTRO AND i LOVE THE SETTING, THINK BACH WOULD HAVE APPROVED!
WHO CARES ABOUT A WRONG NOTE? This is incredible!! Any recording nowadays that is faultless.....is the work of the recording engineer sellotaping takes together for the "perfect" version! Enjoy the music and the artistry of the performers and the fact that they are all human!
Gidon Kremer, uno de los más grandes músicos que han existido. Musical, profunda e intelectualmente estudiada cada frase, cada pasaje. Un músico auténtico y musicalmente cien por ciento honesto con lo que interpreta.
@Armando Moreno Fierros.- Una interpretación algo afectada. Lo que, para usted, es un elogio: “ profunda e intelectualmente estudiada cada frase, cada pasaje”, para mí es falta de naturalidad. No siempre, pero algunas veces. Por ejemplo, en la allemanda de la segunda partita. Que estudie, es su problema. Yo lo que quiero es que la música fluya. Y en ciertos “ataques de musicalidad”, no exclusivos de Kremer, sino de otros violinistas, que hacen, a veces, cosas en esta música a solo que no funcionaría si tocaran con otros, me parece que sobreactúan. Pero bueno, que Gidon Kremer es un gran violinista, eso no se lo quita nadie.
I'm not a fan of the baroque or classical eras at all (I'm a strong modernist guy), but I find something really fascinating about a lot Bach's chamber and organ works, the atmosphere particularly solo pieces give in an environment such as a cathedral give with the echo is sublime!
Kremer is unmatched for the partitas... maybe Janine Jansan has his number on the sonatas, but nobody living parallels his interpretation on the partitas!
One of the most profound, modern, yet deeply traditional and true interpretations. Only Nikolaeva's Bach's Clavier comes close... Yes, Hahn is here, and her best comes so close, too.. Yet she is more of a force, while he is more of a nerve.
Maestro Kremer is a musicians musician.Unless you want to go back to period instruments and phrasing, don't question any interpretations, because thats what the modern violin and technique has given us....unique capabilities and endless possibilities of phrasing and color. That includes my own interpretations which in some cases mirror maestro Kremer in tempo and bowings.If you dont like my performance ..you can have your money back, and good riddance.
I think that sound and picture are not in perfect coordination, at least at some moments in this uptaking? But this is masterly music played by a great master!
ARv, Thank you. Bach rendered as folk music? Did you know there is a gap in the audio in the last piece, Partita No.3 in E major, BWV 1006, vii. Gigue? I notice the gap but not the wrong note.
Hello to everybody who has taken an interest in this saga about the wrong note(s) played by Gidon Kremer in his UA-cam performance of the J.S Bach Partita No.2. The note(s) in question are in the second section of the Allemanda, the section beginning on E. In bar No 9 (discounting the semiquaver at the beginning of the section) in the third group of semiquavers Mr Kremer plays the B as a Natural instead of a Flat as indicated by the key signature. He does the same thing on the repeat, which does puzzle me somewhat, because repeating proves that it was intentional. I have seen a number of editions of this particular Partita, and they all indicate that the notes in question are B flats and not B naturals. Apart from Mr Kremer's recording all other recordings I have seen and heard, the Bs are Flats and NOT Naturals. . For a violinist of Mr Kremer's obvious great standing in the realms of violinists, this could not be not just be a simple error - or could it be? In the absence of Gidon Kremer himself coming forwards with an explanation, I think the whole matter should now be dropped, and I shall shelve my puzzlement as to why he played these notes. .
I suspect there are what, 20-30 thousand notes in the 6 sonatas and partitas? And we're talking about one note a semitone higher? It does very little to hurt my feelings or appreciation for the performance.
Victor Hickman What you said is incorrect. That is a B natural not a B flat according to my book - Bärenreiter Urtext of Three Sonatas and Three Partitas for Solo Violin, BWV 1001-1006. (I later realized that he was referring to bar 9 in "section 2" while I thought he was referring to bar 9 from the beginning - he was correct.)
SailorSaturn Hotaru If what you say is correct - and it is not - all the other superb violinists including Heifetz, Perlman etc. are wrong. What load of rubbish!Get some music reading lessons!
I haven't read all the comments, so forgive me if this has already been mentioned. He plays the corrente all staccato. Very weird. I have seen a manuscript that calls for it, but I don't know of anyone else who plays it that way, do you?
It looks like the tv dirctor wanted to show his mummy all the gifts he got for Christmas: five cameras! Someone should tell him that music lovers don't want to see the image jumping from one camera to the next every 2 bars!
Hello to sascha42196 Your comments are noted, but discarded as irresponsible rubbish, According to your view, if Kremer had started the D minor Partita and played the first note as Db but played every other note correctly, that would have been acceptable to you. What a load of 'cods wallop' VH.
Victor Hickman Goodness me, I am so grateful to you, Mr. Hickman, for setting me straight! I only have a few questions/comments: 1. If you claim that your authority on the subject is final, then you should say so. Otherwise, people may, to their peril, disagree with you. 2. Was it part of your cultural upbringing to insult people who dare to have an opinion different from yours? 3. (parenthetically) - And this is coming from a man who said, previously :"I think the whole matter should now be dropped." 4. I am heartbroken that my comments are discarded by you. Actually, I am not; I don't give a care. 5. Oh, my questions are rhetorical - don't bother responding as I will not bother reading.
Victor Hickman Oh boy, a classical musician with a compulsive need to shove meaningless verbiage in other people's faces in order to seem more intelligent and cultured than everyone else! Now I know what people mean when they use the phrase "classical music snob". Grow up.
There is a wrong note in the second section of the Allemanda in the Partita No.2. This I find very strange coming from a violinist of Mr Kremer's obviously high standard of playing. Particularly annoying as he plays the same wrong note when he repeats the section. If someone thinks that it is not a wrong note then the likes of Perlman, Fischer, Heifetz etc. need to be told that they are playing wrong notes. Bit hard to tell Heifetz though!!
A wrong note is a wrong note whoever plays it. Show me a printed score of this particular piece where the note in question is a B natural (as played by Mr. Kremer) and not the Bb that J.S.B. wrote. Incidentally,if you want to hear it played correctly listen to Perlman play it on UA-cam - he manages to play it better than myself (only slightly better I think!).
Perhaps Kremer decided purposefully to play the B natural rather than B flat in order to preserve the whole step relationship that the previous measure had set up. While the sequence isn't a direct quote from the previous measure, it's possible that Kremer has his own reasons for believing this is a more honest interpretation.
Preston Hawes I don't know why you're bending over backwards to justify the error. I mean, it has to be one of these reasons: he learnt it incorrectly and doesn't understand harmony; he's insane; he's from Mars.
Yes, he DID play a mistaken note. And he plays extremely choppily! For a perfect, brilliant performance of the Allemande as well as Chaconne, listen to Nemanja Radulovic! He is mesmerizing, totally immersed in the music and speaks through the violin!
Carefully! A dirty, intended for the ignorant, substitution for the works of the brilliant Paganini, one of whose plays, for example “Palpiti” or “Molinara”, costs much more than all parts of “The Four Seasons”.
Right musician, right instrument and right place and acoustic = perfection!
Allow me to ad:
right composer
right composition
@@martinstremlow2997 ua-cam.com/video/9z1gpWf1ZkA/v-deo.html
♪ Partita No. 1 in B minor, BWV 1002 (1720)
00:28 i. Allemanda -- 05:05 Double
07:20 ii. Corrente -- 10:49 Double (Presto)
14:12 iii. Sarabande -- 17:28 Double
20:35 iv. Tempo di Borea -- 24:05 Double
♪ Partita No. 2 in D minor, BWV 1004 (1717-1723)
27:37 i. Allemanda
31:54 ii. Corrente
34:21 iii. Sarabanda
37:50 iv. Giga
41:53 v. Ciaccona
♪ Partita No. 3 in E major, BWV 1006 (1720)
56:06 i. Preludio
59:25 ii. Loure
1:03:10 iii. Gavotte en rondeau
1:06:08 iv. Menuet I
1:07:46 v. Menuet II
1:10:13 vi. Bourrée
1:11:29 vii. Gigue
💖
Thank you!
Thanks 🙏🌺
Thanks 🙏🙏🙏
Thank you a lot 👏👏👏👏💪💪💪💪👍👍👍👍
Listening to Gidon Kremer is quite a unique experience. At first one is a little surprised by the lightness of his touch and the dance-like character with which he infuses his pieces. Yet one is soon won over by his charm, delicacy and flawless technique. These are truly incredible performnces.
He is so incredibly passionate and ecstatic that it seems the violin is playing him.
The company of genius is the most deifying experience of humanity. We have that opportunity in Bach.
Thank you for posting this.
HOW INCREDIBLY TRUE!!!!!!!!!!!!!!!!!!
One of the best interpretations of Bach Violin Partitas.
I love what he was doing after playing the Chaconne (55:45)
Quelle magistrale performance ! Merci Gidon Kremer et merci Bach !! Écouter ces partitas procure la paix à l âme la plus tourmentée ❤️
This is just moving....you have to feel it in your soul. Do not even try to dispute about a single note. That does not matter at all...
Regarding "bad" notes comments....if you can only see trees but not the forest, you should stop walking in the woods.
THANK-YOU TO THE KIND SOUL WHO DECIDED TO PUBLISH THESE INCREDIBLE PARTITAS.....AND WHAT A MAESTRO AND i LOVE THE SETTING, THINK BACH WOULD HAVE APPROVED!
This is the best version on UA-cam
ever
@@killabyte79definitely!
Thank you forever, Gidon, for this divine music!
what a gift. I feel so lucky to hear this; thank you for uploading!
WHO CARES ABOUT A WRONG NOTE? This is incredible!! Any recording nowadays that is faultless.....is the work of the recording engineer sellotaping takes together for the "perfect" version! Enjoy the music and the artistry of the performers and the fact that they are all human!
Thank you for such a good upload. Beautiful music played by a beautiful soul!
Great Music from a Great Composer by a Great Violinist !
Gidon Kremer, uno de los más grandes músicos que han existido. Musical, profunda e intelectualmente estudiada cada frase, cada pasaje. Un músico auténtico y musicalmente cien por ciento honesto con lo que interpreta.
@Armando Moreno Fierros.- Una interpretación algo afectada. Lo que, para usted, es un elogio: “ profunda e intelectualmente estudiada cada frase, cada pasaje”, para mí es falta de naturalidad. No siempre, pero algunas veces. Por ejemplo, en la allemanda de la segunda partita. Que estudie, es su problema. Yo lo que quiero es que la música fluya. Y en ciertos “ataques de musicalidad”, no exclusivos de Kremer, sino de otros violinistas, que hacen, a veces, cosas en esta música a solo que no funcionaría si tocaran con otros, me parece que sobreactúan. Pero bueno, que Gidon Kremer es un gran violinista, eso no se lo quita nadie.
Infused with vitality, incredibly expressive playing! I loved it.
Feels like music speaking itself... personal yet universal. Thank you for sharing!
The best bach ever
Pure joy! An expert and bow - a super-professional -I love the quiet passages.
Hey this guy is pretty good
Fabulous, superb, Awesome !!!!!
Great Maestro Gidon Kremer.
thank you very much for l am astounded at your talent...............Superb!
I'm not a fan of the baroque or classical eras at all (I'm a strong modernist guy), but I find something really fascinating about a lot Bach's chamber and organ works, the atmosphere particularly solo pieces give in an environment such as a cathedral give with the echo is sublime!
אחלה גדעון, תודה. loati labi
Is very beautiful!
thank you for these musics.
Maestro!
I'm good with the B because Kremer is too much of a master virtuoso to even bother listening for fault. I just listen to the music as whole.
I believe that I have just fallen in love with a new touch. LOVe THIS!!!
I used to think he played the Sarabande (14:12) way too fast, but that's actually the sarabande tempo. This is not a sonata , but a series of dances.
Heifetz, in one of his master classes, stopped Erich Friedman playing a Bach Sarabande, cautioning him that it's a dance and must be played as such.
yes, i love how he plays the sarabande
Wonderful - thank you so much for posting.
one of the glories of humanity
Kremer is unmatched for the partitas... maybe Janine Jansan has his number on the sonatas, but nobody living parallels his interpretation on the partitas!
wow - impeccable playing
ずっと聴いていられるバッハ🤯💨
Genius at work
Thank you for the upload.
I came for inspiration, I'm working on the First Double. I found it. Bravo !
Same here! Lol!
Beautiful and Sublime. To the Glory of God.
Live video, but pre-recorded audio. Brilliant nonetheless, as one would expect.
Hard work, even for the best of them, which Kremer is.
One of the most profound, modern, yet deeply traditional and true interpretations. Only Nikolaeva's Bach's Clavier comes close...
Yes, Hahn is here, and her best comes so close, too.. Yet she is more of a force, while he is more of a nerve.
maravilloso ,la técnica ,el talento nooo es que se paso nada que decir
Every time I listen to the ‘Double (Presto)’ it feels so much like or parallels with Glen Gould’s playing of goldberg variations
BEAUTIFUL!!!
Full of emotions, love it.
I am your fan
Fantastic performance!
Восхитительное мастерство и глубина исполнения. И неземной красоты музыка!!!
Muy bueno, me gustó mucho, para nada aburrido
Everybody talking about a wrong b instead of enjoying this wonderfull piece of art
Very interesting interpretation.
Excellent.
Impecable, I love it
How interesting how in Double - Presto all of a sudden presto becomes just a shimmer of something huge, incredible and not that fast moving at all..
Very good
GREAT MUSIC, FASCINATING WRONG NOTE WAR, SHARING ON FB. THANK YOU
+peter dohan very entertaining indeed!
기돈크레머의 독특한 해석이 가장 바흐적 발견이라 생각됨.
영혼을 터치하는 감성에
초집중되고 노트 에 강조점이
적절하며 활쓰기 표현이 놀랍다!
Fantástico!!
Чудесно! Спасибо.
wonderful
Maestro Kremer is a musicians musician.Unless you want to go back to period instruments and phrasing, don't question any interpretations, because thats what the modern violin and technique has given us....unique capabilities and endless possibilities of phrasing and color. That includes my own interpretations which in some cases mirror maestro Kremer in tempo and bowings.If you dont like my performance ..you can have your money back, and good riddance.
Excelente!!!
I think that sound and picture are not in perfect coordination, at least at some moments in this uptaking? But this is masterly music played by a great master!
Strait from Heaven !
D Graf www.amazon.ca/gp/search/ref=sr_pg_3?rh=i%3Aaps%2Ck%3Asamsung+printers&page=3&keywords=samsung+printers&ie=UTF8&qid=1538694832
ARv,
Thank you. Bach rendered as folk music?
Did you know there is a gap in the audio in the last piece, Partita No.3 in E major, BWV 1006, vii. Gigue? I notice the gap but not the wrong note.
Hello to everybody who has taken an interest in this saga about the wrong note(s) played by Gidon Kremer in his UA-cam performance of the J.S Bach Partita No.2.
The note(s) in question are in the second section of the Allemanda, the section beginning on E. In bar No 9 (discounting the semiquaver at the beginning of the section) in the third group of semiquavers Mr Kremer plays the B as a Natural instead of a Flat as indicated by the key signature. He does the same thing on the repeat, which does puzzle me somewhat, because repeating proves that it was intentional. I have seen a number of editions of this particular Partita, and they all indicate that the notes in question are B flats and not B naturals. Apart from Mr Kremer's recording all other recordings I have seen and heard, the Bs are Flats and NOT Naturals. .
For a violinist of Mr Kremer's obvious great standing in the realms of violinists, this could not be not just be a simple error - or could it be?
In the absence of Gidon Kremer himself coming forwards with an explanation, I think the whole matter should now be dropped, and I shall shelve my puzzlement as to why he played these notes. .
Good stuff
I suspect there are what, 20-30 thousand notes in the 6 sonatas and partitas? And we're talking about one note a semitone higher? It does very little to hurt my feelings or appreciation for the performance.
Victor Hickman What you said is incorrect. That is a B natural not a B flat according to my book - Bärenreiter Urtext of Three Sonatas and Three Partitas for Solo Violin, BWV 1001-1006.
(I later realized that he was referring to bar 9 in "section 2" while I thought he was referring to bar 9 from the beginning - he was correct.)
SailorSaturn Hotaru If what you say is correct - and it is not - all the other superb violinists including Heifetz, Perlman etc. are wrong. What load of rubbish!Get some music reading lessons!
Victor Hickman OK, I see. You were talking about section 2. I thought you were referring to bar 9 from the beginning.
thanks.
Genio!!!!👏👏👏
que belleza y el resto del mundo horrible, como debe ser
Excelente
wow!
Er... is it just me or is there a slight lack of sync. between audio/video, for example in the Bouree @ the 20.30 mark .... ?
Fire
His facial expressions and interpretation remind me very much of Augustin Hadelich.
Parece eu.
Qué fraseo tán inesperado!
I haven't read all the comments, so forgive me if this has already been mentioned. He plays the corrente all staccato. Very weird. I have seen a manuscript that calls for it, but I don't know of anyone else who plays it that way, do you?
why is partita in b minor so different from others？I mean the xxx-double form.
It's a textbook on improvisation.
...but how do you pronounce his name?
GIH-dohn KREH-mehr
I was here
가보트앤론도 ♥
Why do you guys care about a single wrong note so much? It is common that sometimes performers play something wrong.
yun hong not true. Perfection is key.
yun hong not true. Perfection is key.
1:13:45
꼬깔~코온~~~~~~~~!!!!
35:40
It looks like the tv dirctor wanted to show his mummy all the gifts he got for Christmas: five cameras! Someone should tell him that music lovers don't want to see the image jumping from one camera to the next every 2 bars!
AMGD
Ha
Hello to sascha42196
Your comments are noted, but discarded as irresponsible rubbish,
According to your view, if Kremer had started the D minor Partita and played the first note as Db but played every other note correctly, that would have been acceptable to you. What a load of 'cods wallop' VH.
Victor Hickman Goodness me, I am so grateful to you, Mr. Hickman, for setting me straight! I only have a few questions/comments: 1. If you claim that your authority on the subject is final, then you should say so. Otherwise, people may, to their peril, disagree with you. 2. Was it part of your cultural upbringing to insult people who dare to have an opinion different from yours? 3. (parenthetically) - And this is coming from a man who said, previously :"I think the whole matter should now be dropped." 4. I am heartbroken that my comments are discarded by you. Actually, I am not; I don't give a care. 5. Oh, my questions are rhetorical - don't bother responding as I will not bother reading.
Victor Hickman Oh boy, a classical musician with a compulsive need to shove meaningless verbiage in other people's faces in order to seem more intelligent and cultured than everyone else!
Now I know what people mean when they use the phrase "classical music snob".
Grow up.
New computer, can't listen to anything!
There is a wrong note in the second section of the Allemanda in the Partita No.2.
This I find very strange coming from a violinist of Mr Kremer's obviously high standard of playing. Particularly annoying as he plays the same wrong note when he repeats the section. If someone thinks that it is not a wrong note then the likes of Perlman, Fischer, Heifetz etc. need to be told that they are playing wrong notes. Bit hard to tell Heifetz though!!
Show us on youtube how it's done.
A wrong note is a wrong note whoever plays it.
Show me a printed score of this particular piece where the note in question is a B natural (as played by Mr. Kremer) and not the Bb that J.S.B. wrote.
Incidentally,if you want to hear it played correctly listen to Perlman play it on UA-cam - he manages to play it better than myself (only slightly better I think!).
Victor Hickman Oh that shocked me too. Importantly, it's not just a "mistake"; it's a lack of understanding of harmony.
Perhaps Kremer decided purposefully to play the B natural rather than B flat in order to preserve the whole step relationship that the previous measure had set up. While the sequence isn't a direct quote from the previous measure, it's possible that Kremer has his own reasons for believing this is a more honest interpretation.
Preston Hawes I don't know why you're bending over backwards to justify the error. I mean, it has to be one of these reasons: he learnt it incorrectly and doesn't understand harmony; he's insane; he's from Mars.
Yes, he DID play a mistaken note. And he plays extremely choppily! For a perfect, brilliant performance of the Allemande as well as Chaconne, listen to Nemanja Radulovic! He is mesmerizing, totally immersed in the music and speaks through the violin!
Hi Mariko, do you know if Nemanja recorded the first partita? Available online? I can't seem to find anything except the 2nd partita. ありがとう！
The only wrong thing is your commentary. Wonderful playing.
Bad🙄
God this shit is tedious, Johann.
Carefully! A dirty, intended for the ignorant, substitution for the works of the brilliant Paganini, one of whose plays, for example “Palpiti” or “Molinara”, costs much more than all parts of “The Four Seasons”.
I was here
Thats hard, I'll try harder with the music in front of me.....nah I'll try easier.
꼬깔~코온~~~~~~~~!!!!
38:20