Maisky is awful, how can you even appreciate that? Same with Yo Yo Ma. etc etc.... They just appeal to the common denominator. It reminds me of when I first discovered the Goldberg Variations years ago, specifically the Aria. I became obsessed with it. Glenn Gould was recommended and considered the penultimate "interpretation". And this is what i referred to whenever i would listen to it. But now, listening back, with experience and various interpretations under my belt, I can wholeheartedly say that Glenn Gould is absolutely mediocre. I felt robbed. I am almost angry that this mainstream trash is recommended above actual passionate artists. Now, I know.@@100000Andy
This piece is far more daunting on paper than in practice. Take it little by little, measure by measure, iron out the kinks as you go, and before you know it, you’ll have this one in the bag and will be able to play sections by memory. This piece helps me maintain hand and finger strength because of the chords and awkward technique it asks of the cellist. It does speak volumes of both the confidence your instructor has in you and also your skill as cellists for being given this so early on in your cello career. Congratulations to you guys in this thread for achieving that!
If I had to hazard a guess, it’s because so many cellists understand these suites are not intended to accompany the dance form; they are merely based off of them.
@@robertoarundale Then why compose in the dance form at all? Bach already plays games with the rhythm in his compositions so there is no point for soloists to muddy waters with their own lack of understanding. The Prelude provides ample opportunity for rubato et al. Do it there where it makes musical sense to your heart's content. But don't play a Sarabande as it if were a Prelude!!!
I don't hear anything "way way off", actually. The important thing is that he keeps credible rhythm through a variety of chords, ornaments and optional grace notes. This is not easy. Offhand, I would say that his take is well within the variety that you see in the Bärenreiter compilation. I mean, if you want to hear something *really* out there, look up Tanya Anisimova! There is no surviving original J.S. Bach manuscript of the Suites in his own hand, so we have no conclusive indications of slurs, ornaments, dynamics etc. Things like repeats are definitely not written in stone, particularly for standalone presentations of one movement and/or an encore. I think it really depends how the performer feels in the moment and how (s)he reads the audience's engagement. Performers have long been taking artistic liberties with many of these Suite movements, particularly the sarabandes. They are arguably the most intimate of all the Suite movements. As such, they are often performed separately, tending to bring out a lot of personality and introspection from the performers.
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This is it. This is the performance that finally breaks me. I'm buying a cello.
never a bad choice, brotherino, got mine six months ago and it's been lit
How's it gone so far?
nice choice
Are you a pro player now ? Did you throw that cello away ?
Woo-hoo! I might pick mine up again too!
Wow this was one of the most interesting interpretations I've heard so far
The way he improvises in the ritornelos is such beautiful..... breathtaking
Absolument magnifique! Grande émotion.
Music starts at 1:06
1:06 for interactive timestamp because they didn't have that 6 years ago
@@zavier3644 lol thx
@@zavier3644 why not?
@@andrewanderson3016 well because UA-cam didn’t have that feature yet
Die geniale Schlichtheit dieser Sarabande ist überwältigend in ihrer Schlichtheit entwickelt sich zu einer universalen Größe Schweigen der Seele
I listened to him in A Coruña(Spain), he played this piece after cello concerto nº1, (Camille Saint-Saens). Great
Very nice. I feel others play this too fast. Good job.
Maisky plays it even slower, i like that better.
It's a Sarabande, so it should probably be slow, especially since it's written by a German composer.
Maisky is awful, how can you even appreciate that? Same with Yo Yo Ma. etc etc.... They just appeal to the common denominator.
It reminds me of when I first discovered the Goldberg Variations years ago, specifically the Aria. I became obsessed with it. Glenn Gould was recommended and considered the penultimate "interpretation". And this is what i referred to whenever i would listen to it.
But now, listening back, with experience and various interpretations under my belt, I can wholeheartedly say that Glenn Gould is absolutely mediocre. I felt robbed.
I am almost angry that this mainstream trash is recommended above actual passionate artists.
Now, I know.@@100000Andy
>probably
It's a dance.@@Sam-gx2ti
@@Sam-gx2ti >especially since it's written by a German composer.
What is that even supposed to mean?
I’m not used to this version.
But it sounded good.
Thoughtfully executed with feeling
1:06
Bravíssimo! Show, muito bom.
BRAVO!!
I keep going back to this performance since it was released. It sounds even stranger than Bylsma's recording, yet even more mesmerizing.
Wow 🤩 so much control.
nice barroque ornaments
Wunderbare Interpretation!
Perfect!
1:06 start
Par excellence
He slightly reminds me of Ben Stiller.
He “pre-vibrates” the G and C strings before playing them. I’m sure of it.
How is this possible? This is my second year playing the cello and my teacher just gave this piece to me... :00
ich auch
I’ve played the cello for only 2 months and my teacher gave it to me.
I don’t even play cello.
This piece is far more daunting on paper than in practice. Take it little by little, measure by measure, iron out the kinks as you go, and before you know it, you’ll have this one in the bag and will be able to play sections by memory. This piece helps me maintain hand and finger strength because of the chords and awkward technique it asks of the cellist. It does speak volumes of both the confidence your instructor has in you and also your skill as cellists for being given this so early on in your cello career. Congratulations to you guys in this thread for achieving that!
I'm 64 and after a 10 year, hiatus have been playing for 3 months. This is my recital piece for early May. I better get busy.
starts at 1:06
Maravilha!🙏❤️💐👏👏👏🇧🇷🖖
9 / B
As
Just to be sure
This lil moser right?
I have no idea who that is but I’m guessing it’s a rapper lmao 😭
Arkadaşlar merhabalar
Ummmm… chord down bow?
Yorumlara bakın
Am Anfang scheint der Solist ein bisschen nervös zu sein. Aber die Leistung klingt echt schön.
Sa
Возможно я не разбираюсь в музыке: но после Дмитрия Дмитриевича Иоганн Себастьян > полудрёма.
DRAMATIC PAUSE!
i know i thought he messed up Haha
Lol.. i like this guy... he didnt give a “f” to the audience lol.. just enjoy himself lol...
Co to ?
Nokia 3310
Why is it that so many cellists do not understand how to play a sarabande? How are you supposed to be able to dance to this?
If I had to hazard a guess, it’s because so many cellists understand these suites are not intended to accompany the dance form; they are merely based off of them.
@@robertoarundale Then why compose in the dance form at all? Bach already plays games with the rhythm in his compositions so there is no point for soloists to muddy waters with their own lack of understanding. The Prelude provides ample opportunity for rubato et al. Do it there where it makes musical sense to your heart's content. But don't play a Sarabande as it if were a Prelude!!!
I agree. It's because they're not musicians... Just merely robots.
Etwas mehr Intensität würde nicht schaden
don sounlike
one of the weird interpretations that ive heard...didnt like it at all
Which version is he playing here exactly? The note lengths are way way off... especially after the first repeat (which he also skips..)
I don't hear anything "way way off", actually.
The important thing is that he keeps credible rhythm through a variety of chords, ornaments and optional grace notes. This is not easy.
Offhand, I would say that his take is well within the variety that you see in the Bärenreiter compilation. I mean, if you want to hear something *really* out there, look up Tanya Anisimova!
There is no surviving original J.S. Bach manuscript of the Suites in his own hand, so we have no conclusive indications of slurs, ornaments, dynamics etc. Things like repeats are definitely not written in stone, particularly for standalone presentations of one movement and/or an encore. I think it really depends how the performer feels in the moment and how (s)he reads the audience's engagement.
Performers have long been taking artistic liberties with many of these Suite movements, particularly the sarabandes. They are arguably the most intimate of all the Suite movements. As such, they are often performed separately, tending to bring out a lot of personality and introspection from the performers.
six minute video, two minutes of music
Se presenta con su giitarrota desafinada ploop 🤣😂
such an amateur phrasing
Horrible.
dios mio es la peor versión que he escuchado
Pues sube la tuya. Jaja