Thank you for this - you lifted my soul and brought me to the depths of this piece. I’m determined to learn this piece and only this piece before I pass from this earth!!! Love the music analysis. Again, thank you!
thank you so much for your time in providing these videos Ms. Segev. While I am just a beginner at the cello, I look forward to revisit these wonderful musings in the future.
These videos are incredible - very helpful and informative. Thank you for recording them and making them available. I had never tried to play this piece before watching this video. It has opened my eyes and ears. Your tone and technique are phenomenal. Your explanations and demonstrations unlock some of the hidden mysteries of these pieces.
Thank you for your wonderful video! Ima student studying cello. Your videos helped me A LOT!!! I really hope if you can make more videos for Suite No.5. And I was wondering about the colors for the notes. I would like to know the meanings. Thank you :)
Thank you for the video musings and master classes for cello. My sheet music has a natural incidental on the A string in the key signature; is that a clue to understanding the scordatura? Also, the first note played (a G) is shown as an open string and the only way to achieve that is to tune down two semi tones. What music are you reading from?
Thank you for this interesting discussion. What do you think about the phrasing in Anna Magdalena's MS, particularly the first 4 bars (and also the first three of the B section), where the 2nd, 3rd and 4th eighth notes are slurred but not the first?
Indeed, Bach's Sarabande Suite #5 izz, to say the least, enigmatic; but I've found that in many {maybe 'all'} of his sets ("collections") he tends to toss in an unfathomably cryptic movement [re: 'piece'] which throws me for a loop; for [another] example: the opening Adagio mvt. in Sonata Nr.#3 of the 6 'S-&-P' for violin, or #13 in his 3-part Inventions {or, Sonatas} for piano, or measures 6 through 18 in his Toccata BWV 910 for piano, or (in the B-Minor Mass, Nr. 23 Arie), the mvt. Agus Dei ,or, as I call it "Agmus Nefesh", {;~), which he took from his earlier work the 1735 Ascension Oratorio Lobet G-tt in seinen Reichen, BWV 11, et cetera. ~ Really quirky sounds, but utterly amaΣing music-!!! I really appreciate the advice you gave in regard to "slurs", by beginning with an up-bow, playing the middle 3-notes in one-bow and ending off with an up-bow {but, to begin the next measure on a down-bow - Is that correct-? }. (( I play violin, viola and piano [not a professional level] but for cir. 48 years.)) And, I loved the harmonic double-stop you played at 5:38 to 5:40 - and, from your smile, you did to0.
Can someone please explain why she is doing a left hand pizz(kind of) at times... is that written in the music.. I’ve seen someone else also doing the same.. I have no clue
Wow! This Sarabande is magic! There is some special tone! I am trying to play it with scordatura on A string but I have some doubts with the written notes on A string. Perhaps I must read the note below that it's written? Thanks, Inbal.
@@pianist779 But doesn't the E flat in bar 3 only sound a half step lower (D). And the A flats, in the first two bars of the 2nd section: they also sound only a half step lower. (G)...? How does that work? What am I missing?
@@jimrogers7460 no the e flat is still an e flat, since the only string with different tuning is the a string. All notes will sound the same except those played on the a string, which will sound half step lower since your a string is tuned down to a g.
@@pianist779 Thanks for your response but I remain confused. The first note of bar 3 is a high E. In C minor that is an Eflat. It must be played on the upper (A)string - which has been lowered. The actual sound is D - one half step lower - not one whole step lower which would be expected if the string is lowered one whole step. BTW you wrote one whole step lower two months ago but one half step in your answer to me....typo?
Thank you for this - you lifted my soul and brought me to the depths of this piece. I’m determined to learn this piece and only this piece before I pass from this earth!!! Love the music analysis. Again, thank you!
thank you so much for your time in providing these videos Ms. Segev. While I am just a beginner at the cello, I look forward to revisit these wonderful musings in the future.
These videos are incredible - very helpful and informative. Thank you for recording them and making them available. I had never tried to play this piece before watching this video. It has opened my eyes and ears. Your tone and technique are phenomenal. Your explanations and demonstrations unlock some of the hidden mysteries of these pieces.
Thank you for this great video Inbal
Thanks for your explanations. This is a great video.
Thank you for your wonderful video! Ima student studying cello. Your videos helped me A LOT!!! I really hope if you can make more videos for Suite No.5. And I was wondering about the colors for the notes. I would like to know the meanings. Thank you :)
Thank you for the video musings and master classes for cello.
My sheet music has a natural incidental on the A string in the key signature; is that a clue to understanding the scordatura? Also, the first note played (a G) is shown as an open string and the only way to achieve that is to tune down two semi tones. What music are you reading from?
please. prelude of this suite!!!! pleaseeeeee
Thank you for this interesting discussion. What do you think about the phrasing in Anna Magdalena's MS, particularly the first 4 bars (and also the first three of the B section), where the 2nd, 3rd and 4th eighth notes are slurred but not the first?
Indeed, Bach's Sarabande Suite #5 izz, to say the least, enigmatic; but I've found that in many {maybe 'all'} of his sets ("collections") he tends to toss in an unfathomably cryptic movement [re: 'piece'] which throws me for a loop; for [another] example: the opening Adagio mvt. in Sonata Nr.#3 of the 6 'S-&-P' for violin, or #13 in his 3-part Inventions {or, Sonatas} for piano, or measures 6 through 18 in his Toccata BWV 910 for piano, or (in the B-Minor Mass, Nr. 23 Arie), the mvt. Agus Dei ,or, as I call it "Agmus Nefesh", {;~), which he took from his earlier work the 1735 Ascension Oratorio Lobet G-tt in seinen Reichen, BWV 11, et cetera. ~ Really quirky sounds, but utterly amaΣing music-!!!
I really appreciate the advice you gave in regard to "slurs", by beginning with an up-bow, playing the middle 3-notes in one-bow and ending off with an up-bow {but, to begin the next measure on a down-bow - Is that correct-? }.
(( I play violin, viola and piano [not a professional level] but for cir. 48 years.))
And, I loved the harmonic double-stop you played at 5:38 to 5:40 - and, from your smile, you did to0.
Oh yeah the adagio from the third suite is mindboggling
My celloteacher tried to show me the world of Bach_cello pieces, and now some years later me and my brothers will
metsuyan!❤
love that you mention webern! did you ever play those short cello/piano pieces of his?
Can someone please explain why she is doing a left hand pizz(kind of) at times... is that written in the music.. I’ve seen someone else also doing the same.. I have no clue
It is used on open stings to help the emission of the Sound, thus enhancing the sound quality of these notes. Also used on double bass.
A 5 string Cello can play this too tuned CGDGD.
Wow! This Sarabande is magic! There is some special tone! I am trying to play it with scordatura on A string but I have some doubts with the written notes on A string. Perhaps I must read the note below that it's written? Thanks, Inbal.
You finger the written note as usual, but it'll sound a whole step lower.
Thanks for your answer, I,ve discovered it by practising!🎻
@@pianist779 But doesn't the E flat in bar 3 only sound a half step lower (D). And the A flats, in the first two bars of the 2nd section: they also sound only a half step lower. (G)...? How does that work? What am I missing?
@@jimrogers7460 no the e flat is still an e flat, since the only string with different tuning is the a string. All notes will sound the same except those played on the a string, which will sound half step lower since your a string is tuned down to a g.
@@pianist779 Thanks for your response but I remain confused. The first note of bar 3 is a high E. In C minor that is an Eflat. It must be played on the upper (A)string - which has been lowered. The actual sound is D - one half step lower - not one whole step lower which would be expected if the string is lowered one whole step. BTW you wrote one whole step lower two months ago but one half step in your answer to me....typo?