Mr Kuijken was one of the earliest leading proponents of the original instrument use and historically informed playing of Baroque music. Since then, there have been many who have walked in his footsteps and , frankly, managed to surpass him technically and artistically. Listen to the performance of this same partita by Shunske Sato of the Netherlands Bach Society, or Rachel Podger just to name two, and you will see how for this style of interpretation has come in the last 25 years.
Great comment. However, it is obvious that Podger and Sato didn't follow Kuijken's chin-off holding technique, which is one of his most important contribution. I met Sigiswald and Rachel in person and i think they are not in the same direction of understanding Baroque music. For Sigiswald, understanding the original idea Bach wanted to express is much more important than making the recording sounds accecible.
I enjoyed experiencing this performance, especially since I have never heard his recording of the sonatas and partitas on DHM. There are a few things I find I don't care for. One is the use of vibrato. Second is the way he really seems to rush through some of the music without any reference to the an emotional acknowledgement, it lacks a certain human touch - a breathing if you will, around the phrasing. Lastly, it sounds as if he could have used more rosin on the bow; there is quite a bit of a rough character to the music with missed note and squeaky articulation.What he does manage to do, however, is erase all the commonality to the romantic, "power piece" aesthetic that has been built around this incredible piece. It allows us, if we are familiar with very different styles, to hear this in a new way. For what it's worth, I feel the interpretive style is alive in his reading of the cello suites on the cello da spalla that he now plays, too. And even though that style doesn't speak to me in the ways some others' does, it's important to explore different ranges of interpretation to get closer to the understanding and appreciation of works of musical art.
I don't think the sound 'uij' (in modern Duth 'ui'), does exist in English. To get an idea of go to Google translate and put in Dutch the word 'kuiken' and listen. If you kow french, it is the same sound as in 'accueil'
Can anybody tell me how to pronounce this fine artists family name? I don't know how to. Is it, perhaps KWEE-ken? He is Belgian, if that helps. Thanks.
1. Allemande - 0:02
2. Courante - 4:17
3. Sarabande - 6:56
4. Gigue - 10:45
5. Chaconne - 15:12
Mr Kuijken was one of the earliest leading proponents of the original instrument use and historically informed playing of Baroque music. Since then, there have been many who have walked in his footsteps and , frankly, managed to surpass him technically and artistically. Listen to the performance of this same partita by Shunske Sato of the Netherlands Bach Society, or Rachel Podger just to name two, and you will see how for this style of interpretation has come in the last 25 years.
Great comment. However, it is obvious that Podger and Sato didn't follow Kuijken's chin-off holding technique, which is one of his most important contribution. I met Sigiswald and Rachel in person and i think they are not in the same direction of understanding Baroque music. For Sigiswald, understanding the original idea Bach wanted to express is much more important than making the recording sounds accecible.
361 audiciones para este grandisimo intérprete que toca EN ESTÍLO !!!
HOY SÓLO IMPORTA LA TÉCNICA ...AL SERVICIO DE LA TÉCNICA, EL LUCIMIENTO !
Me encanta! 'Sarabande' es mi favorita ❤
La tenia en pista y ahora encontré este intérprete, un genio
I💓Bach!!!
Got to love that Chaconne...
This dude looks like he's a got a period haircut to match his period violin! Awesome performance, by the way.
I enjoyed experiencing this performance, especially since I have never heard his recording of the sonatas and partitas on DHM. There are a few things I find I don't care for. One is the use of vibrato. Second is the way he really seems to rush through some of the music without any reference to the an emotional acknowledgement, it lacks a certain human touch - a breathing if you will, around the phrasing. Lastly, it sounds as if he could have used more rosin on the bow; there is quite a bit of a rough character to the music with missed note and squeaky articulation.What he does manage to do, however, is erase all the commonality to the romantic, "power piece" aesthetic that has been built around this incredible piece. It allows us, if we are familiar with very different styles, to hear this in a new way. For what it's worth, I feel the interpretive style is alive in his reading of the cello suites on the cello da spalla that he now plays, too. And even though that style doesn't speak to me in the ways some others' does, it's important to explore different ranges of interpretation to get closer to the understanding and appreciation of works of musical art.
Agree, especially the way he used the bow.
You could have said the same thing in 2 lines, tops. This is closer to baroque intentions than most other performances. These were meant to be dances.
bravo! I enjoyed it.
Sweat and awesome.
I don't think the sound 'uij' (in modern Duth 'ui'), does exist in English. To get an idea of go to Google translate and put in Dutch the word 'kuiken' and listen. If you kow french, it is the same sound as in 'accueil'
2:10 2부
pls normalize audio level it's way under 0 db
👏👏
Can anybody tell me how to pronounce this fine artists family name? I don't know how to. Is it, perhaps KWEE-ken? He is Belgian, if that helps. Thanks.
Hi there! Kuijken, is a Flemish last name and is pronounced either "Kow-kin" or "Koy-kin". (Hope this helped :) :))
Sigsiwald said "Kuij" is pronounced like "œil" (eye) in French.
ㅜㅠ
조율이 안 맞는건가요? 답 아무나 주세요ㅠ
윤슬 - 아니요 저건 바로크 바이올린인데 저렇게 소리가나용
-윤슬 그게아니라요 저분은 원전연주자이십니다 바로크활,바로크식바이올린, 바로크식튜닝 (pitch415)으로 그시대의 기법으로 연주하는겁니다
정성화사랑해여 바로크식악기가 맞긴한데 바로크악기여서 저런소리가 나는건 아닙니다 튜닝을 그렇게 한겁니다
스튜디오 녹음처럼 템포가 빠르지는 않네요.