The prelude is an Italian Concert. Full of figures very dear to Bach: I am reminded of two-voice inventions, the fifth. Brandenburghese, the fugue from the first suite for orchestra, some preludes from the WTK. What a genius!!!!!
Classical music stands as the sturdy foundation of musical art, where the talent and technique of musicians are showcased flawlessly. Listening to classical compositions feels like immersing oneself in a symbol of perfection.
I really like how Curtis takes is time on these, it feels like everyone else rushes to show how fast they can go. There's so may layers to unravel in these beautiful, profound pieces - it's a crime to rush playing it to get things over with.
Totally agree with you, most these days play Bach crazier than bugs. As a pianist, I can see the ruse: it's actually much harder to play Bach more deeply (slower) because technically he is hard when it comes to preserving the right shape of the lines, so that seams don't show. When most play him more slowly than they can sustain the exact evenness they seek, it shines a light glaringly on any disjointedness. Ironically, that can more easily be covered up when rushed. But that's not an answer, really.
I'm the person who uploaded this Henle edition of the score to IMSLP. If you got it from there, I'm really happy to see it being used! In any case, thank you for a wonderful score video with recordings by two leading Bach interpreters :)
Under the roof of the small room in the house of my landlady when I owned a clavinova I played this Prelude of the English Suite no 4 when I was studying Psychology for a friend of mine who came to visit me in Leiden, the Netherlands.
@@yuk_notkim7658 yes hunting horn calls are short sequences of notes played by huntsmen which give instructions to the hounds. You can hear the same influence in Scarlatti K159.
@o p I see. I'm currently trying to listen to all of Scarlatti's sonatas, and I've heard those hunting calls several times. Another example would be K.140.
The prelude is an Italian Concert. Full of figures very dear to Bach: I am reminded of two-voice inventions, the fifth. Brandenburghese, the fugue from the first suite for orchestra, some preludes from the WTK. What a genius!!!!!
Classical music stands as the sturdy foundation of musical art, where the talent and technique of musicians are showcased flawlessly. Listening to classical compositions feels like immersing oneself in a symbol of perfection.
I really like how Curtis takes is time on these, it feels like everyone else rushes to show how fast they can go. There's so may layers to unravel in these beautiful, profound pieces - it's a crime to rush playing it to get things over with.
Totally agree with you, most these days play Bach crazier than bugs. As a pianist, I can see the ruse: it's actually much harder to play Bach more deeply (slower) because technically he is hard when it comes to preserving the right shape of the lines, so that seams don't show. When most play him more slowly than they can sustain the exact evenness they seek, it shines a light glaringly on any disjointedness.
Ironically, that can more easily be covered up when rushed.
But that's not an answer, really.
I'm the person who uploaded this Henle edition of the score to IMSLP. If you got it from there, I'm really happy to see it being used! In any case, thank you for a wonderful score video with recordings by two leading Bach interpreters :)
Thank you very much for uploading these worthy scores, and yes, I used them directly from IMSLP. Greetings!
Under the roof of the small room in the house of my landlady when I owned a clavinova I played this Prelude of the English Suite no 4 when I was studying Psychology for a friend of mine who came to visit me in Leiden, the Netherlands.
In the prelude, Bach blends movement and texture in creative ways. The gigue is a perfect treat! Enjoy the clarity of Levin's playing.
Bumps hard
I prefer the slower tempi of the Alan Curtis version. You can hear so many details you can't hear in the up tempo Levin version.
Гениально!
The gigue gave me the Scarlatti vibes.
That might be because it’s based on a hunting call. Scarlatti based a few of his sonatas on hunting calls.
Ah, that makes sense.
@@op-xv3ui I think I know what you mean by the hunting calls. I can hear it starting on measure 8.
@@yuk_notkim7658 yes hunting horn calls are short sequences of notes played by huntsmen which give instructions to the hounds. You can hear the same influence in Scarlatti K159.
@o p I see. I'm currently trying to listen to all of Scarlatti's sonatas, and I've heard those hunting calls several times. Another example would be K.140.
#ugottalisten2b4udie
the tones in measure 85-88 are so beautifully unstable. @ 3:26
Missing the Doppelschlags from the Prélude