Lucille Gruber comes from a compositional background with a facility in improvisation. She studied under Harold Shapero, Arthur Berger, and Leonard Bernstein at Brandeis University where she received her B.A. and Master's degrees in Music Composition. Gruber's interest in improvisation attracted her to the harpsichord and a graduate program in baroque performance practice at Case Western Reserve University/Cleveland Institute of Music from which she received her DMA (Doctor of Musical Arts). A year abroad with her family made it possible for Gruber to study with Gustav Leonhardt in the Netherlands and to perform throughout France. On her return to the US, she made her New York debut at Alice Tully Hall and subsequently performed at Carnegie Recital Hall (Weill) where she was acknowledged by the New York Times as “A musician who commands both her instrument and its repertory”. Today, she lives in Brooklyn, New York, where she practices, records, and educates about her performances.
I am ashamed to say that I had never heard of Lucille Gruber before coming across this by accident. But having done so I will never forget. Simply superb performance of this challenging and dramatic masterpiece
I know how play Scott Ross and Glenn Gould these partita but tò the 5°. I know all the music for organ and for cymball partitasi toccatas 6 suites english and the 6 suites french .
4:13 I saw the tonebase short about this chord and I've been looking for recordings where it appears in this form, with the Gb in the bass resolving to F. I find it so beautiful like this and so ahead of Bach's time. Marvelous recording
You're playing, Ms Gruber, is superlative-in terms of both interpretation and technique. You said you're still finding new approaches to performing this work. And you communicated to me new insights I could never have achieved without hearing your performance. Thank you, so very much. I do wish you'd posted more videos...
Considerei a fantasia tocada maravilhosamente, mas a fuga para mim perdeu um pouco do brilho e da força que ela tem em seus fraseados, ja que a intérprete não se utilizou muito do rubato e manteve o ritmo sem as variações que esses mesmo fraseados sugerem
A beautiful performance that melds heart and mind, feeling and interpretation. This is also a meeting of minds between the composer and the performer: the way it is supposed to happen!
I love your videos, the way you introduce the price is just a touch of art, I'm a 16 year old boy that just bought an harpsichord 1 month ago, you really make the price more interesting
J’adore cette musique, sur un clavecin c’est très joli. Moi je n’ai pas de clavecin donc j’essaye de le jouer sur un piano. Sur le clavecin c’est magnifique
What a wonderful performance! I love the way you hold those appoggiaturas just long enough to pull the listener in. :) Thanks for adding light to my day. Solo Deo Gloria.
f it were up to me, you'd get an Olympic gold medal for performing this piece by Scarlatti. Thank you for the smooth and impressive performance, as well as for the subtle humor that shines through in your introduction.
As a child, i used to listen to the Helma Elsner version of this from circa 1958-. It is such a lovely piece. You play it so well. at 4:56 i was thinking, wait doesn't this come to a cadence ? and then there it was. A very beautifully dramatic rendition.
Very interesting reading, and beautiful. I disagree with the Gigue of course as it is vastly different from the original binary form for an imaginary ternary which really destroys this piece completely. The tempo di Gavotta is also questionable in my opinion - opening bars simplified to even triplets whilst they are clearly written as unequal... Why... ?
I prefer the ternary form more, simply because it sounds more dance like., and the gavotte has been simplified as it's the appropriate Baroque interpretation according to many books. Imagine how ugly it would be with the dotted quaver and triplet on the right hand! This is an absolutely amazing and accurate performance!!
