As a violist and violinist, I find this performance to be incredibly inspiring, this is perhaps the best bowing I have ever heard on any string instrument; the subtleties of dynamics and articulation are nothing short of mind blowing. The only two people who I know who approach this level on modern bows and in a modern repertoire are Michael Rabin and Steven isserlis.
I want to live in this channel. Don't mind me, I will just put a chair on the corner and listen quietly to this amazing musicians play all day long. Thank you for the superb work! Greetings from Brazil!
@@mattiafioravanti8475 I don't think I have the bare minimum talent required to be able to play anything. I'm just a listener. And not even a good one.
@@MrJSyer Talent will serve you just up to a point. What's important is application, being contant, study and practice, practice and practice. Start studying, you'll be surprised at yourself.
Não me considero talentoso, mas sou capaz de tocar as invenções a uma voz de Bach, e agora tenho estudado o baixo continuo; mas o segredo é ir devagar e alcançar um nível acima do que estamos sem pressa de chegar ao topo.
A work so magnificent and delicious to listen to after breakfast, thank you very much for posting, what a beautiful work, a big hug to all involved of the Netherlands Bach Society, from Recife, Brazil
Bach, always "Unser Vater Bach" Music in the castle of heaven.(JEG). And perfection in the performance in Viola da gamba and Harpsichord. Thanks for sharing. One listening is not enough!
Very soft touch and boomey sound. True to form Bach composed a lot of notes leaving it to the performer to give them phrasing and shape. Many opportunities missed here.
I love the viola da gamba. Such soothing sound. Professional and beautiful interpretation. What a gorgeous harpsichord! The camera directing (work) could be a little better. Bravo!
Dès les premiers plans de la viole, vint un doux souvenir ; le film d'Alain Corneau : ''Tous les matins du monde''. Je suis très heureux d'avoir récemment découvert cette chaîne. Qualité, moyens, une offre culturelle de toute beauté. SI Bach avait été une femme, je pourrais dire qu'il fut ma maîtresse à l'adolescence. www.allocine.fr/film/fichefilm_gen_cfilm=1918.html
Her bowing restraint is phenomenal for such an emotional Bach piece. I don't know how that's learned..maybe through life! LOL I dunno., but I commend her playing 100%!!! Interesting basso continuo harpsi performance, nuanced and crisp. This duo is wonderfully attuned and connected to the spirit of baroque music and especially Bach. Such a nice interpretion, spirited and happy! Thanks!
The Allegro is masterful. I tend to measure any recording of the Gamba Sonatas by the 1028 allegro, and in general, I measure any recording of the 1028 allegro by the Puyana and Cervera recording. Your performance is the very best I've heard. As we say, you've touched all of the bases. The subtle rest for the harpsichord at 3:33 is perfect. Don't you think that this piece reflects JSB's intention to not only hallmark his genius, but also show the relevance of the VdG even at such a late date? My opinions are my own, of course, and I thank you for such a beautiful and soaring performance.
Wonderful performance again as usual from NBS. A bit better planning with the camera operator would have been good - from about 14:30 van der Velden is doing something very interesting, but we continue our long gaze at Alard's head nodding.
@@ligetisspaghetti5763 plans..after Covid yes. September is start up again for the orchestra. Uhhh....unbelievable with Shosta symphony 15. I spent 5.5 minutes listening to the 1st mov. And my brain exploded. I've never heard it before. I'm very familiar with his violin and cello concertos (part of the cello sention) , but I have not heard his symphonies. This will now be my next journey to memorize. I've had the absolute pleasure of learning and playing with wonder musicians the world over. Shostakovich has always been under played, or misunderstood for me. Even speaking from emense experience in an orchestra, it rings true. I'm seriously going to study the score now. Thank you so much for the question 8
@@andrewb9974 It would be my dream come true to play Shostakovich Symphony 15 in orchestra. Alas I am not a professional cello player, so it probably won’t happen. 😔. I also recently started on the gamba and I can attest gut strings are 👩🍳💋. Also do you mind if I share some of my ideas on the symphony? Also do you happen to have Mahler 1 on the same program as well?
Unfortunately I think the recording engineer did not understand the nature of these sonatas. They are not viola da gamba sonatas with harpsichord accompaniment, they are written in 3 part counterpoint (just occasionally breaking out into 4 part), so it is very important to hear the harpsichord lines. In this recording they are often covered by the viol. They are definitely not on an equal footing as they should be.
Yes, I think you are right; the upper line of the harpsichord (and probably the lower) should be on an equal level with the gamba, not a "background" as they seem to be. I still like the performance very much, although it is perhaps a bit "cautious".
This exactly. There are sections where the left hand of the harpsichord is totally inaudible, this would have sounded very different in the actual concert hall.
It pains me to agree, but either way, I love this recording and gladly come back for more. Would you happen to have a recommendation of another well proportioned performance?
This opening movement is so sad. Bach at his best. And then such a jolly second movement. What a lovely Flemish harpsichord. I am making a single manual Couchet for my granddaughter.
Bravi!!! for both of them: these specific 2 instruments sound great together, almost as one - as they should, because there is an immediate 'answer' or better - an echo between them, according to this composition. The great balance between the 2 musical roles is inherent in Bach's composition itself but also realized and performed (with good timing and sensitivity) by the 2 instrumentalists. I admit that around 14:30 (mm. 91-94 in the last Allegro) I was at first a little disappointed with the last bass-note of the descending figuration which sounded more dramatic in another performance of this composition, but after another thought I came to the conclusion that there is no need of sudden dramatic bass-notes towards the end of a perfectly balanced composition. Thanks for this great upload.
I've checked the score and it seems that the right notes were being played around 1:00, at least according to the Urtext score (Neue Bach Ausgabe - Bärenreiter)
Netherlands Bach Society Thanks for checking. I wasn’t suggesting that she played a wrong note, but rather that maybe the manuscript contained an error. I could be wrong, of course, but that note is just so jarring that I can’t imagine Bach intended it that way. Of course, I haven’t yet heard “Allofbach” so perhaps I’ve missed other such examples. :)
Out of curiosity, I listened to half a dozen versions of measure 11, and they were evenly split between playing it this way (G natural) and with G#. To my ear, it’s unbearable with G natural because the keyboard has just made a beautiful change to G# just half a beat beforehand.
@@bach, still the best available for a lot of compositions by Bach. Although it is known to not be completely accurate. I love to recommend Carus but the Carus score for the Viol Sonatas is unfortunately not available yet.
the instrument has even seven, 7 strings! and C-shaped sound holes, and oblique rounded shoulders, and a flatter sound body, and, and. no doubt needed .
wasted talent--bach's music is not horizontal, it is vertical polyphonic progression..the 'musicians'0 are making sounds,but i could not call it music..thev instruments should form a unity,!