J.S. Bach : Cello Suite No.6 Gavotte - Anner Bylsma 

most likely cause hes playing on baroque cello...makes different phrases and feel...really unique stuff

Beautifully worded

Baroque and renaissance string instruments were more decorative.

Me, a Viola da Gamba player, every time I see a modern violin or cello: Oh, there's no head on that

@@arnoldrivas4590 Not really, it's actually pretty rare to have sculpted heads on baroque cellos. It's more of a Gamba thing to have a head

It's the source of the cello's power.

few minutes my g

Did you mean few minuet? *klasekall!*

sounds about right

Piano Weeb guilty as charged

7 hours later 59k lol

For me it's like, we're part of the first few generations of musicians that can really leave behind an actual concrete "What it sounded like" recording of our work. Everyone else had sheet music and the memories of the few that physically came and saw them perform. Mr. Bylsma is survived by his son and daughter, who both get to hear this, forever. It's a worthy life goal just for that, to have produced something so beautiful that may be seen for generations. Every camera is like looking death in the eyes, and this man played Death beautiful cello.

@@lily_astral Yeah, sometimes I wonder how Bach himself played his pieces. No one can hear it now, but it’s not only a bad thing. It allows musicians today to play their own interpretation. I saw Yo-Yo Ma’s video, and he plays the same piece in a completely different way. Yo-Yo Ma’s Gavotte sounds like little young green leaves floating on water are dancing. Light and fun. Mr. Bylsma’s one in this video is like a huge aging tree, and the way he pulls the cords are very slow and heavy. It’s like he’s tasting each note one by one. But that tree still has beautiful green leaves, and they’re like remembering the summer days long ago. Maybe that’s why I teared up by his playing. Both interpretations are very different, but I like both of them. Sorry if my opinion sounds weird to you. I’m non-musician and don’t know anything about specific.

@@puutans Your opinion is wonderful, and definitely true in my eyes. Though, I really really wish there were recordings of Bach, because people still cover songs in entirely new ways of currently alive artists too :) Like Johnny Cash singing Nine Inch Nails' "Hurt". This feels like that. Old man tasting his life.

@@lily_astral Yeah, that's true :)

@@Danny-qu7rt stupid comment, you know what he meant

@@FlourescentPotato If you post ur comment here (that is meant for twoset). Would they see it? Potatohead

@@Danny-qu7rt Its just an appreciation, c'mon, why so serious?

Are you talking about Brett and eddy? Or that something else...and if why you bring that here

Yes very sad... Would've been certainly beautiful to hear this in person, certainly!

It's a violoncello piccolo

@@saltag It's a 5 String Cello

@Flenchentia Music The great thing about the 5 String Piccolo Cello is that you can now read violin and viola sheet music down an octave right off the bat.

@Jeanne Tanner what is your problem?

start tomorrow, if you can!

Lo escucho muchas veces. Me siento agradecido cada vez .

Yes, they are brother and sister I think.

I learned it on the violin as a kid, it's one of my favorite pieces to play

@@sciencefictionisreal1608 From Suzuki & it sounds cooler on a Baroque Violin.

kees canal fp His book, The Fencing Master, has the spelling “Bylsma.” He autographed it for me but his signature doesn’t help to clarify

@@cellokenno, yeah, i see. you could look him up at some wikipedia, en, fr, de and then switch to nl (dutch), his language which also is mine. on getting famous he saw himself compelled to change his birth name Anne Bijlsma, frisian pron. about ‘Awne’, long aw-. first to Anner because people, even in Nederland and België, expected a female cellist to come. and not much later on, for foreign purpose, the y. his father, the late trombonist Anne Bijlsma told me on a tour with an amateur orchestra he conducted as a pensioner .

@김명진 Didn't you read his obituary? Sadly he passed away on July 25, 2019.

Yes! Thank you!

MrDrumminor Exactly, the viola da gamba was born in Spain and was a noble instrument. The violin or cello were born in Italia in the same period and were very popular instruments. Their difference is that the viola da gamba was an instrument which could just be played by sitting on a chair. The violin, and even the cello, were procession instruments, created for being played in the street. Then, they met and the viola da gamba was not good enough (about virtuosity, sound...) than the cello. The viola da gamba disappeared whereas it was very one of the most important instruments of the baroque period, playing by all the important persons... It was the favorite instrument of the French King Louis XIV...

It actually is a baroque cello. It has 5 strings.

I did not see the extra string or the extra tuning peg; I was too busy listening. Thanks for pointing that out. Wow. The evolution of the cello from the gamba, I guess. And a baroque bow.

It's a cello piccolo. Historically informed performance practice is one of Bylsma's specialities.

The 5 string cello was an anomoly - as far as I know, the 6th suite is the only thing Bach ever wrote for piccolo cello, most likely to be played by a friendly member of his community.

true, this is a violoncello piccolo, so smaller then a normal baroque cello and it has five strings, baroque cellos have four strings like modern cellos

I don't think Anner expected anyone to "gavotte"to his rather personal interpretation of Bach. I don't suppose you would be able to "prelue" to his interpretation of the Prelude to the suite either. It's just a shame that People don't seem to be able to learn much fancy foot-work, anymore.

@@mikestewart6517 wittily put, so maybe I just should've said he loses Bach's beat again and again

@@davidmoran5431 Please tell me that the "gigue" fugues and passacaglias that Bach and Buxtehude wrote for organ were also meant for dancing, as an integral part of 17th century Lutheran liturgy ;)

@@joannescouchet7038 oh, those rocking Lutherans ... actually it would be easy to dance to the big Bach passacaglia, at least if you check out Anton Heiller's unapproached rendition, or even that of some others, and of course none of that was used in liturgy, but I bet you know that, (and of course Bach not in the 17th century, but you know that too) will go listen to Buxt passacaglias now and drink to your wit re Lutherans :) !

@@davidmoran5431 Depends on what you define as "part of liturgy" - the big praeludiums were certainly used as prelude or interludes during service, not just part of Abendmusik etc. Anyways, I was wondering about whether conventional rules of Baroque dances (especially maintaining strict tempi) necessarily apply to works for solo instrument, especially since they were most likely not actually danced to - I'm thinking of the "con discrezione" markings on gigues by Froberger etc. And from what I've read, apparently Bach cello suites are hard to dance to, even if played in strict tempo. Although I agree with you that while effective, Bylsma is indeed stretching the dance into recitativo-like dimensions here.

Shuchismita Livana yeahh

@Jeanne Tanner no thank you