Ms. Polina Osetinskaya plays the piano wonderfully in the style of Bach!! True this is a great accompaniment of Bach for Master Vengerov :) ! Love from Australia!
What a splendid combination. They illuminate and refresh everything they play. For them everything seems original and spontaneous and never routine. Polina Osetinskaya is always involved intellectually and emotionally. That is Music and her duetist also
I often think about the life and times of Bach, would it not be wonderful to travel back in time and see the great master playing and directing... The perfection of this interpretation brings us very close to that dream I believe. Thank you, from the heart.
初めまして、親愛なるポリーナ。 RU-vidであなたの動画を見つけてから、毎日聴いています。 あなたの情緒的なバッハやラフマニノフの弾き方がとても好きです！ いつか東京でコンサートを開いてくれると嬉しいです。 体に気をつけて、これからもあなたの活躍を楽しみにしています。 Nice to meet you, dear Polina. I found your videos on RU-vid and have been listening to them every day. I love the way you play your emotional Bach and Rachmaninoff! I hope one day you will give a concert in Tokyo. Take care of yourself and I look forward to your continued success.
Beide Musiker sind herausragend und interpretieren BACHS herrliche Sonate h-Moll wundervoll. Zum großartigen Klavierspiel (eine Begleitung kann man die obligate Cembalostimme - hier als Klavierstimme - eigentlich nicht nennen) gesellt sich eine atemberaubende Schönheit der Künstlerin POLINA OSETINSKAYA. Both musicians are outstanding and interpret BACH's wonderful Sonata in B minor wonderfully. The great piano playing (the obbligato harpsichord part - here as the piano part - cannot actually be called an accompaniment) is joined by a breathtaking beauty by the artist POLINA OSETINSKAYA. Les deux musiciens sont remarquables et interprètent à merveille la merveilleuse Sonate en si mineur de BACH. Au grand jeu de piano (la partie de clavecin obligatoire - ici en tant que partie de piano - ne peut en fait être qualifiée d'accompagnement) est rejoint par une beauté à couper le souffle de l'artiste POLINA OSETINSKAYA. Оба музыканта выдающиеся музыканты, прекрасно интерпретирующие чудесную сонату си минор БАХа. К великолепной игре на фортепиано (партия клавесина облигато - здесь как партия фортепиано - аккомпанементом вообще-то назвать нельзя) присоединяется умопомрачительная красота художницы ПОЛИНА ОСЕТИНСКАЯ.❤
@@rozalinapiano Weil die Violinsonate h-Moll ursprünglich für Violine und obligates Cembalo komponiert wurde , aber hier anstelle des Cembalos ein Klavier eingesetzt wurde. Because the Violin Sonata in B minor was originally composed for violin and obbligato harpsichord, but here a piano was used instead of the harpsichord.
Excellent. REAL musicians don't need to gape at the score. As Galamian once yelled at me, a terrified student: "You don't know it from memory? YOU DON'T KNOW IT!!!".
This comment comes from a letter written in April 12, 1840 written by a student of Nickolas Forkel (who was himself a student of Wilhelm Friedemann Bach the son and student of JS Bach) named Friedrich Griepenkerl (himself famous for being the first person to publish the complete collected organ works of JS Bach. Quoting from this important letter: "Bach himself, his sons, and Forkel played the masterpieces with such a profound declamation that they sounded like polyphonic songs sung by individual great Artist singers. Thereby, all means of good singing were brought into use. No Cercare, No Portamento was missing, even breathing was in all the right places. Bach's music wants to be sung with the maximum of art". Of course we have Bach suggesting in the preface of the inventions that above all to inculcate a "cantabile" style of playing. Imagine if you can how much more beautiful and touching this performance would have been had you both sung your parts like individual great artist singers, both expressing the affects of the individual voices independent of the other?
Je ne sais pas si tout le monde se rend compte du génie inégalé de Bach et la beauté énorme de sa musique. Dans ces sonates sans parler de leur beauté mélodique de tout instant, il y a un savant contrepoint . Et désolé mais je préfère quand même l'ancienne interprétation que je connaissais bien de Glenn Gould et Jaime Laredo qui font parfaitement ressortir les 3 voix : Violon , Main droite du piano et main gauche.
M. Vengerov suona alla maniera barocca, anche se le scappa il vivrato in qualche epusodio. Da ricordare che queste 6 sonate erano costruite per violino con accompagnamento di clavicembalo, ed é per quello che magari il pianoforte devorda.
The gold standard was Szeryng&Walcha; this is better! Captures the baroque style without the need for a baroque bow or harpsichord. Sweet, poignant, lively; and I dare say, as comfy as whatever Maestro Vengerov seems to be wearing. : - )
La interpretació del piano és molt Bach. És tal com ha de sonar. La sonata n°4 el meu germà la va interpretar amb un piano de 1885 Pfeiffer. El violí però no era un Vengerov. Però donava un efecte similar.
C est au delà d' un style. Bach est plus génial que les autres compositeurs, plus créatif, plus beau, avec un savant contrepoint de génie qu on entend bien dans ces sonates. L interprétation de Glenn Gould et Jaime Laredo reste la meilleure, et fait parfaitement ressortir un contrepoint à 3 voix : violon, main droite du piano , main gauche du piano.
Wonderful. REAL musicians don't need to gape at the music! As Galamian one yelled at me , a terrified student: " You don't know it from memory? YOU DON'T KNOW IT!!!" One point, however, why do they face back-to-back? I ALWAYS play from memory (Elgar, Khatchaturian, Kabalevsky Concertos etc .) and ALWAYS face the conductor or pianist. She's not that bad-looking!?
STOP!!! Do NOT mix politics and music. In the 1950's, at the height of the Cold War English orchestras could play in Moscow and I had the enormous privilege of meeting David Oistrakh in London as a young student. His few words of advice helped me transform my playing leading to a successful career as a Concert Violinist.
The pianist plays Bach quite well but the violinist plays as if he's in the Romantic era. This is a violin sonata so why is the piano louder than the violin? Poor recording.
Bach’s sonatas often give equal weight to the keyboard as the so-called solo instrument. It is the same with the flute sonatas and the gamba sonatas, which are often heard on cello. The violin is not being “backed” by the keyboard. The violin is another voice among several provided by the keyboard. That’s why the keyboard is heard so prominently; it’s a partner, not backup. The violinist, in fact, surprised me. He is known to me, at least as a very emotive, powerful performer, with a very romantic style. That’s romantic with a capital R. I was expecting super vibrato on the long notes, with vibrato on just about everywhere it could go. But he actually played somewhat like a baroque player, vibrating on the long notes, but only after playing without vibrato for a beat or two. That is very baroque style. I think his sound was very bright, perhaps, brighter than what I would prefer for a Baroque stylist, but very pleasant to listen to. I think there were times when he could have swelled into the note a bit more, especially given that he does in fact have a beautiful sound. And I liked the pianist too. She had a bright, light sound, with good energy.
His bow strokes and vibrato suggest that he avoided playing in the romantic style. Check out a romantic violin concerto he plays, compare the vibrato. Lastly they aren’t using period instruments, you’re picking bones from the eggs.
Хорошо, что эти русские артисты являются послами музыки Баха в Милане. Но было бы также хорошо, если бы они публично осудили страшную войну России на Украине.
