This piece touch the heart in a way wich is difficult to explain. It resembles the kind nature of the good people, it connects soul with human feelings and the surroundings. Thanks for this interpretation.
Perfecto. La mejor interpretación de BWV 995 Gavotte I & II que he encontrado en disco y en vivo por Internet. El oído musical de Julia es insuperable. Casi milagroso. Lo he oído mil veces...
Everything in this clip was made of gold......golden guitar sound.....golden melody....golden technic ....golden nuance.....you deserve a golden bravo.
@@ailerigameplays2824 not only that… this piece takes so much CHOPS to play, in the second gavotte it becomes really demanding and she managed to pull it off
leading up to it, really nice playing, (I would like sheet music so I can learn), past 4 minutes (okay how are you playing the piano parts on the guitar)
Finally found the courage to try learning this awfully beautiful piece. Found some tabs, gonna invest in real notes as well I think. Julia plays it FLAWLESSLY. To perfection :) Can't imagine the hours upon years of practice required for such a skill level! So much respect...
Attempting to play this piece will be so rewarding for you. You will learn so much about voicings....the notes on the fret board ect. Take your time and enjoy every measure of delight. Take your time : )
@@frankg3rd1 Agreed! Playing it for 3 months now almost daily and can play 1+2 fluidly almost at full speed now. Learned a TON and had a GREAT time :)) Love Bach now!
@@maranathashalom9402 Wow !!!!! Thats awesome progress. It is said Barrios composed La Catedral in tribute to Bach. Try to journey down that road of sound and color....youll have a ball !!!! ☺
@@maranathashalom9402 could you please let me know where you found/bought the notes or tabs? I have learned from a source that does not feel or sit right.
Brilliant performance, remarkable technique, great pulse, and I enjoy that she doesn't overuse colors which at times hurts Bach performances on guitar, imo. She is easily one of the best young players today, her Scarlatti is also incredible.
This extraordinary composition stands on its own, apart from the suite it belongs to. Mrs Trintschuk has certainly practised a lot, and I mean A LOT, to come to this fantastic performance, so fluid legato it's like velvet. This is dedication. Only the very best lutists will sound better and I have yet to find a better recording from another guitarist.
Just terrific. Dynamic contrasts? Excellent. We all know Baroque Music did not have dynamics written in the score. The contrasts in dynamics here are sensitive and all seem in the right place. Expression? Excellent. These Gavottes are from Bach's Lute suite 995 in G minor. Sometimes a Gavotte and Rondo were paired e.g.(from Bach's violin Partita no 3 in E major). The Guitar transcription is also in the same key. Sometimes two Minuets would be played together taking the repeats in both Minuets than circling back to the first Minuet without repeats (Bach's lute suite in E major). The second section of these Minutes from the Lute suite in E major start on the Dominant after cadencing on the Dominant in section l for preparation. Suites during the Baroque Period: all movements were in the same key. In the Classical Period this changed. Movements in a Symphony or Sonata or Concerto were in different keys. Possibly two movements were in the same key. The forms during the Baroque Period we almost always Binary. In Classical Symphonies and Sonatas were ternary. A movement could be in Sonata Allegro form which consists of three sections, Exposition, Development, Recapitulation. In the Sonata Allegro form in the Exposition there was a Main Theme, then a second contrasting theme of a different character and key, usually the Dominant if the Exposition was in a Major Key. The Development section contained modulations usually taken from the Exposition Main theme), or contrasting theme in the Exposition. These fragments in the Development modulated a great deal taking you on a tour of the com;posers imagination. Then the Exposition is repeated, (Recapitulation), with the contrasting theme now in the same key as the Main Theme. Composers usually wrote a repeat section after the Exposition, but most conductors usually never take the repeat. The basic form or the entire first movement is A:/BA. As mentioned the A section is usually never repeated by the conductor.
The guitar has certainly a lot to do, the basses are never boomy and blend in so well, don't you think? But it's also a matter of touch and she nailed it better than anyone else.
wow! I've always really loved these gavottes. Bach speaks to us literally. And that he insists on telling us a story. It's difficult to explain... Fantastic interpretation! Better than John William's. That's wonderful !
This is marvelous, always love Bach, very competent and she is quite easy on the eye!!! Why have we not heard more of this lady? But why have i not heard this piece before - thought i'd heard all the Bach pieces before.........
