I always appreciate a player who takes the time to walk through a piece with us to give us some background or other finer element of the piece to help us polish our delivery and practice time. As I understand it, the entire suite of pieces that this one comes from was written for the harpsichord, well before the piano was invented. The harpsichord does not have sustain capability, the strings are plucked, and the sound quickly decays. Some models sustain the sound better than others, but it is not dependent on the performer. I am so happy we have pianos.
Absolutely loving these videos, so Enjoyable! And hearing Lang Lang’s interpretations are awesome, still, think he is the only one that could do this type of playing/interpretation, he has a magic touch and musical soul! Australia
What’s wrong with pretty? 😀 No, seriously, your interpretation is also pretty... it sounds incredibly good both ways, I find... sometimes different interpretations may have their own particular beauty and that’s fine, I guess.... but indeed, Bach was a genious... his music has a stunning beauty and creativity.
O sea, el efecto del pedal es la nota larga de la mano izquierda, q mantiene ese toque sostenido. De todos modos, tocar Bach en un piano ya es "falso" x definición xq no había pianos modernos entonces y lis pianofortes sonaban muy distinto. Pero creo q lo importante es la música. Bach, con seguridad, aprovecharía todas las posibilidades de un piano moderno para aportar mil matices a su música... Como esto no lo sabemos, lo importante es disfrutar de su genio y ser honestos con la interpretación, da igual el instrumento q uses. Este preludio puede tocarse con violines o con flautas y sonar genial, como todo Bach.
This is beautiful. After hearing Seymour Bernstein talk about these elements and how to articulate the piece for sustain of the broken chords, I haven't been able to be satisfied listening to the many rote interpretations on RU-vid despite the hour upon hour of work other players devote to play the piece as well as they surely do. The sustain is why I also prefer Parkening's rendition on guitar.
So great to hear Lang Lang discuss the articulation and pedal on this piece. Because you can play it with no pedal and gain really great finger control and timing it is a great piece to work on. Hower a little pedal does make it sing so beautifully.
Love his appreciation for those basic pieces that piano students come across early in their training. It is very encouraging to see this. Agree this is a unique and very enjoyable piece to play.
Вы полушайте, как исполняет это произведение Рихтер.У него совершенно другой стиль. Он пользуется педалью сустейна. Но тоже очень красиво. К сожелению запись старая и записанна из концертного зала. Listen to how Richter performs this piece. He has a completely different style. He uses the sustain pedal. But also very beautiful. Unfortunately, the recording is old and recorded from the concert hall. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-bLNM_pb07Pk.html
lostisle0 I guess if you want to get very philosophical about it, C major represents extremely basic pieces that we all start of with learning, it is also the most familiar key to the ear, and regardless of someone consciously knowing the key, can often evoke fond childhood memories of playing songs in that key specifically. I feel as if Lang Lang (and I’m not trying to suck up to him, I actually as a whole dislike his playing) was trying to communicate that C major is often thought of as a limiting/basic key yet Bach took it and created a beautiful masterpiece. However I do agree with you that unless you have perfect pitch, you could play it in any major key on the piano and it would essentially sound the same.
i often read on the internet how ppl prefer certain keys over others, or how some evoke very specific colors or emotions. I am highly skeptical. the only emotion i get when i open a score and see that it's in C maj is pure joy as i'm a lazy bastard that doesn't want to remember the sharps/flats :p
I wouldn’t have watched this if I’d known LL was going to give his “artistic impressions” about this piece instead of playing, bc I knew he’d have only the most facile, redundant things to say. In this respect, he didn’t disappoint. It is deceptively difficult to play well, but in the hands of a pianist like Vladimir Ashkenazy (or Tzvi Erez: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-PXMVkQ70I88.html) one can hear what words cannot express....from what I’ve heard, I don’t believe LL has the slightest understanding of how to play Bach’s music and falls into the trap of many pianists when he constantly obscures the cantus firmus by excessive use of the pedal. I read an interview with Emanuel Ax where he said one of the great regrets of his life was not being taught how to play Bach, and that he refused to make the mistake of many pianists who feel the only obstacle is learning the notes, when the performance practice is so much more difficult.
Both Ashkenazy and Erez use more pedal than lang lang does in this video. Like a lot more. Lang lang is still maturing , with more and more musical performances every year and I have no doubt he will surpass ashkenazy in having informed and intelligent interpretations of pieces before his career is over. Ashkenazy was not even a top 10 pianist of the 20th century imo. Not even if the latter half of the 20th century imo.
