Bach Six Partitas

Started by mc ukrneal, January 25, 2010, 05:35:03 AM

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Mandryka

Quote from: milk on February 19, 2022, 06:14:04 AM
Does Rubsam give a sense of dance in, for example, his French Suites? I'm just listening to Tilney's 6th partita now. The courante is otherworldly; he plays it in a higher register than it's normally played. Yes, it's very slow, it's the opposite of dance; it's dark. He follow it up with an air that duels between the lute stop and non-lute stop. Again, he's not interested in the air as the dance its name suggests. The sarabande is even more of a crush; it's played almost like a fantasia or something. I respect what Tilney does and I think it's austere. I admit I probably won't return to it soon.

Weiss is reliably good.

No I don't think Rubsam does play up the dance, and I didn't mean what I said to be a dig against the later Tilney, I just want to get clear about what's actually happening. Rubsam plays up the counterpoint. I don't think I've heard Weiss.

With a performance like Tilney's partitas, you have to approach it with "soft ears" -- ears which aren't hardened by expectations.
Wovon man nicht sprechen kann, darüber muss man schweigen

prémont

Quote from: Mandryka on February 19, 2022, 06:23:47 AM
No I don't think Rubsam does play up the dance, and I didn't mean what I said to be a dig against the later Tilney, I just want to get clear about what's actually happening. Rubsam plays up the counterpoint. I don't think I've heard Weiss.

With a performance like Tilney's partitas, you have to approach it with "soft ears" -- ears which aren't hardened by expectations.

Both Rübsam and Tilney choose relatively slow tempi and neither of them stress the dance elements - to put it mildly, but I think Rübsam makes the music much more interesting and expressive than Tilney. Rübsam isn't "austere" and does care a lot more for the details (counterpoint and ornamentation eg.) than Tilney.
Any so-called free choice is only a choice between the available options.

Mandryka

#242
I just listened to Tilney and Rübsam play the toccata from the E minor. I thought both were pretty good actually because both suggest stumbling. Egarr - who, ironically, is the one who gave me the thought that the music suggests the stumbling Jesus on the way to Golgotha - doesn't come close!
Wovon man nicht sprechen kann, darüber muss man schweigen

milk

Quote from: Mandryka on February 19, 2022, 06:23:47 AM
No I don't think Rubsam does play up the dance, and I didn't mean what I said to be a dig against the later Tilney, I just want to get clear about what's actually happening. Rubsam plays up the counterpoint. I don't think I've heard Weiss.

With a performance like Tilney's partitas, you have to approach it with "soft ears" -- ears which aren't hardened by expectations.
Rubsam hasn't done the partitas on lautenwerk? It's the only one he's left to just the older piano recording? Have I got that right? I think I'll appreciate Rubsam more one day. I'm curious. Do you think the Goldberg recordings has markedly better sound quality?

Mandryka

#244
Quote from: milk on February 19, 2022, 10:37:10 PM
  Rubsam hasn't done the partitas on lautenwerk? It's the only one he's left to just the older piano recording? Have I got that right? I think I'll appreciate Rubsam more one day. I'm curious.

No, they're here and worth hearing.

https://www.wolfgangrubsam.com/listen

Wovon man nicht sprechen kann, darüber muss man schweigen

Mandryka

Quote from: milk on February 19, 2022, 06:14:04 AM

Weiss is reliably good.

I just listened to Weiss play the c minor. Big conception, noble and eloquent playing - a pleasure to hear.
Wovon man nicht sprechen kann, darüber muss man schweigen

milk

Quote from: Mandryka on February 20, 2022, 06:58:12 PM
I just listened to Weiss play the c minor. Big conception, noble and eloquent playing - a pleasure to hear.
his WTC is very fine too.

Mandryka

Wovon man nicht sprechen kann, darüber muss man schweigen

Spotted Horses

I've mentioned this elsewhere, but perhaps worth noting here as well for those who like Bach on a modern piano. I have found the recording of the partitas by Shoshana Telner to be very enjoyable. Wonderful clarity, and lyrical. It's the only Bach she has recorded.

There are simply two kinds of music, good music and the other kind. - Duke Ellington

Mandryka

#249
Quote from: Spotted Horses on February 17, 2024, 07:05:08 AMI've mentioned this elsewhere, but perhaps worth noting here as well for those who like Bach on a modern piano. I have found the recording of the partitas by Shoshana Telner to be very enjoyable. Wonderful clarity, and lyrical. It's the only Bach she has recorded.



Fazioli. It sounds excellent.
Wovon man nicht sprechen kann, darüber muss man schweigen

Mandryka

#250



Colourful late 18th century piano, tangent, anachronistic. Not sure about the performances yet, I've heard the 6th, certainly  he has a natural sounding and expressive way with the phrasing in the allemande. Here's the booklet

https://static.qobuz.com/goodies/36/000169763.pdf
Wovon man nicht sprechen kann, darüber muss man schweigen

prémont

Quote from: Mandryka on May 04, 2024, 07:03:22 AMColourful late 18th century piano, tangent, anachronistic.

WTF! Bach's keyboard music is nowadays still mostly played on anachronistic instruments.
Any so-called free choice is only a choice between the available options.

bioluminescentsquid

Quote from: prémont on May 04, 2024, 11:05:42 AMWTF! Bach's keyboard music is nowadays still mostly played on anachronistic instruments.
Not sure how many Taskin harpsichords Bach got to play during his life :)

prémont

Quote from: bioluminescentsquid on May 05, 2024, 12:13:36 PMNot sure how many Taskin harpsichords Bach got to play during his life :)

While we're at it, I also consider late French Baroque harpsichords anachronistic in relation to Bach's music.
Any so-called free choice is only a choice between the available options.

Mandryka

#254
BBC Radio 3 Building a Library,  25 May 2024 - JS Bach: Keyboard Partitas, BWV 825–830

3.00 pm


Joanna MacGregor chooses her favourite recording of Johann Sebastian Bach's Keyboard Partitas BWV 825-830.

https://www.bbc.co.uk/programmes/m001zggg
Wovon man nicht sprechen kann, darüber muss man schweigen

prémont

Quote from: Mandryka on May 10, 2024, 02:16:43 AMBBC Radio 3 Building a Library,  25 May 2024 - JS Bach: Keyboard Partitas, BWV 825–830

3.00 pm


Joanna MacGregor chooses her favourite recording of Johann Sebastian Bach's Keyboard Partitas BWV 825-830.

https://www.bbc.co.uk/programmes/m001zggg

Which recording does a pianist choose? Another piano recording I guess.
BTW it will not be available until May 25 - or did I get something wrong?
Any so-called free choice is only a choice between the available options.

Mandryka

Quote from: prémont on May 10, 2024, 02:18:58 PMBTW it will not be available until May 25 - or did I get something wrong?


That's right.
Wovon man nicht sprechen kann, darüber muss man schweigen

Selig

Quote from: Mandryka on May 10, 2024, 02:16:43 AMBBC Radio 3 Building a Library,  25 May 2024 - JS Bach: Keyboard Partitas, BWV 825–830

3.00 pm


Joanna MacGregor chooses her favourite recording of Johann Sebastian Bach's Keyboard Partitas BWV 825-830.

https://www.bbc.co.uk/programmes/m001zggg

Well she's a jazz pianist (among other things) so she might prefer an interpretation that's on the more free/flexible side. Maybe she would like Rübsam? I can't remember what her own Bach recordings sound like, though.

prémont

Quote from: Selig on May 14, 2024, 06:22:27 AMWell she's a jazz pianist (among other things) so she might prefer an interpretation that's on the more free/flexible side. Maybe she would like Rübsam? I can't remember what her own Bach recordings sound like, though.

I found (ten years ago -  not listened to them since) her AoF and French suites solid but rather traditional and not that flexible / jazzy.
Any so-called free choice is only a choice between the available options.

AnotherSpin

Quote from: prémont on May 14, 2024, 09:45:56 AMI found (ten years ago -  not listened to them since) her AoF and French suites solid but rather traditional and not that flexible / jazzy.

By comparison, Keith Jarrett's classical recordings don't seem particularly flexible or jazzy. Perhaps jazz pianists play classics to feel comfortable within a strict framework.