J.S.Bach :: Partita n°2, BWV 826 :: Wim Winters, Clavichord

J.S.Bach :: Partita n°2, BWV 826 :: Wim Winters, Clavichord
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0:19 SInfonia
3:23 Fugue
5:15 Allemande
10:09 Courante
13:06 Sarabande
17:14 Rondeau
20:51 Cappricio
Well, how shall I put this... You know, I've played in the 42 years that I walk under God's blue heaven (well, of which the first year in a figurative sense of course, or even longer, it seems that I was rather late with those natural human-like things), but anyway, I've played Beethoven's pathetique on clavichord, and many more things, and in my pre-clavichord existence music of Chopin, Liszt, Franck, Poulenc, ... organ symphonies of Widor, Vierne, music of Dupré, Messiaen, ... but Bach, and certainly these partita's... I have the constant feeling that they bring me to the edge of concentration and effort.
Do I mean that the 'notes' of this partita are more difficult to play then Chopin's Barcarolle? Or Liszt Jeux d'eaux? Or...?
Well, no... and yes.
It depend on what you qualify as being 'difficult'. Take the two voiced 'fugue' in the first part of this partita. Ok, you could play it slower than I do, or faster, I've tried it both, and who knows how I'll play it in a few years or even months, but the speed is not what makes this (to my mind) difficult, it is the extreme independence between the two hands. It feels, as if I have to cut my brain in two and let both parts operate without the slightest influence of one to the other. O, that's called polyphony, you'd say. Yes, and then only two voices... but! The smallest influence of one hand to the other in terms of phrasing, articulation, accentuation, and it potentially ruins the freedom of speech that, as I feel it, is requested in these pieces.
Of course, the same is valid for most of Bach's works, and in that respect, one can only wonder why some decades later in Vienna they did not step up immediately from this extremely high level that must have been kept rather locally (o, and consider this to be a quote that needs so much nuances! Beethoven will raise the bar and Mozart of course, not to forget to mention what Haydn already did, and Clementi, and and, ... but in the purest sense, the complexity of Bach's polyphonic writing on both compositional and technical perspective, is of the highest level one can imagine. Also technically spoken, I mean: to play. It's a difficulty in a different way than that of e.g. Chopin, and it is hard to put in words (so short) to explain exactly why.
So all of this to say that this partita was not practiced and recorded in a few days...it took some time, and will take some time after this moment. It is also a special recording in the sense, that it will serve, together with Beethoven's pathetic, as a demo CD for obvious reasons of public relations to which one has to devote his or her time to today.
Did Bach wrote these 6 partita's for the clavichord?
I think that we clearly can say: yes, without any doubts.
Of course you play it on any instrument you like! I even do like Glenn Gould's approach on the piano (I really believe he would have ended his career as a clavichord player... does this sound as cursing in a church??), but there is no doubt about the fact that music of this complexity was, together with the preludes and fugues, meant for private use, technical studies in both composition and playing, and that they were, as the title of the bundle clearly explains, Clavier-Übungen, whereas the term Clavier in the Bach-context, is synonym to clavichord.
Should they not be played on the harpsichord? Well, that's not up to me to decide! It depends on you, your background as a musician and on the instrument you have available. The (over)-focus on the harpsichord the last 50 years, makes the chance rather small that you own a great clavichord (or not?).
But as a matter of fact: this music probably wasn't played often on the harpsichord back then (but I was not there to check...), but don't keep a splendid harpsichord silent in favor of a less interesting clavichord!
And for sure: this music only works on a 'good' clavichord (as they also in the 18th century almost always made this distinction). But played on a instrument that equals the music... well, that's what I feel heaven must look or feel like. Even you have to work like hell ;-)!!
http:\\www.authenticsound.be

[@NahreSol]

5:54 that low note!! great playing, thank you :)

[@AuthenticSound]

thanks!

[@PointyTailofSatan]

Every time I hear this piece, all I can visualize is Glenn Gould in a bathrobe, playing it on his piano in his cottage at Lake SImcoe. lol

[@AuthenticSound]

I know that, it is unique footage... unique player as well.

[@PointyTailofSatan]

I guess the closest we will ever hear of Gould on a clavichord is that video of him playing Contrapunctus 4 on the experimental Steinway harpsipiano.

[@AuthenticSound]

Yes, and that was (to me) not the most beautiful sound... He changed much of his playing/thinking to the end of his life, I'm sure he would have ended with the clavichord if he lived longer, he would have loved the microscopic endless horizon of direct expression...

[@aksmaster4671]

Congratulations for your beautiful playing and really stimulating channel! I remember watching on late night TV Glenn Gould playing this piece. I could not recognize the (super fast) music immediately, although it sounded familiar. Then I realized it was the same C minor partita I had been practicing in the morning...now I do not think the problem was the connection between my ears and my brain. It probably meant that when one is accustomed to a certain tempo perspective, a distinct change of such perspective requires an adjustment in order recognize the musical "object." A super fast or super slow tempo, when chosen on the basis of a poetic i.e. expressive idea can be a powerful way to shed a new and different light on a piece and make it sound "fresh" or -for want of a better word- alive as it had been just created (philology aside). Of course it would be silly and gratuitous if such tempo choice would be made in order to just show one's own dexterity or just to gain publicity. How do we understand the difference between the silly and the poetic (aside from personal taste)? I would like to know your opinion in this regard. Forgive me, but I found your tempo choice for the Capriccio rather too slow, as if you were more interested in the precise "bowing" of the leaping theme, rather than in its dramatic, powerful gestures. What was your intention in choosing such tempo, if I may ask?

[@danielschechter8130]

No disrespect intended to Glen Gould, but to my ear Bach played on the Piano just sounds wrong. Give me a harpsichord or a clavichord any day! I'll go out on a limb and say this is the best performance of this piece I've ever heard.

[@jirihorecky9644]

3:28 i have never seen anyone turn a page with so much finesse and passion

[@879korn]

Amazing that this video has over 30 thousand views so far! Can you imagine if JS Bach knew that with modern technology one could share a single clavichord performance with 30 thousand people. I think Father Bach would be very impressed with your channel, Wim.

[@AuthenticSound]

Thanks for the nice words, David!

[@lemonemmi]

I love this piece. The voice of the clavichord and your interpretation of the piece is rather overwhelming. I've listened to this tens of times and it keeps moving me more and more. It has the power to make me feel thrilled about it's ingenuity or utterly melancholic by it's beauty. But when I'm truly sad, it gives me empathetic comfort like no other piece of music or performer have been able to do. Thank you, JS. And thank you, Wim.

[@seraphim95]

well said

[@richardjchandler]

My brother built a clavichord from a plan based on a museum instrument. It was an extraordinarily complex project! JS Bach did a lot of playing on a clavichord, which, unlike a harpsichord, can respond dynamically to the player’s touch. This listening is worth good speakers or headphones. Enjoy the playing of the renowned Wim Winters.

[@erutuon]

Very lovely playing! The partitas are perhaps my favorites of Bach (though I don't like to make those kind of judgements), and I have played this one many times. I don't usually like to listen to other performers of the pieces I am familiar with, because I have developed my own way of playing them and am usually unsatisfied with other people's treatment of the music, but your rendition truly seems to sing. I suppose it's partly due to the clavichord, which naturally has a voicelike quality unlike any other keyboard instrument, but mainly because you seem to listen to the music and what it is saying. Truly a delight to hear!

[@AuthenticSound]

+erutuon Thank you very much for these truly nice words... it might be the instrument, a little part me, but the largest part... Bach... the more one plays his music, the less one understand how a living being ever was able to reach that level of emotion, perfection, balance, ... the other partitas are coming soon, I'm preparing them for the first recording of our new label (on vinyl...!)

[@phpn99]

What I've always loved in the Partitas is how much musical motion there's in the left hand. Listening to your clavichord reminds me of my old records of Ralph Kirkpatrick.

[@AuthenticSound]

That is a great compliment, thank you so much. The left hand is always important to me, even in Beethoven or Chopin. it drives it all.

[@phpn99]

in french we say that the left hand is "inhabited" when the keyboardist is expressive with the bass and tenor registers. In Bach it's pretty obvious all lines in the counterpoint are equally important. You can often hear it in Gould; he sometimes deliberately exagerated the left hand's line(s) to make the challenging statement that "Hey, this is the aria ! The right hand is for these bars in a supporting role" - even if the rhythm of the bass line is fractional to the treble. You find this also in the Orgelbüchlein where the subtle 'star' of each little gem is the lutheran hymn that is almost concealed by the melodic flourish. I could go on for days - this has been a passion of mine for 40 years; the last thing I'll say here is that great interprets like Leonhardt impart a sense of what I'd call "micro rubato" to phrases, in a manner reminiscent of the french 'un-measures prelude' you find in Couperin. It's a breathing of phrases that in my opinion follow both the curved ligatures in Bach's manuscrfipt score, and the functional harmonic contour of the phrases. Given Bach's elaborate thinking, and background in the canon form, the functional harmonic contour is often made up of nested phrases (like Russian dolls), some of which are very broad and may last for 16 bars or more. given you're (delightful) obsession with tempo, I would dare say that the 'intrinsic' definition of a piece's appropriate tempo is as much a function of its most challenging bar, the relative speed of the ornaments, the choice of particular note length to describe the melody, but *also* the need for the listener's melodic memory to hear the contour and resolution of the largest 'parent' phrases. Thank you for this very generous and entertaining activity of yours. Happy holidays.

[@ChrisVandekerkhove]

Beautiful! This is why everybody should have a clavichord ;-)

[@AuthenticSound]

+Chris Vandekerkhove Thanks for your comment, I'm glad you liked it! best, Wim

[@scrunchymacscruff1244]

Right! I'm going to amazon and order me one now

Perfection. There is no music like this. Except more Bach, of course :D

[@TrevorduBuisson]

Intriguing and fascinating and so well worth the listen. To think that this was probably how Bach intended this work to sound and quite possibly the instrument for which he composed it. What fascinates me is how well his keyboard music translates so seamlessly to virtually any keyboard instrument including present day synthesisers. I love this Partita and this was a treat.

[@AuthenticSound]

Thank you so much, Trevor, for tuning in, really appreciate it! best wishes, Wim

[@AuthenticSound]

Hi Trevor, a quick question to ask if I could use this wonderful quote you left on my channel to be featured in a book that will go along with the release of 3 cd's with recordings of the channel, to celebrate music production n°100 soon. Thanks in advance! Wim

[@TrevorduBuisson]

Oh wow, that's a surprise! Of course you may, I would be thrilled. Kind regards, Trevor.

[@AuthenticSound]

thanks!

[@kevinwingfield2007]

I've enjoyed so many different versions of this (including the Swingle Singers), Tureck, Gould, and now yours. Many veins of gold to be discovered. Thanks so much for your wonderful channel.

[@JSBach-pd4yg]

Ahhhh, reminiscent of my heyday 💓

[@stenoknight]

I'm so glad I started searching KZbin for clavichord music at midnight instead of going to bed! This is transcendent. Fantastically precise playing interwoven with deep expression.

[@AuthenticSound]

Thanks Mirabai and welcome here!

[@mul8045]

I will be very honest. I like it a lot! You really understand the music playing fast notes doesn't mean anything

[@AuthenticSound]

Thanks a lot!

[@Chelovyek]

An incredible performance. Thank you!

[@mul8045]

Such a good independence of voices!!

[@aliciaangel3477]

Hey richtig gut gespielt und mach weiter so LG und richtig gut gelungen Respekt

[@alonsegev7829]

Wonderful! Amazing Cappricio

[@nikkeisimmer8795]

subscribed. Love your interpretation of this Bach Partita. Spent many years in the 70s and 80s studying piano...and have been away from it for over 25 years now. I would love to be able to relearn piano/harpsichord as my favorite genre of music is the Baroque period. What a great find to stumble across your channel, Wim.

[@AuthenticSound]

Great to read, Nikkei, and welcome here !!

[@jsb7975]

As if the music plays itself.... Beautiful !

[@AuthenticSound]

thank you

[@blipblip88]

a thumbs-up because your performance enchanted me.

[@minorikushieda7998]

Love this!!! Instrument and Bach's authentic interpretation😍

[@AuthenticSound]

Thank you!

[@davidcates9255]

Very fine playing, Wim. You make a lovely sound and beautiful phrases.

[@AuthenticSound]

Thank you David! The 6th partita is coming the 10th of July and then they are complete on my channel (big relief...): authenticsound.leadpages.co/join/

[@harrisonsteudlein8537]

Great playing. I love the sound of your clavichord!

[@AuthenticSound]

Harrison Steudlein Thank you very much!

[@TheBrokenConsort]

Super TOLL that great musicality in this wonderful instrument!

[@GerSHAK]

Awesome. Thank you so much.

[@Juscz]

I like hearing the Capriccio movement at this broader tempo (a bit slower than I'm used to, but very musical all the same). I played this complete Partita on harpsichord and love to hear it played on an alternate period instrument. Bravo! Thanks for sharing.

[@AuthenticSound]

Thanks, John Uscian !

[@cebollitacambrai3206]

I love the way you play the clavichord, please proceed with more music, his work is remarkable, greetings from Mexico

[@AuthenticSound]

Cebollita Cambrai Thanks again, it's really nice to hear what your experiences are! Thanks, Wim

[@grantheron4595]

Bella questa clavichord. Also enjoy your talks as well

[@edwardhackney9136]

Splendid! Thank you.

[@AuthenticSound]

Great to read Edward! Thanks.

[@VRnamek]

as great as the performances in your videos are, I also take a lot of enjoyment from reading your thorough personal notes in the description for the video. Yes, no part in Bach is easy, it does create that foreboding sense that you're being divided in two - he's very obsessive and thorough in his exhaustive thematic and harmonic exploration.

[@geoffjelly4959]

Enjoyed a lot! Thank you.

[@AuthenticSound]

Thanks for watching Geoff!

[@ulfgz]

You know your Bach. Masterly played! Nice photo! Thank you very much.

[@AuthenticSound]

ulfgz And thank you for listening and the nice words!

[@skybirdnomad]

yayuh

[@anjaschouteden6354]

Mooi gedaan!

[@DressedForDrowning]

Wow, I like the sound of this instrument.

[@AuthenticSound]

Great to read you like my instrument, it is so close and dear to me !

[@celiaelliott1278]

Pragtig!

[@Massimo.Bianchi]

Eccellente!!!

[@leostokes38]

Thanks.

[@stephen0793]

Phenomenal!

[@AuthenticSound]

Thanks!

[@johngrace320]

I am a guitarist. How long would it take me to learn this instrument at this level of proficiency?

[@dgomezc33]

Great performance!

[@AuthenticSound]

Thank you (find your nice comment only now!); best wishes, Wim

[@salgoudsamoht]

this is wonderful! thank you very much for sharing your performances of the Bach Partitas for keyboard. i usually enjoy listening to piano interpretations of the keyboard works of Bach. the sound of a harpsichord or an organ when played as a solo instrument makes me nervous, but the clavichord has such a quiet and unique sound that when one plays it well, as you do, it can be very enjoyable. i also like the sound of the clavinet, an 'electric clavichord' popular in the 1970s in R&B music but i haven't seen any videos of people playing Bach on one of those, and i like the sound of fender rhodes as well as wurlitzer electric pianos but i didn't find any videos with people who could play well this kind of music on those instrument. but your playing on this instrument is really great. thanks again for sharing these outstanding recordings and greetings from Tokyo.

[@AuthenticSound]

***** Thank you very much for your very nice comment! The 3d partita is online yet, and the others are coming soon. They are so challenging... Bach was really the Franz Liszt of his time and these partita's are his Etudes Transcendentes... :-) They will be recorded later this year or beginning 2016 on a big Studer taperecorder and released on Vinyl.

[@AuthenticSound]

Hi Salgoud, a maybe somewhat unexpected question, if I could use your beautiful quote to be featured in a book that will accompany the release of 3 cd's celebrating music prod. n°100 soon on this channel. it would be so nice to have part of this 'community' with that project. Thanks in advance! Wim

[@canman5060]

This used to be the favourite exam piece for LRSM pianoforte performance from the Royal College of Music in Britain.

[@nickyhopeless]

Great music, great performer, great sounding. I'm excited. Looks like you have a fan from Russia (sorry for my English).

[@AuthenticSound]

That is great ! I'll dive into the stats if you are the first: what a wonderful world of connections

[@LambentOrt]

Very nicely played

[@AuthenticSound]

Thank you very much, nice to read !

[@elliotthop2072]

Why can i juste like this ? I want a big like button !

[@macbird-lt8de]

Hey guys I found a way to listen to more Bach than ever, but it’s kinda “ iffy”. It only works if you heard the piece a hundred times, but it works in a way. You set the time to 2x on the video. All the different times are useful and have their own sound. The really slow ones are good to get some specific detail.

[@macbird-lt8de]

I commented this here because clavichord is perfect for 2x Time.

[@QoraxAudio]

So much better than renditions of most professionals on pianoforte... they often rush like it's almost time for dinner - rondeaux and cappricio in particular. Individual notes are way better articulated in the way you play it, while the high speed turns it into a foggy cloud of chords and notes obscuring all kinds of details. Although, I do like sarabande with a bit more speed, like Scott Ross' rendition on harpsichord.

[@RobertMargouleff]

Sweet. !

[@AuthenticSound]

Thanks, robert!

[@lotto8108]

so dramatic! I love the sinfonia

[@AuthenticSound]

Thank you !

[@niketn6855]

Mooi gespeeld. Nooit echt een clavichord fan geweest, maar deze klinkt fraai!

[@AuthenticSound]

Nike Tn Dank je, Nike, en welkom tot de wondere wereld van het clavichord! Er zijn helaas nog veel te weinig instrumenten die de werkelijke schoonheid van dit instrument kunnen laten horen. Het is niet eenvoudig te bouwen en niet zelden hoor je inderdaad clavichorden die niet het potentieel laten horen waardoor dit instrument in de 18de eeuw zo immens populair moet zijn geweest.

[@niketn6855]

AuthenticSound Ik was hier enthousiast over de dynamiek en de klank. Heb 2 keer een klavichord gehoord was zo zacht. En dit stuk klinkt er prima op, en je speelt het goed. Dan is het genot om te horen.

[@AuthenticSound]

Nike Tn Je treft daar net een paar echte belangrijke kernzaken. Vele clavichorden zijn ofwel te zacht, ofwel onderbesnaard en daardoor te zacht (wel makkelijker te bespelen), maar als je bijvoorbeeld Adlung leest (ca 1720), of andere bronnen, dan blijkt dat de goede clavichorden toen helemaal niet zo zacht waren. Wel veel zachter dan een clavecimbel, maar toch geschikt voor samenspel met traverso en zelfs met gamba. Ik heb met veel plezier dit seizoen een aantal concerten gespeeld met Frank Theuns, en ook voor hem was dit een openbaring. Je zou het instrument 's avonds moeten horen, als het hier heel stil is, dan heb je het gevoel dat het doorheen het hele huis dreunt... maar op een zo 'zoete' wijze!

[@Nikeairxxx]

AuthenticSound Goed dat we die informatie van Jakob Adlung en anderen kennen. Ja het blijft boeien zo! Mooi instrument en goede speelwijze. Intiem en toch volwaardig!

[@HarpsichordVinylGallery]

Nike Tn In Brugge heb ik het live mogen beleven en het was een prachtig instrument en heel mooi bespeeld! Ik kwam er pas bij Partita V achter maar de zaal zat afgeladen en dat is toch vreemd voor een clavichord concert van 20 a 30 minuten. Ik heb er echt van genoten.

[@keirwilliams9361]

wow !

[@AuthenticSound]

thanks for the reaction !

[@paulrudiger2552]

Mr.Winters I am a big fan of your channel and I really admire your interpretations and knowledge and I am learning a great deal from it. I wanted to kindly request you if you can give me/us a bit of your mic set up and production technique. I really admire the sound you produce in your home set up. Thanks indeed!

[@paulrudiger2552]

I just found out! I didn't check your site and you explain everything there! Keep up the excellent work! You have one of the best channels on KZbin.It will be great if you had the time to make a presentation of your home organ! Or you have made one and I have not found it yet...

[@xincui1239]

coool!

[@AuthenticSound]

Thank you Xin !

[@YANAGITAtokinori]

I'd like to try this piece. I think KZbin should have more movies by playing clavichord.

[@basamak]

Magnificient. Bravo maestro.

[@mirco1piano]

very nice!!!

[@AuthenticSound]

+Mirco Asprella Thank you very much for letting me know your impressions, really appreciate that! best, Wim

[@mirco1piano]

+AuthenticSound it's a pleasure, I'm studying Scarlatti and Mozart on a Grimaldi's harpsichord and Stein fortepiano, and I'm thinking to start to make clavichords

[@AuthenticSound]

Nice! I'll be playing a Scarlati sonata soon!

[@evanprest6224]

Thank you Mr. Winters for the chance to hear the piece on this instrument! Rare opportunity for me. Can you upload the sixth in e minor if available?

[@AuthenticSound]

Thanks Evan ! You're lucky, they are all six already on the channel : kzbin.info/www/bejne/nXaQYYiuZrWMn7c, I rerecorded them all in january on analog tape to be released in October on vinyl and CD, here are the livestreams of those recordings: kzbin.info/aero/PLackZ_5a6IWWBRN24hqFuAav8CDYABtX1 ; hope you enjoy !

[@sparking2718]

Right around 4:45 is my favorite part of the sinfonia 👽

[@cadril]

Not used to listening such a slow tempo but it has the advantage of a more clear understanding of sentences and musical ideas. Even better when it is played so well and brightly.

[@AuthenticSound]

+Francisco DM Thank you very much for your reflection, I really appreciate, the more that it is very difficult to go from a faster tempo to a slower one, so that feels as a really nice compliment. I try to reflect on what I think could have been within a range of baroque tempi, but for these partitas, that is not easy to do, they (not always) seem to be a bit off track of what was common in that time. I'm playing all six of them here on YT, the 4th and 5th are also connected to an edition of afterthoughts, where I go through the pieces. N°1 is coming soon, 6 in the course of next month. Thanks again! Wim

[@augma3]

Hello, thank you for a wonderful recording of the C minor partita. I also imagine the toccata from the E minor partita would sound marvelous on the clavichord! What kind of clavichord are you using? I study the harpsichord and recently i have opened my eyes (and ears) for the clavichord. Sadly there aren't many unfretted clavichords around. Do you have any tips for a student on a budget? Is there any reasonable kit or used instrument that would be good enough to be worth the trouble? Thanks again!

[@AuthenticSound]

Thank you for the compliment! Not only the E minor partita sounds perfect, all 6 partita's do, as the preludes and fugues, the suites,... This music was in fact written as "etudes", for the study room, not for concert practice, and mainly intended to be played on the clavichord. The harpsichord was the instrument 'zum starken Musik', for combination with orchestra and solo concerti, a bit 'lighter' music for the audience of that time. A clavichord is one of the most difficult instruments to built, and I personally would not consider to do it myself. Mine was built by one of the best builders of present time, Joris Potvlieghe. Not a cheap instrument, but one that will last a lifetime,and frankly, you need a very good clavichord to create a plus with this music. So my advice would be: save until you can afford an instrument like this one, and you'll be fine for the rest of your life :-). (very much aware of the fact that it is easy to give advice...!) best wishes, Wim

[@augma3]

AuthenticSound Hello, thanks for the response! I see, that makes sense. I've listened to Troegers fantastic recording of the toccatas and the art of fugue, and the clavichord really captures the expressive nuances of the music. Hmm... Could you perhaps give a estimate of what a good clavichord could cost? I will try to save up, but it would be nice to know how much i would have to save. Norway has many great financial programs to help students buy instruments :)

[@AuthenticSound]

augma3 As a point of start, you could take contact with Joris (joris.potvlieghe(AT)telenet.be) and visit perhaps his workshop. That would give you much information and orientation. From Norway to Belgium is not that far! all best, Wim

[@eskatee]

AuthenticSound Some orientation can also found on my playlist ¨brutolijst clavichord΅; the standards set by Mr Potvlieghe, in my opinion, are to be taken as a reference for reaching to the highest quality. Highest recommendation, no doubt at all. Interesting in the playing list is the self built two manual pedal clavichord by ¨mwvh1¨, although the builder is suffering from a handicap (!), a very nice result.

[@eskatee]

Wat nu zo leuk is op KZbin, zijn die ¨ga zo door jongen!¨ - commentaren (overkomt menig artiest van internationale klasse, hahaha) uit het publiek in verhouding tot een geweldige, in het palet van zeer welkome, verfrissende interpretaties een buitengewone uitvoering wordt gegeven waarvan je verwacht dat hiervan op zijn minst op de voorpagina van de krant een uitvoerig verslag zal worden gegeven.

[@AuthenticSound]

ik begrijp helemaal wat je bedoelt. Voorpagina's van kranten...met Bach... hoogstens als je een vleugelpiano op de torenspits van de Antwerpse kathedraal zou zetten, en dan, op gevaar van eigen leven, versterkt met een vrachtwagen decibels... dan misschien...Maar doen we al die moeite in essentie niet voor onszelf? Een soort van "zelfverheffing"? En dat te kunnen delen met kenners en liefhebbers, dat geeft een mooi gevoel in een coconnetje. De buitenwereld, de internetwereld... die is wat hij is... toch?

[@eskatee]

AuthenticSound Exact; overigens, mijn eerste kennismaking met de 2e partita kwam voort uit de lp 00.04 van de popgroep Ekseption (Rick ver Linden, Rein van de Broe c.s.). als puber was ik daar weg van (op de kettingkast van mijn fiets de uit knalgeel isolatieband geknipte letters geplakt ¨Ekseption¨). Omdat ik zelf nog maar weinig zakgeld had, heb ik toen mijn oudere zus kunnen ompraten deze LP aan te schaffen. Enige delen uit de Partita werden gespeeld op synthesizer en Hammond orgel, tekst-conform, dat nog wel.

[@michaelthomasmock5199]

Could tell us more about your clavichord and its maker. I am in awe of your music-making. It inspires me to work harder with my own clavichord (Circa 1775 Hubert "travel" clavichord by Gary Blaise)

[@AuthenticSound]

Hi Michael, it's built by Joris Potvlieghe, great to read you're inspired by the little things we do here!

[@herrickinman9303]

We know from receipts that J.S. Bach ran a harpsichord rental business in Leipzig. Do you think this might be evidence of some tiny, miniscule interest in playing Clavier music on the harpsichord? The specification of Bach's estate listed the following musical instruments: 5 harpsichords ("clavecin" and "clavesin"), 2 lute harpsichords ("Lauten Werck"), 1 small spinet ("Spinettgen"), 2 violins, 1 violino piccolo, 3 violas, 1 small bass, 2 cellos, 1 viola da gamba, 1 lute, ... but alas, not even 1 clavichord.

[@AuthenticSound]

on the contrary, the estate mentioned '3 Claviere nebst Pedal', which were, as is shown in recent articles and studies, 3 clavichords and a Pedal. Thinking that in Germany at that time the harpsichord was so prominently as we think today for solo music is bypassing the context and facts of its time.

[@herrickinman9303]

@@AuthenticSound According to an account of the distribution of Bach's estate, the 3 claviers were not part of the estate. Bach's youngest son had received them as a gift from Bach while he was still living. But even if we suppose that the 3 claviers were all clavichords, that still begs the question: Who was playing the 5 harpsichords ("clavecin" and "clavesin"), the 2 lute harpsichords ("Lauten Werck"), and the small spinet ("Spinettgen") that were all part of the estate? The answer, in part, is that Bach was running a harpsichord rental business. But if harpsichords were held in such low regard for solo music, who would rent them, and for what purpose? Accompaniment? Performance before guests? In the legendary Dresden contest that was supposed to take place between Bach and Marchand, were they supposed to battle it out on clavichords? Or on harpsichord and organ? Or just on the organ? While the clavichord might have been favored over the harpsichord, due its more adaptable sound, smaller size and lower cost, its limited volume renders it impractical for anything but playing in solitude -- or so I thought until I heard you play. Your clavichord sounds much louder than clavichords I've played or heard in recordings. I wonder if clavichords in Bach's time were as loud as yours. That said, I do admire your playing, and I appreciate your perspective.

[@jimbo2629]

I made a clavichord for a customer and didn’t charge enough. This video reminds me I should have kept it. It was a Hubert.

[@AuthenticSound]

I can feel you

[@jimbo2629]

But I do have a Dulcken and a Couchet harpsichords. . So it’s not too bad. I could happily play Bach and.little else. Well maybe except Scarlatti and Soler. I may yet make the Hubert clavichord for myself, if I can find the plans. Lovely video and performance.

[@thomasciul8932]

Great clavichord. The tempos are way to slow. Where is the fire in the caprice?

[@AuthenticSound]

yeah, where is it?

[@JoseManuelDark1310]

👍

[@saxoungrammaticus9132]

Have you recorded the French suites on a clavichord?

[@AuthenticSound]

+His Most Gracious Excellency Saxo Ungrammaticus I Thank you for asking! The French suites are on my list, for sure. First I'll record the sixth partita here on KZbin as the last in the row. Then I'm rerecording them on tape for release in what should become a beautiful box with vinyl disc, CD, hires download, a book with solid articles etc... on our new label Authentic Sound Records, and when that is over and I still have some energy in a hidden corner (:-) ) I'll certainly will start with the French and English suites. And with a Beethovenproject on my new pianoforte. So a lot is coming up, thanks again! best wishes, Wim

[@saxoungrammaticus9132]

Oh great sounds exciting. Thanks for all the information. Best wishes.

[@bagi5511]

I like this playing. Can I buy this Bach 6 Partitiars recording?

[@Vinzorro]

3:22 Prachtig

[@yairzulosori]

Hello Wim! Why did you choose that tempo on the rondo?

[@AuthenticSound]

I remember having different tempi in my mind at the time that "worked" - just on intuition. And, if I remember right (again), I somewhat slowed down this movement for the actual recordings of the partitas that shortly will go on CD/Vinyl. Those recording sessions were livestreamed, there are on my channel, might be interesting to check out the differences?

[@danielschechter8130]

FWIW I think the tempo was perfect. Brilliant performance.

[@yairzulosori]

I agree, the tempo is fantastic.

[@franzliszt8090]

I’d love to learn this but I don’t have the patients to learn all 26 minutes

[@fludeball]

Then you’re not really Franz Liszt.

[@LordSandwichII]

Do you have any CDs that I could buy?

[@AuthenticSound]

Lord Sandwich Apart from one organ Cd with works of J.S.Bach, not yet. I'm preparing for an own record label, recording AAA for vinyl recordings, to which a CD (AAD) will added, later this year. A new series of vlog's (the Studio Project) will start the coming weeks to cover this process, which is rather... well... exciting! thanks for asking! Wim

[@AuthenticSound]

Hi, just a quick message to let you know that soon I will publish 3 cd's with a selection from this channel with a book, that will feature the blog posts, indexes all videos and some nice quotes here in the comment boxes. More info soon, or through the mailing list. thanks! Wim

[@MrBatraaf]

Prachtig gespeeld en een prachtig instrument ook! Je krijgt werkelijk meer het gevoel van een getokkeld instrument en dat is met een piano gewoon niet op deze manier na te bootsen.

[@AuthenticSound]

Dank je wel, blij dat je't mooi vindt !

[@fredhoupt4078]

finally got round to listening to this in early July 2018. For a moment, the instrument sounded a tiny bit out of tune? I don't know. Anyway, sounds very nice.

[@AuthenticSound]

still tuned differently I guess back then

[@franciscopuente4441]

Hi Wim, First of All I Wolf linke to trank you for your effort. I habe a questin relaxed to my Visier to Begium, Gent by the end of october with our choir. Me personally I ould live to Visier so je interessant concert there ans we as a choir w ould love to sing so je of our choir. Maybe you could give me a short note by mail. Thanks

[@AuthenticSound]

Hi Francisco, thanks for the invitation. Great you're coming to Belgium! Gent is quite a distance and end of October is packed with project meetings ! Good luck with the concert !!

[@martinmoller5591]

Perfection in spirit ans execution. Is the Capriccio too slow????

[@AuthenticSound]

Thanks Martin. Too slow, that of course depends on what your reference is...Seen the dramatic affect here, I played it even slower at a certain time. But of course, if the balance of the piece is good, much is possible

[@martinmoller5591]

I always thought that Capriccio means something like a chase :) :) :)

[@happypiano4810]

What if someone made a piano with two strings per each note, where one was plucked like a harpsichord, and the other hammered like a piano?

[@LewisDeAlba]

Would you like to play Dietrich Buxtehude's Suite in E minor for Keyboard? It's a lovely piece

[@AuthenticSound]

+Lewis De Alba Thanks Lewis for your question! Buxtehude is wonderful composer and I have played a lot (organ music) by him. Although my clavichord is a bit of a too 'modern' instrument for Buxtehude, I can give it a try! Do you have the specification of that suite, or maybe a link to imslp or a youtube recording, so that I certainly know I take the right piece? best wishes, Wim

[@LewisDeAlba]

It's a very beautiful suite, is one of his most famous works for keyboard. And yes, here's a video: goo.gl/fOLxTo And here are the scores: goo.gl/K0acaI Hope you consider playing this one. Hopes and hugs. Lewis ;D

[@AuthenticSound]

+Lewis De Alba Fine, thanks! I'll put it on my list, you can expect it soon (probably somewhere in May). w.

[@LewisDeAlba]

I can't wait! Your performances are so exquisite.

[@AuthenticSound]

+Lewis De Alba Hi Lewis, just finished the recording of the Buxtehude suite! Will be published on YT on May 10th, so within a few days, hope you'll like it! best wishes, Wim

[@user-hx7ls1rg9q]

Что-то с этим клавикордом - не так. Некоторые струны звучат сдавленно, например, Си 2 октавы. 2-я октава никуда не годится. Исполнитель и настройщик этого не слышат?

[@eberhard9039]

Wenig inspirierend.

[@AuthenticSound]

your comment? Yes.

[@nancyroberts5714]

Equal temperament?

[@AuthenticSound]

+Nancy Roberts This one is not, it is a kind of 'simple' Valotti, but with some corrections. I do experiment with ET to be honest, both tempered and equal have advantages and disadvantages to my feeling.

[@ytyt3922]

I don’t have perfect pitch but this sounds a tone lower than a properly tuned modern piano.

[@AuthenticSound]

almost

[@alessandrocolagrossi9571]

3:23

[@AuthenticSound]

Alessandro Colagrossi I first thought, well that's an interesting cripted comment... but soon realised that the fugue is indeed missing on the index. I've added it. Thanks!

[@alessandrocolagrossi9571]

AuthenticSound I put the time just to remind me, because I like it too .... it really like the music of Bach and the clavichord is outstanding ....... excuse for English but I'm Italian

[@Schleiermacher1000]

It sounds like a tin can to me. What do I have to do to change that?

[@PabloMelendez1969]

A bit of patience

[@georgebrandt541]

Heil Bach !

[@user-sv9yk2vy4d]

生の音ではない。アンプで増幅しとる。ほんまはクラヴィコードはもっと繊細な音や。マイクの感度がよっぽどええんやな。演奏はなかなかええ。

[@brendanward2991]

I always hated hearing Bach on the harpsichord and thought Glenn Gould was right: the piano is the quintessential instrument for Bach's keyboard works. But Wim has changed my mind: it's the clavichord, stupid!

[@edrash1]

sound may be authentic, tempi are way off.

[@Utubesuxmycock]

german suite lol for a lack of a better name

[@AuthenticSound]

+RAPEE APE It are of course German suites, but the French music became so popular that they are called that way (as are the French and English suites in fact German suites as well). Thanks for listening!

[@berighteous]

This instrument sounds terrible. I can't listen to the harsh buzzes any more.

[@prokastinatore]

Horrible. Why to play Bach on a cembalo in modern times of high tech instruments like Fazioli, Steinway & Sons and Bösendorfer?