Bach Cello Suite No. 1 - Clavichord - Left Hand Only - Wim Winters

[@NotJonJost]

It was said that Bach made the clavichord "sing"-- and you here are really making it "talk". I mean this as a compliment: that there is a real "recitativo" quality to how you play this suite. It feels really conversational and direct like this. It's a neat and unique interpretation.

[@anthonymccarthy4164]

I used to play the prelude and fugue from #5 left hand on piano for exercise and because I loved it so much. I'd have performed it if I had a clavichord. As to those skeptical of Bach playing these on keyboard, #5 exists in a "lute" version that Bach very possibly meant to be played on a "lautenwerk" a harpsichord with gut strings that emulated the sound of a contemporary lute. As written the "lute version" is possible on the keyboard and though I don't know if it's true some have written it is't possible on the lute without alteraion of the music. And that's not to mention the organ versions of other solo string pieces Bach made. Not to mention the keyboard versions he made of concertos by other composers. If he felt that was OK he certainly would't have objected to someone doing the same with his work as long as they didn't do damabe to the music.

[@user-74652]

This almost sounds as if it is being played on the cello. The combination of your great playing and the great sound of the instrument itself makes something quite beautiful.

[@AuthenticSound]

thank you!

[@artemasgray]

It really does!

[@wolkowy1]

After my old cat waked me in the middle of the night by throwing things on the floor, in order to get her favorite food - I've searched something in KZbin which will get me back to sleep and found this amazing upload which forced me not only to hear but also to look at your left hand (wise choice) doing this daring experience. I guess I have to thank both of you for ruining my night-sleep, but on the other hand - giving me precious high quality-time in music-performance and timeless musical composition. Back at the '70, when I've first met the harpsichord as a student in the musicology-department in the university, I had to deal with cynical pianists who said that an harpsichord-player is nothing but a frustrated non-successful pianist, and a dear friend of mine who is a guitarist had to deal with the corresponding 'charge' that a (classical) guitarist is nothing but a frustrated cellist! Well, now both of us, much much older, can smile and tell them that a cellist is nothing but a... frustrated clavichordist! This amazing performance of yours, which has justification and references in historical-musicological facts - does sounds great on this instrument. Thanks also for your insights found in the info.-section. Bravissimo!

[@AuthenticSound]

It's one of those recordings I'm really proud off!

[@c.g.marseille4510]

@@AuthenticSound of course you do !

[@jozefsklencar1004]

What a beautiful sound! Thanks a lot for uploading. :)

[@AuthenticSound]

Glad you liked it Jozef!

[@sofiewinters667]

Goed gedaan papa!😙😙

[@StrivetobeDust]

I love how the soundboard gives the impression of a chorus in the background.

[@anjaschouteden6749]

Beautiful!

[@Rollinglenn]

Wim, while replaying this recording today I noticed something in the phrasing that reminded me of organ playing. The single bass notes are distant from the harmonic/melodic cluster. Therefore the time needed to move the hand to those bass notes adds a very brief but important space in the music. This convinces me that your interpretation is as Bach himself would have played it on his clavichord. I believe most v'cello players don't give those notes adequate space - space which draws attention to the note creating a slight accent - as it does on organ. As the pedal notes on a pipe organ sound more slowly, they would also have that space. It might be noticed if played on organ. Care to try to record it at the Leuven organ? Even as a Patreon only video?

[@JOUA1400]

Not just an effective practice technique; but you exemplify it's creative compliment and potential. Thank you again for sharing. Bravo!!

[@AuthenticSound]

Thanks!

[@edwardhackney9136]

Amazing and very convincing - not to mention beautiful. Thank you.

[@AuthenticSound]

Thanks Edward!

[@nakedmambo]

I don't doubt that Bach tried these things out on his clavichord.

[@AuthenticSound]

For the violin sonatas it is documented he played them at the clavichord with modest chords added. As to Beethoven, the clavichord was indeed used for composition, so that is very well possible!

[@fiandrhi]

@@AuthenticSound I recall an anecdote from, I think, CPE Bach, that JS had contempt for composers who composed at the keyboard and that he referred to them derisively as "knights of the keyboard". That may be apocryphal.

[@bozodorochenko8872]

J.s.Bach played violin,viola, cello, Lute, violadagamba, fluet and ( all )keyboard ( instrumentens) among other instrument as all composers in the baroque and "classical period". It seams people ( hommes universelles) where much more polymaths than any of the later time... Not to mention the number of languages they spoke back then... It remains a mystery to our time how this was possible.

[@desiderioelielton2051]

Muito lindo! Não sabia que ficaria tão bom sem addicionar os accordes alem dos que foram escriptos.

[@miguelsalgueiropiano8003]

Tens toda a razão, e o clavicórdio também traz o som super bonito então fica muito bem

[@lshin80]

You're right: playing this on the clavichord makes much sense; on the harpsichord it would sound almost silly. The clavichord voice, while not as deep and espressive as a cello's one, surely remind me of a cello on this piece.

[@AuthenticSound]

Thanks Luca!

[@Renshen1957]

Luca, I must disagree with your statement as to the harpsichord sounding almost silly. Antoine Forqueray's very expressive pieces for Viola da Gamba were transcribed to the harpsichord (as well as published in their original form) two years after his father's death by his son, Jean Baptiste Forqueray. The harpsichord version were immensely popular then, and are staples of concert harpsichordists. Except for the simplest harpsichords (Virginal, Muselar, Spinet), the Harpsichord has more resources (multiple stops with different plucking points, buff stops) and from the simplest spinet to the most complex two manual instrument have different timbres through out the compass, which the clavichord does not. Yes, the clavichord has it's half vibrato (bebung) and variations of dynamics, the harpsichord has more variety colors available to the instrument. Two Manual Harpsichord would have more than adequate resources, and variety than needed to do justice to this piece. Even a single manual harpsichord with two 8 foot stops can produce a convincing performance (been there, done that).

[@lshin80]

De gustibus non est disputandum. ;)

[@Renshen1957]

Luca, Cuilibet fatuo placet sua calva. ;)

[@michaelnancyamsden7410]

Beautiful. Almost like it better on clavicord. Thank you.

[@iksralquyuud]

It works splendidly! And that is why these suites worked very well on the lute/guitar. Thanks very much for the performance.

[@AuthenticSound]

Thanks for listening Iksr!

[@iksralquyuud]

The pleasure is mine. Have you heard John Feeley's rendition on the guitar? It is available on YT and I also like that and is definitely worth a listen. BTW, Wim, have you experimented with different mic placements, maybe a little further away from the instrument? Or could it be the room's acoustics that are making me hear a kind of reverberation that is akin to a machine producing echo/hum in tandem with the clavichord?

[@williamhuband7913]

Wow ! As you say - an ear opener - delightful. Let's hear more !

[@AuthenticSound]

Thanks Bill, I'll think about it!

[@ShelbyBryant]

This is so great! Thanks for posting!

[@AuthenticSound]

Thanks Shelby!

[@relayer250]

I rather enjoyed hearing/seeing this suite played on clavichord and it is an amazing feat to see it with just one hand as well. A great experiment. Thank you!

[@AuthenticSound]

Thanks Alex!

[@hugomusic9504]

Amazing as always!

[@wailani3263]

Totally fantastic!

[@mariusvanhandel2876]

Wim, this is very common issue for guitarist: to play the cello suites "with only one hand" as they would be played on the baroque cello, or to expand the obviously implied harmonies, which can only be implied (but not played) on the baroque cello. Almost all guitarists (except Stanley Yates) expand the implied harmonies, which gives a richer performance, overcoming obvious limitations of the baroque cello. As the cello suites are as much a staple of the guitar repertoire (probably more) as of the cello repertoire, you will find no shortage of examples on KZbin. I particularly recommend Paul Galbraith's performance of the 4th cello suite as an example. My personal prejudice (possibly influenced by what the vast majority of guitarists do and the natural voice of the guitar), is that modest expansion of implied harmonies makes better use of the guitar's capabilities. All the more, of the clavichord. This is no further removed from Bach's intentions than playing the cello suites on a cello with a modern cello bow and strings. In fact, only Emily Davidson and Bruno Cocset play the cello suites in the speaking voice of the baroque cello. While it sounds great when they do it, I am afraid that I am not enthusiastic about this approach on the clavichord, just because it can sound so much better.

[@AuthenticSound]

Great to read, Marius, thanks for sharing your thoughts here. It would make much sense to use the right hand as well, as Bach is documented to play his violin sonatas at the clavichord when adding very modest harmonies. The other 5 would be very difficult, if not impossible on the clavichord with left hand only, this one is already on the edge (but I hope it doesn't sound like that!). I played it with both hands as well and indeed it becomes another piece, although I like in this particular case the fact that the limit decides it all. It gives it a tension you loose when adding the right hand. I might do a version more elaborated. I like Emily's version much as well, a pity she did not upload the complete cello as a whole!

[@linguistmuz]

I love it! Thank you for opening our minds

[@AuthenticSound]

You're welcome, thanks for listening!

[@evanofelipe]

Thanks Wim, it sounds so great on the Clavichord

[@AuthenticSound]

Thanks!

[@nikt7883]

Great idea. Works wonderful!

[@AuthenticSound]

Thanks!

[@enzocypriani5055]

Im a cellist and i would LOVE to hear the third

[@AuthenticSound]

That is a difficult one with the left hand only... could ask for some assist of the right hand though. I'll think about it Enzo!

[@wailani3263]

Also interesting that it really plays with the left hand!

[@iv4nL]

This is beautiful, Wim!!

[@AuthenticSound]

Thank you Ivan!

[@emmanuelsales149]

Thanks ! I enjoyed it very much. Congratulations. The phrasé and tempo are perfect. I had a question about the tempi of the Nocturnes of Chopin : do you apply the same single beat principle to them ? Sometimes it is very difficult to feel the musical line. Perhaps it only a question of practice and "desintoxication" of the ear... Many thanks and regards

[@777rogerf]

"detoxing the ear"?

[@johndeckers8383]

Well done, Wim

[@magicofcrocodile]

Hello Wim. I am just playing the 2nd suite, and I was wondering about the tempo. I line the tempo you choose. What were your metronome marks for each dance. Maybe Bach composed them on the clavichord? Is it possible? Thanks and Greetings

[@xavagi]

Sure sounds pure Bach. Great, maestro

[@AuthenticSound]

Thanks Xavier!

[@tuxedomoon]

Very nice !

[@AuthenticSound]

Thanks!

[@ruperttmls7985]

01:32 I really expected a clavichord-vibrato here XD

[@Clavichordist]

This is very nice. Very well done! :) This fits the clavichord very well both in tone and textures. I don't see this as being playable on the harpsichord, but may work on the pianoforte though with it's ability to add pedal where that's impossible on the clavichord. The piano would have to be played very softly and the pedal only used where necessary, otherwise the clarity would be lost. (I have to experiment with that and see). Someday it would be nice to hear the other Cello and perhaps his Violin Suites. I have come across a transcription of his E-major Violin Partita BWV 1006 as BWV 1006a, which definitely would work well on the clavichord, and definitely not on the harpsichord where the sound would become tiring to listen to because of the dry and loud volume of the instrument. Musically and stylistically I again hear a lot of Italian, aka Vivaldi and Corelli in there. The Italian influence is very strong in much of Bach's music.

[@AuthenticSound]

Thanks John!

[@Renshen1957]

John Citron, There exists a piece (by J S Bach) were he transcribed the violin partita Violin Partita BWV 1006 opening movement to Organ obbligato, the Sinfonia to Wir Danken dir, Gott wir danken dir, BWV. 29 J S Bach treats the organ as a transposing instrument (Chorton pitch) and writes the organ part in C major (as are the 3 trumpets) and writes the strings in D major. J S Bach had no problem with the organ's or harpsichord dynamic variation (terraced dynamics on two manual instruments or , and frankly neither the organ nor the harpsichord have any problem with clarity that the piano has. A pre-cross strung fortepiano doesn't have the muddied bass of the modern piano or the indefinite attack of the piano compared to the definite attack of a clavichord or Harpsichord. Piano Transcriptions of the Violin Partita BWV 1006 have existed (with added parts and chords) for quite some time (Sarah Heinze-1826-1901) which I never particularly appreciated as I compared these to Wir Danken dir, Gott and found them wanting. Sarah Heinze's arrangements/transcriptions: Bourrée (Mvt. 7) from Partita for solo violin No. 1 in B minor, BWV 1002, transcribed for piano [Peters] Prelude (Mvt. 1) from Partita for solo violin No. 3 in E major, BWV 1006, transcribed for piano [Peters] Gavotte (Mvt. 3) from Partita for solo violin No. 3 in E major, BWV 1006, transcribed for piano [Peters] Menuet (Mvt. 5) from Suite for solo cello No. 1 in G major, BWV 1007, transcribed for piano [Peters] Bourrée (Mvt. 5) from Suite for solo cello No. 3 in C major, BWV 1009, transcribed for piano [Peters] Prelude (Mvt. 1) from Suite for solo cello No. 5 in C minor, BWV 1011, transcribed for piano [Peters] Prelude (Mvt. 1) from Suite for solo cello No. 6 in D major, BWV 1012, transcribed for piano [Peters] Gavotte (Mvt. 5) from Suite for solo cello No. 6 in D major, BWV 1012, transcribed for piano [Peters] If I am not mistaken, the Bach Album by Schirmer contains these pieces (if uncredited). However, Brahms transcription of BWV 1004 D minor Chaconne for left hand alone is an excellent work if played on a contemporary Viennese Action Fortepiano from the 2nd half of the 19th century (Not a Steinway) for that matter any of Brahms piano work very well sonically. Both the Violin Partita's first movement BWV 1006 as written and the Chaconne (if transcribed to e-minor, I arranged Brahms when I had no keyboard instrument in my home and taught myself the classical guitar) work very well on the Guitar. The Bach-Cantata website has an A-Z list of Piano Transcriptions/Arrangements/and pieces influenced by Bach, which with patience can find many arrangements. The page would be more useful if the pieces were listed in each of the categories instead of the intermixed catalog, but the amount of composers, performers, and arrangers is quite large. www.bach-cantatas.com/NVD/PT.htm#C And among the transcriptions one finds J S Bach's arrangement of Adagio (Mvt. 1) from Sonata for solo violin No. 3 in C major, BWV 1005, arranged for keyboard BWV 968. Robert Cummings described the work in a link, Description by Robert Cummings This is a transcription of the first movement of Bach's Sonata No. 3 in C major for solo violin (BWV 1005). While it is a finely crafted arrangement, it may be the work of his son Wilhelm Friedemann Bach.(My comment, no proof other than W F Bach did add parts to some of his father's Cantata). The movement is marked Adagio and since J.S. Bach scored the original for solo violin, the version for keyboard sounds quite different as harmonies and other details are added (my comment which J S Bach is well known both extempore during a performance and in later reworkings of pieces for the Cantatas) , thus putting flesh on a rather dainty, though quite adequate frame. Yet the piece is of such a distinctly barren character that it remains rather thinly scored in its keyboard incarnation. The work features a dark but eleganttheme, whose serious manner translates well to the keyboard, but therein sounds a bit less intimate, albeit more colorful and fuller. Bach brilliantly weaves the melodic fibers, creating a richly nocturnal atmosphere in which the theme unfolds in lovely, descending waves. Harmonies often consist of arpeggiated chords and relatively little else. In the end, this piece is probably better-suited to the solo violin than to the keyboard, though Bach (whichever one fashioned it) made a quite workable version for the keyboard. Many will find that this approximately three-minute arrangement will sound better on piano than on harpsichord. (My comment, There's always one these people in the house, however I am sure the work would sound better on a clavichord than a piano)

[@AshtonGleckman]

Certainly doesn't look easy! Well played Wim.

[@AuthenticSound]

Thanks Ashton!

[@jacobplaysinstruments2018]

nice job playing your doing a very good job on the orgen

[@euhdink4501]

As a luteplayer I don't like very much the sound of the clavichord at all, ok, but that's me. But the interpretation is very inspiring and worth listening to and adapting to my own playing. Bedankt Wim voor je vele werk in het maken van deze video's!

[@AuthenticSound]

thank you, should pass by once to see how the sound works for you in reality, lute and clavichord, I always think of both instruments as a bit of the same family, not?

[@kiefer25-wr59]

Where could I get the same score you are using? Thank you.

[@n7275]

Beautifully cellistic.

[@AuthenticSound]

Great to read Matthew!

[@andywe7524]

I am playing the cello-suites on the piano since many years, having Casals Version always in my mind. It is now so burned in my brain, that every other interprations irritates me. :-)

Now that's what i call a "Bach Invention" :-)

[@AuthenticSound]

Thanks Andre!

[@segovianity]

Guitarists (such as myself) have 'purloined' this suite, usually transposing it up a fifth to 'D' and some editions add harmony notes (implied in the original to some extent). Do you ever play it with two hands to do likewise?

[@AuthenticSound]

Hi Michael, yes I did and the other suites would require RH assistance. it is giving and taking. You gain of course harmony and some other possibilities. i do like with this left hand only the technical tension, you kind of feel there is a limit that feels adding to the experience as well.

[@segovianity]

I think ant cellist would bow to your expertise and musicianship.

[@unagondolaunremo]

bravo, i like it very much! i suggest you record also sonata and partita for violin, with the right hand

[@AuthenticSound]

Bach played his violin sonatas at the clavichord (Agricola), with modest chords. I tried it... complicated stuff, but interesting.

[@pregart001]

I suppose the articulation would be better if played as in the C major prelude from WTK. Sound extension in passages was practiced in Bach's time. In this way, a fuller sound and a better harmony sound were obtained. Even Beethoven in the lunar sonata did the same.

[@paulojose8516]

I think many Bach's pieces for others instruments can be transposed to clavichord.

[@andreaszubaran]

I loved It ;)

[@AuthenticSound]

Thanks Andreas, this recording is one of my favorites

[@theolesebar576]

🐻 🐾 Wowbrumm 😍 👍 👏

[@asmodevsluxuria]

Do the 3rd!!!!!!

[@AuthenticSound]

That is a difficult one with the left hand only... could ask for some assist of the right hand though. I'll think about it Carlos

[@jacobplaysinstruments2018]

i played bach canda like u but not as good but when i post vidoes @Wim Winters can u check it out?

[@pand9293]

This is silly !! With the cello in the suites the listener has to imagine the second parts but if you have the clavichord you have to create the second part and play it period !!

[@AuthenticSound]

Well, you don't "have" to, why? For me this was an excercice on the clavichord, if you ever played the clav you know it's hard!

[@pand9293]

Let's say that if you manage to do it then the admiration goes to the next level.