Bach Die Kunst der Fuge - Introduction by Sir András Schiff & Schaghajegh Nosrati

Die Kunst der Fuge BWV 1080
Part of the seven-part Bach cycle at the turn of the year 2023/24.
Pierre Boulez Saal, December 2023
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[@VelKuftinec]

Outstanding presentation of the complexities of Bach's incedible mind. Thank you Sir Schiff for introducing us to Ms. Nosrati, a wonderful and highly intelligent keyboard artist. I hope to hear more of her playing.

[@trewq398]

I was looking for something from Schiff about the Art of Fuge for a while. In an Interview 10 years ago, he said, that he still didn't feel ready to perform it live, but that it is also a shame not to play such an important piece. I am glad that he now feels up to the challenge.

[@dimitrisbouk]

​​@@trewq398 He has already performed it several times this year (January - Pierre Boulez Saal, March - Wigmore hall) and his upcoming recital with this work is at 13th of September 2024 at Royal Albert Hall (BBC Proms) and this will be broadcasted on BBC Radio!!! There have been some rumors a few months ago on Reddit that he has been recording "The art of fugue" or he has already recorded it.. However there is an interview of him (October 2023, BBC Radio) where the recording of "The art of fugue" is announced by the presenter... You can search it on google, "Music matters- Sir András Schiff, BBC Sounds " .

[@dimitrisbouk]

​​@@trewq398He has already performed it several times this year (January - Pierre Boulez Saal, March - Wigmore hall) and his upcoming recital with this work is at 13 of September 2024 at Royal Albert Hall (BBC Proms) and this will be broadcasted on BBC Radio!!! There have been some rumors a few months ago on Reddit that he has been recording "The art of fugue" or he has already recorded it... However there is an interview of him (October 2023, BBC Radio) where the recording of "The art of fugue" is announced by the presenter... You can search it on google, "Music matters- Sir András Schiff, BBC Sounds " .

[@fiandrhi]

When she said she was introduced to KdF at 16, I immediately related to her. I found the work at the same age in the Marriner orchestration, and I still have the score I soon after acquired of Czerny's edition, now quite battered. At that age, the work was so eerie and mysterious to me. I'm not a pianist, but I learned some of the fugues. I also spent countless more hours following the score with several recordings I acquired after.

[@settembrini2]

Unglaublich überzeugende Einführung in J.S.Bachs letzte ultimative Leistungsschau kontrapunktischer Kunst, zusammen mit feinster Musikalität in Vollendung - herausragend transparent gespielt und kommentiert. Ganz herzliches Dankeschön an Sir Andras Schiff und Madame Nosrati für diesen sehr erhellenden Beitrag !

[@poplife123]

Just a great dialogue and discussion between two great pianists and minds ....could listen all day ❤

[@fazergazer]

Almost a form of constrained writing. Bach adds progressively more constraints on the work, and yet manages to be creative and use the constraints to make the music even more astonishingly beautiful. A true master.❤

[@mogon721]

Now, I find this very heart-warming. A Jewish-Hungarian great master of his art meets a young German-Iranian pianist in the center of Berlin to discuss music. One is almost a dissident who has never refrained from strongly criticizing his home country's more and more authoritarian far-right government, and who is, in the best sense, a citizen of the world. The other the daughter of Iranian dissidents who found refuge in Germany from the persecution by the theocratic regime in their birth country. Refuge in Germany of all places, the country that just half a lifetime earlier had gone on a murderous crusade against almost everything that its own as well as European culture had achieved since the middle ages. The same Germany which, nowadays, sponsors institutions like the Barenboim-Said Academy in whose premises this conversation took place. There is more than one astonishing, sometimes even ironic twist behind all this if you think about it. And despite their different religious and cultural roots, those two converse over one of the milestones of western music. Music conceived three centuries ago by a man who had barely ever left the closer realms of his birth region, much less the borders of what was then Germany. And yet a man who perfectly mastered all the styles of European music of his time and who joined them into something completely new and something so outstandingly perfect and beautiful that he is considered the father of western music. These two artists, old and young, both refugees in a way, both objects of hate for the small-minded nationalists and the narrow-minded theocrats, are the living examples of what the hate mongerers want to destroy. Freedom, peaceful conversation, exchange of ideas, cooperation, intellectual growth. This is what the rise of the far right all over the western world is taking aim at. If it succeeds, it will make us all poorer, not only materially, but, above all, intellectually and spiritually. Like the last coming of those forces, it would leave a desert. We must not allow them! And to give an answer to those unbelievably stupid words uttered by a former British prime minister. No, Theresa May, citizens of the world are not citizens of nowhere. They are the future of the world, nothing less.

[@jeroenbakker52]

This young woman really knows what she is doing. I love it!

[@jamjam9253]

Two wonderful pianists!

[@TonKuipers134]

Thx for posting👍 very interesting and beautiful🎶

[@demolicionesdemexico]

😮😮 the courage, self confidence and knowledge one has to have to comment (when He already knows every thing) and play before a semigod as Sir Schiff... 👏👏

[@codertopics343]

Ein Traum. Wo sind die nächsten Konzerte?. Wundervoll, ergreifend. Und dann ist sie noch aus Deutschland dazu mit iranischen Wurzeln. Und sie spielt Bach. Und einfach so dass es mich sprachlos macht. Schiff ist ein wirklicher Großmeister in Sachen Bach. Und hier ist eine junge wundervolle "Nachfolgerin" sozusagen. Und beide sitzen hier am Flügel und diskutieren über eines von Bachs Meisterwerken.

[@tinwong5577]

15:30 Sir Schiff approves with a nod

[@daucuscarota6602]

Andras Schiff ist ja als zu recht weltberühmter Bach-Kenner und Interpret bekannt, aber Schaghajegh Nosrati kannte ich bisher nicht. Das ist ja wirklich eine ganz großartige Pianistin, wunderbar!

[@sedelstein]

👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏

[@elliotdavies3555]

Oh dear, what a shame the audio is so terrible. Is she playing a cimbalom?

[@dimitrisbouk]

You can find the original video with better sound quality on Pierre Boulez Saal site.

[@azure5697]

I've always wondered why the hell he took so long to perform this cycle. I want to listen to this recording

[@r.i.p.volodya]

I wanted to play the unfished final piece for my ATCL diploma but was turned down precisely because it stops suddenly! I find it heartbreakingly affective but they wouldn't let me! Boo Hiss!

[@sylvio1980]

Schiff never recorded this. I’d love to hear his rendition of this masterpiece.

[@FrancescaManuela-ri3yt]

He will play it live in Milan on 3rd December!

[@RobvanderHilst]

De la partie conservée de l'œuvre musicale de J.-S.Bach on sait que Bach n'a composé qu'une seule pièce pour clavier, qui - pour des raisons presque exclusivement idiomatiques - était et est destinée à être jouée sur le pianoforte, inventé au XVIIIe siècle. Il s'agit du Ricercar en trois parties en ut mineur du (plus ou moins) cycle de Bach L'Offrande musicale de l'année 1747. Toutes les autres compositions pour clavier du Maître de Leipzig sont destinées à l'orgue, au clavecin, au clavichord ou au clavier de luth. Quiconque joue les œuvres pour clavier de Bach des trois dernières catégories avec des caractéristiques très spécifiques sur un grand piano à queue de concert joue en fait des ARRANGEMENTS des originaux de Bach. C'est terrible. En d’autres termes, laissez les compositions pour clavier de Bach sonner du point de vue des différents types d’instruments pour lesquels le compositeur les a destinées. Tout le reste n’est qu’une absurdité grotesque.

[@benedictdsilva3954]

I'm not sure but in another video Andras says that he still had to study this piece or probably Goldberg Variations

[@dimitrisbouk]

It was the Art of fugue that he said he had to study. But now he has learned it and played it a lot of times in concerts. Let's hope he makes a recording of it one day.

[@gustlfaller4494]

Is it only my ears or is the sound distorted? Sounds a bit like a Cembalo in the Background.

[@mercoid]

I’m sure it just happens to be the tuning and character of this particular instrument along with her playing style. Room acoustics also play a role.

[@gustlfaller4494]

@@mercoid Im pretty convinced its the recording. The instrument is a normal piano, not a forte piano with wooden frame and also not a piano with janissary register like in this video: kzbin.info/www/bejne/gKbLhHSYhrWebacfeature=shared The sound engineer must have had a very bad day.

[@dimitrisbouk]

Well the bad sound quality is maybe because of the fact that the video has been recorded with an app (?) or a microphone (?) beacause the original video on Pierre Boulez saal site cannot be downloaded.

[@dimitrisbouk]

You can find the original video with better sound quality on Pierre Boulez Saal site.

[@r.giuliano]

Wonderful to learn a new pianist, I’ll have to listen to some of her recordings in better quality 😂

[@theconnoisseur2346]

Ich habe die Einspielung der Kunst der Fuge von Nosrati gekauft. Besser als Nosrati kann man dieses Werk nicht spielen, das muss man gehört haben. Diese Frau ist eine exzellente Pianistin und vor allem: Sie scheint den direkten Zugang zur Musik von BACH zu haben ! Beneidenswert. Ich glaube nicht, dass Schiff die Kunst der Fuge auf dem Level von Nosfrati spielen kann. Schiff ist manchmal zu manieristisch.

[@jeanlucchapelon]

She plays very well ! The sound of the video is very bad…

[@dimitrisbouk]

You can find the original video with better sound quality on Pierre Boulez Saal site.

[@petershapiro4247]

bach's music is not horizontal going from here to there,it is vertical! but this is the best horizontal performance i have heard, still what is not understood is the emotional statement bach is making, which is developed by the structure...each fugue and canon has a different emotional theme, lost by thinking at all of structure, if the musician is at the slightest aware of the structure, the emotional statement in which bach is reviewing his whole life experience, is utterly and completely destroyed..so much is lost in this performance, which is still excellent as a horizontal performance "it is close to vocal music"--excellent.. "it is rhetorical.". this music comes from and speaks to the heart, the mind, the slightest idea of structure destroys it..the structure sustains the emotion, it has no other meaning..

[@terbinjahn1250]

Einer der herzerschütternder Werke der gesamter Musikliteratur. Bitte hören Sie diese inter die Haut gehende Projektion von Reinhard Febel in einer kongenialen Interpretation von Yaara Tal und Andreas Groethuysen an: kzbin.info/www/bejne/anybpmiehpejpJI Dann von dieser Perspektive an betrachten Sie bitte diese "Introduction by Sir András Schiff & Schaghajegh Nosrati".

[@ViRrOorR]

The student has become the teacher. Yeah the audio is horrible, what a shame

[@andygato2452]

❤

[@kh-bd5ye]

Wann spielt schiff cd kdf ein?

[@trewq398]

Das würde mich auch interessieren. Live hat er sie wohl schon ein paar mal gespielt. Das gibt zumindest Hoffnung.

[@thomasoa]

The wine bottle at the end has the name Vichy on it. Vichy France was the French government under German occupation, so Renault trashing the bottle indicates he's gonna fight too. This movie was made during the war, and Rick represents the reluctance of Americans to enter into the war so soon after sending so many to die in Europe in the First World War. They specifically make it clear that the movie takes place the month of the Pearl Harbor attack, which is when the US entered the war.

[@crapadopalese]

Thank you for the explanation. I never knew The Art of Fugue was so heavily inspired by the Pacific Theatre.

[@thomasoa]

@@crapadopalese This reads like snark, but I don't get it. I know my Bach, so you clearly seem to think I have an anachronism in my post, but damned if I could find it.

[@crapadopalese]

@@thomasoa It's not snark towards you, but towards KZbin. If you search for the video "Bach Die Kunst der Fuge - Introduction by Sir András Schiff & Schaghajegh Nosrati", your comment appears there, though it's obviously a bug and you're commenting on some WWII movie.

[@thomasoa]

@@crapadopalese Ah, thanks, I was very confused, but failed to check on what what video the comment was placed.

[@jakim1360]

나를 신체 실헙 해라 또를 다 취소

[@jakim1360]

걔속 따뜻하기 더럽게 를 다 취소

[@jakim1360]

아골로 방해 해를 취소 사하소서 사하소서 숙재 해라

[@r.i.p.volodya]

Nosrati has just finished the 1st contrapunctus and I must say that I am very very surprised to hear Bach playing with SO MUCH legato, NO articulation AT ALL and even pedal.....

[@fellow7091]

It is not bad for contrapunctus I. You can play with non legato after that so much as you want. For me Contrapunctus I is a "preludium" for the whole piece. You should not use all of your capacity at that opening fugue because a danger it would take out effect from all that follows.

[@r.i.p.volodya]

@@fellow7091 We must not forget that the default playing position at the time was 'detache' and legato was a special-effect written in by the composer when wanted. For a whole movement to be legato, although it doesn't jar to modern ears, is not authentic.

[@LuisKolodin]

​​@@r.i.p.volodyaalmost there. Not really detaché, it's more complex than that. In some treatises and even CPE Bach, Baroque articulartion is something like that: - legato for shorter intervals - detach longer intervals - the closer to the first beat, the more legato it is - the closer to the last beat of the measure, the more detached it is - no legato from the last note of a bar to the first note of the next bar, because one must detach the good notes. Playing everything detached is one possibility that fits these rules, but it's not the only one. There are other possibilities for the performer, and baroque era did want players to show their creativity to complete the score. Wolfgang Rubsam talks about this and he even plays this way on the piano

[@shumiatcher]

No shape nor harmonic direction