Bach Masterclass: Prelude from Suite No. 5 - Musings with Inbal Segev

[@euledj79]

I'm so fascinated about your tone and resonant Instrument! I guess that not every 1 million $-cello has such a decent sound 😌 Great gothic-outfit matching the mood of this piece. A real pleasure to watch your class!

[@audwinjones9079]

Your tone is too much!!!! Your instrument is a resonating cavity that was made for this type of music. It’s effortless and I am so jealous. This is one of my favorite pieces of music as Pablo Casals has a great take on this too. Thanks for producing and sharing meaningful music and sharing your take and talents with this audience.

[@TrioTelopea]

Thanks Inbal, I love your videos. I find them so helpful! Thanks for sharing :)

[@paulgerards6494]

Hi Inbal your sound is amazing and you look stunning !! THX !!

[@MusicaAngela]

This is so helpful! Thank you for sharing your insights and skill. I love “trills have feelings too”!

[@amandaandrews9374]

Thank you for all of the hard work that you do to share with all of us! I am so grateful! I can’t wait to see you perform live at Chautauqua this summer.

[@JohnWilliams-mr7bd]

Thank you, such voicings, such clarity!

[@lakeninevah]

Dear Inbal, it seems that you’re playing a Montagnana cello on the 5th! I hope to be getting one soon, thus my curiosity about it! Earlier videos seem to have you playing a Stradivarius cello!

[@MaciejJura]

Lady you've got a like for that line "notes are not created equal in Bach", I see what you did there :D

[@DukeOfTheBLVD]

Trills have feelings too!

[@xxbstpagexx]

Magnificent. Bravo!

[@ronfurzeland6114]

Very useful, I am carrying your ideas across to the Bach violin sonatas and partitas

[@skakdosmer]

Wow! You play well - and just about exactly the way I'd like to be able to play it. But I always struggled with this movement. Thanks for the video.

[@aronpetrusbolonicellist]

Great advices. Only one thing if you let me to say. My teacher Miklós Perényi ( we use as well Ana Magdalena only ) sayd the second line second bar e flat should be longer as in the score it is. He plays the E flat on the G string and the up c on the C string links together with the next C. It gives sence a bit more. Anyways thank you for the video. Nice experience.

[@GustavoSilva-hm6rp]

great!!!!!!

[@asherwade]

I'm sooo happy that you play this on a 'modern' instrument [and, no, I'm not as nasty as Pinchus Zuckerman about 'baroque' instruments, ...but, I see, you 'also' use an electric pick-uP; cool]; {8~) (( I wrote a longer message on your study on the "Sarabande" for this Suite #5. I'm already a fan even though I play violin, viola and piano for cir. 48yrs., ....but, I've already learned some very interesting techniques from you which I can apply to my viols; thus, I've subscribed.)) Thanks-!!!

[@Inbalsegevcello]

Asher Wade Thank you for writing! I am so happy to know that my musings inspire not just cellists😀😀😀

[@issues9828]

Inbal, I've noticed something curious about some of the cellists who have recorded this piece. I've looked at Casals', Rostropovich's, and Mainardi's recordings of the suites. Each performer recorded the suites more than once. I noticed a pattern whereby their earlier recordings are played slower than their later recordings. So, if you compare Casals' '36 recording to his '55 recording, the '55 is at a faster tempo. Rostropovich's '91 recording is at a faster tempo than his 1950's recording. And Mainardi's '60's recording is faster than his '50's recording. I personally prefer the later, faster recordings. They seem to be played with less labor and emotion, and you also get a better sense for the structure of the music. Had you noticed this pattern? Do you know why these performers might all have played faster as they aged?

[@Inbalsegevcello]

Hello, I can see why a second recording can be faster. As artists grow, they or we, see the bigger picture so to speak, I feel that if I were to record the Bach suites again, some of the dance movements will be faster too. That said, I believe Glenn Gould played his last recording of the Goldberg variations slower, with less emphasis on virtuosity, then his earlier recording.

[@issues9828]

@@Inbalsegevcello If you use the Prelude to Suite 1 as a benchmark, Casals' 1930s recording is 2:30, while the '54 recording is 2:00.

[@askaryambus]

Hi, the link in the description to your notes is broken. Is it possible to get it working again? I'm interested in reading your bow movements and fingers. Thanks!

[@evelynpfriem8499]

It's the same thing with all of the cello suites. Whatever key it's in. It'll always come back to that note.

[@brkydrcn2]

1 th steel A or G ?

[@richardhowell7725]

Oh no! The bowings and fingerings are returning a 404 error! I'm just watching what you're doing on video. One day, I'll catch up!

[@jonaslindner1370]

Unfortunately your like "My copy of the D minor Prelude, with bowings and fingerings" Is not working anymore :(

[@Inbalsegevcello]

Jonas Lindner blog.inbalsegev.com/2017/09/05/bach-masterclass-prelude-from-suite-no-2-musings-with-inbal-segev/

[@jonaslindner1370]

Thank you ! Oh sorry i miss read I though it was the bowings and stuff for the 5th suit.

[@antoniocasarano5195]

It's funny how she's dressed up in a black dress and overall just like in a creepy vibe, and the piece (in my opinion) sounds like a haunted mansion.