❤️ If you like CM//RR content, please consider membership at our Patreon page. Thank you :) www.patreon.com/cmrr Johann Sebastian Bach (1685-1750) - Partitas Nos.1,2,3,4,5,6. *Click to activate the English subtitles for the presentation* (00:00-01:50) Partita No.1 in B♭Major, BWV825, Praeludium (00:00) Allemande (01:40) Courante (03:48) Sarabande (05:28) Menuet I & II (09:06) Gigue (12:24) Partita No.2 in C minor, BWV826 Sinfonia (14:04) Allemande (18:55) Courante (21:04) Sarabande (22:22) Rondeau (24:52) Capriccio (26:45) Partita No.3 in A minor, BWV827 Fantasia (29:00) Allemande (32:11) Courante (33:38) Sarabande (35:27) Burlesca (37:19) Scherzo (39:06) Gigue (40:03) Partita No.4 in D Major, BWV 828 Ouverture (42:01) Allemande (48:40) Courante (54:12) Aria (56:45) Sarabande (58:27) Menuet (1:02:09) Gigue (1:03:22) Partita No.5 in G Major, BWV 829 Praeambulum (1:07:47) Allemande (1:10:28) Courante (1:12:49) Sarabande (1:13:48) Tempo di Minuetto (1:16:27) Passepied (1:17:50) Gigue (1:18:51) Partita No.6 in E minor, BWV 830 Toccata (1:21:10) Allemande (1:27:14) Courante (1:29:01) Air (1:31:31) Sarabande (1:33:16) Tempo di Gavotte (1:37:40) Gigue (1:39:22) ---- Harpsichord : Helmut Walcha Recorded in 1959-63 Find CMRR's recordings on *Spotify* : spoti.fi/3016eVr --- Le Partita est une Pièce écrite pour le clavier, pour un instrument accompagné ou pour un orchestre de chambre, chez les musiciens allemands et italiens des XVIIe et XVIIIe, généralement formée d’une suite de danses ou de variations. Les six Partitas pour clavecin (BWV 825 à 830), qu'on a parfois appelées « Suites allemandes », constituent le troisième et dernier grand recueil où Bach pratique la suite pour clavier, et c'est celui où il atteint le sommet de son art. - Chaque Partita débute par un vaste morceau d'introduction qui diffère des autres par le nom qui le désigne (Praeludium, Sinfonia, Fantasia, Ouverture, Praeambulum, Toccata) et chacun a son caractère propre. La structure des autres mouvements (allemandes, courantes, sarabandes, menuets, gigues, rondeaux, etc.) est plus riche que dans les Suites anglaises et françaises. Ici la fusion des styles (français, italien, allemand, nord-allemand) et le renouvellement de la texture rythmique, si caractéristiques de la manière de la maturité de J.S. Bach, sont particulièrement manifestes. - Le nom d'Helmut Walcha reste indissociable de l'œuvre de Jean-Sébastien Bach, dont il a enregistré à deux reprises l'intégrale de la musique pour orgue et les grands cycles pour clavecin. Né à Leipzig le 27 octobre 1907, il a perdu la vue à l'âge de seize ans à la suite d'une vaccination antivariolique défectueuse. Il avait commencé la musique à douze ans avec le piano et le violon, mais il s'est tourné vers l'orgue, qu'il a étudié au conservatoire de Leipzig (1922-1927) avec Günther Ramin, l'un des successeurs de Saint Thomas de Bach, qui l'a initié à la musique du cantor et lui a enseigné dans la plus pure tradition de l'interprétation. --- Bach - Goldberg Variations BHV 988 / Harpsichord + Presentation (Century's recording: Helmut Walcha) : kzbin.info/www/bejne/iHSkk2ifnJ5jqKM - Bach - The Art of Fugue in D minor BWV 1080, New mastering (Century's record.: Helmut Walcha, Organ): kzbin.info/www/bejne/l4vCoqKJZsSohqM - Johann Sebastian Bach PLAYLIST (reference recordings) : kzbin.info/www/bejne/a3jUnGmhj82EaKs
@bodemayson14793 жыл бұрын
I know Im kind of randomly asking but does anyone know a good place to watch new movies online ?
@robertoelias2583 жыл бұрын
@Bode Mayson Meh I use Flixportal. You can find it through google :D -roberto
@bodemayson14793 жыл бұрын
@Roberto Elias thank you, signed up and it seems like a nice service :) Appreciate it !!
@robertoelias2583 жыл бұрын
@Bode Mayson happy to help xD
@mashtali1 Жыл бұрын
Forever, There won't be any human who come even close to greatness of Bach in music.
@danawinsor1380 Жыл бұрын
I couldn't agree more. In addition to the profundity, he seems to have had time for humor: the Gigue in the first partita is a case in point. The chromatic descent in the 2nd strain "disorients" you so that you, or at least me, loses the sense of what key you're in. Something similar happens in the cadenza of the 1st movement of the 5th Brandenburg concerto: Bach takes you on this bizarre chromatic romp so that he seems, at least to me, like he goes temporarily insane, then when he's done he calmly brings you back to D major and the strings and flute bring the piece to the end.
@retf054ewte3 Жыл бұрын
@@danawinsor1380 The Partitas of Bach have remained prominent in the mainstream of keyboard performance since their first collective appearance in 1731. Together with a few other perennials, such as the Italian Concerto and the Chromatic Fantasia, they have held the onslaughts of history at bay. In doing so the Partitas have survived generations of stylistic upheaval, changes of instrument such as that from harpsichord to piano, and the ministrations of performers, transcribers, and editors too often oriented to the tastes of a later age. This is particularly true of Partitas I, II, and VI.
@kayausiu8090 Жыл бұрын
It is musicians like H.W. who bring Bach close to my heart. He makes me feel these Partitas are Bach's Credo. I play it every morning.
@mikekeyes61022 жыл бұрын
I have a great respect for Helmut Walcha; I think his recording of the Goldberg Variations is the best I've heard. The instrument used here sounds very much like a pedal harpsichord.
@williamsu55523 жыл бұрын
thank you so much to bringing us mortals closer to GOD
@classicalmusicreference4 жыл бұрын
Helmut Walcha's name remains inseparable from the work of Johann Sebastian Bach, whose complete organ music and great cycles for harpsichord he has twice recorded. Born in Leipzig on October 27, 1907, he lost his eyesight at the age of sixteen as a result of a defective smallpox vaccination. He had begun music at the age of twelve with the piano and violin, but he turned to the organ, which he studied at the Leipzig Conservatory (1922-1927) with Günther Ramin, one of Bach's successors to St. Thomas, who introduced him to the music of the cantor and taught him in the purest tradition of interpretation. *Click to activate the English subtitles for the presentation (00:00-01:50)*. - El nombre de Helmut Walcha permanece inseparable de la obra de Johann Sebastian Bach, cuya música completa para órgano y grandes ciclos para clavecín ha grabado dos veces. Nacido en Leipzig el 27 de octubre de 1907, perdió la vista a la edad de dieciséis años como resultado de una vacunación defectuosa contra la viruela. Había comenzado la música a los doce años con el piano y el violín, pero se pasó al órgano, que estudió en el Conservatorio de Leipzig (1922-1927) con Günther Ramin, uno de los sucesores de Bach en Santo Tomás, que le introdujo en la música del cantor y le enseñó en la más pura tradición de la interpretación. - ヘルムート・ワルシャの名は、ヨハン・セバスティアン・バッハの作品と切っても切り離せないものであり、彼のオルガン全曲とチェンバロのための大曲集は2度録音されている。1907年10月27日、ライプツィヒに生まれ、天然痘の予防接種に失敗したため16歳で失明。12歳でピアノとヴァイオリンで音楽を始めたが、オルガンに転向し、ライプツィヒ音楽院(1922-1927)でバッハの聖トマスの後継者の一人であるギュンター・ラミンに師事し、彼は彼にカントールの音楽を紹介し、純粋な解釈の伝統の中で彼を指導した。 - O nome de Helmut Walcha permanece inseparável da obra de Johann Sebastian Bach, cuja música de órgão completa e grandes ciclos para cravo ele gravou duas vezes. Nascido em Leipzig em 27 de Outubro de 1907, perdeu a visão aos dezasseis anos de idade em consequência de uma vacinação deficiente contra a varíola. Começou a música aos doze anos de idade com o piano e o violino, mas voltou-se para o órgão, que estudou no Conservatório de Leipzig (1922-1927) com Günther Ramin, um dos sucessores de Bach em São Tomé, que o introduziu na música do cantor e o ensinou na mais pura tradição da interpretação. - Имя Гельмута Вальхи неразрывно связано с творчеством Иоганна Себастьяна Баха, чью полную органную музыку и великие циклы для клавесина он записал дважды. Родился в Лейпциге 27 октября 1907 года, потерял зрение в возрасте шестнадцати лет в результате дефектной прививки от оспы. Музыку он начал в двенадцать лет с фортепиано и скрипки, но обратился к органу, который учился в Лейпцигской консерватории (1922-1927) у Гюнтера Рамина, одного из преемников Баха у святого Томаса, который познакомил его с музыкой кантора и научил его чистейшей традиции интерпретации. - Helmut Walchas Name bleibt untrennbar mit dem Werk Johann Sebastian Bachs verbunden, dessen gesamte Orgelmusik und große Zyklen für Cembalo er zweimal eingespielt hat. Geboren am 27. Oktober 1907 in Leipzig, verlor er im Alter von sechzehn Jahren durch eine fehlerhafte Pockenimpfung sein Augenlicht. Er hatte im Alter von zwölf Jahren mit Klavier und Violine begonnen, wandte sich aber der Orgel zu, die er am Leipziger Konservatorium (1922-1927) bei Günther Ramin, einem der Bach-Nachfolger des Thomaskantors, studierte, der ihn in die Musik des Kantors einführte und ihn in reinster Interpretationstradition unterrichtete. - Helmut Walcha的名字仍然与巴赫的作品密不可分,他曾两次录制了巴赫的完整管风琴乐曲和大键琴大循环。1907年10月27日,他出生于莱比锡,16岁时因接种天花疫苗的缺陷导致双目失明。他十二岁时就开始学习钢琴和小提琴,但他转而学习管风琴,在莱比锡音乐学院(1922-1927年)跟随巴赫的传人之一圣托马斯的传人之一--居恩特-拉明(Günther Ramin)学习管风琴,他将他介绍给了圣托马斯的音乐,并以最纯正的诠释传统教导他。 - Il nome di Helmut Walcha rimane inseparabile dall'opera di Johann Sebastian Bach, di cui ha registrato due volte l'intera musica per organo e i grandi cicli per clavicembalo. Nato a Lipsia il 27 ottobre 1907, ha perso la vista a sedici anni a causa di una vaccinazione antivaiolosa difettosa. Aveva iniziato la musica all'età di dodici anni con il pianoforte e il violino, ma si rivolse all'organo, che studiò al Conservatorio di Lipsia (1922-1927) con Günther Ramin, uno dei successori di Bach a San Tommaso, che lo introdusse alla musica del cantore e gli insegnò nella più pura tradizione dell'interpretazione. 🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/2M1Eop2 ❤️ If you like CM//RR content, please consider membership at our Patreon page. Thank you :) www.patreon.com/cmrr
@joseluizfrancis-cresciment67474 жыл бұрын
👏
@joseluizfrancis-cresciment67474 жыл бұрын
A arte de Helmut Walcha no teclado, lembra a de outro compatriota: Karl Richter, ambos tiveram forte influencia de Günther Ramin , algumas características semelhantes: 1 - caráter solene da música .. 2 - uso do rubato .. 3 - uso controlado do vibrato .. 4 - fraseado baseado na melodia
@sergiociomei11974 жыл бұрын
Thank you soooo much for this incredibly valuable post!! I didn't know any Walcha recordings as a harpsichord player...now,this is HISTORY for me,a harpsichord player myself! Of course style has changed since Walcha's times,.and there have been players with a more "adventurous" approach,especially regarding rubato,variety of articulation and improvised little ornaments...but I notheless love these recordings so much!! There is a freshness,a very direct way of "speaking" in music that really fascinates me,I will return to these recordings many times again (I actually would like to find and buy these Partitas on vinyl!!). Grazie mille,un abbraccio dall'Italia!! Sergio
@notaire24 жыл бұрын
Klare und wunderschöne Interpretation dieser sechs perfekt komponierten Partiten im präzisen doch gut phrasierten Tempo mit schimmerndem Klang des unvergleichlichen Cembalos und mit perfekt kontrollierter Dynamik. Bestimmt einer der zehn besten Cembalisten im 20. Jahrhundert!
@dejanstevanic54084 жыл бұрын
For me, as a total musical ignorant, this is just perfect. Thank you.
@danieldoria52623 жыл бұрын
Since you’re here listening to this great music, you are not ignorant!
@dejanstevanic54083 жыл бұрын
@@danieldoria5262 :-)
@danieldoria52623 жыл бұрын
@@dejanstevanic5408 you got a good musical taste! Greetings from 🇧🇷, my friend!
@oscargzlz Жыл бұрын
La interpretación me parece muy correcta y muy agradable el sonido de este clavecín. Mil gracias.
@canman50604 жыл бұрын
Melmut Walcha has a remarkable memory.
@erdemoz21873 жыл бұрын
Just wow! thank you so much for this upload! Just discovering Walcha and what a brilliant man he was!
@alm9368 Жыл бұрын
I have no doubt that Bach would have loved Walcha's rendition of his keyboard music.
@user-sk4kd7ob2b4 жыл бұрын
Как это прекрасно и возвышенно.Большое спасибо!
@user-sk4kd7ob2b4 жыл бұрын
А кому же именно?
@patriciarodriguezmartinez32334 жыл бұрын
Curiosos Tempo. Muy interesante. Gracias
@joseluizfrancis-cresciment67474 жыл бұрын
A arte de Helmut Walcha no teclado, lembra a de outro compatriota: Karl Richter, ambos tiveram forte influencia de Günther Ramin , algumas características semelhantes: 1 - caráter solene da música .. 2 - uso do rubato .. 3 - uso controlado do vibrato .. 4 - fraseado baseado na melodia .. Obrigado(Thanks) por essa postagem maravilhosa!
@jonrebollardelbarrio23364 жыл бұрын
Magnífico teclista.
@sgryu20024 жыл бұрын
thank you so much give me a chance to listen such a great performance!!!!!!
Someone it's better that listen for some days, every evening, these six partitas so can to learn for listen music.
@user-zu1pj5kg8b2 жыл бұрын
The only i have the right to say is thank you master....
@cocovarela93963 жыл бұрын
Muchas gracias Un saludo desde Argentina.
@tepmich4 жыл бұрын
GROSSARTIG !!! Tepper Michael.
@michelroussanne9063 жыл бұрын
Merci !
@morrocks15493 жыл бұрын
Great performance
@Felipe.Taboada.4 жыл бұрын
Thank you!
@Orientaliszt3 жыл бұрын
8:15 what a trill! He unfortunately became blind at the age of 19 following a smallpox vaccination against variola virus
@sergeysimkin32633 жыл бұрын
Замечательно !
@joseluizfrancis-cresciment67474 жыл бұрын
The art of Helmut Walcha on the keyboard, remembers that of another countryman: Karl Richter, both had a strong influence from Günther Ramin, some similar characteristics: 1 - solemn character of music .. 2 - use of rubato .. 3 - controlled use of vibrato .. 4 - phrasing based on the melody
@mirko90724 жыл бұрын
Use of rubato? Are you serious? Ramin's instructions were to avoid rubato not to over-romanticize Baroque music, but instead stick to the score. It is Leonhardt and the other "historically informed" performers that reinserted a kind of baroque rubato to this kind of works. I feel that their type of playing "distorts" the music. Karl Richter assessed that he was not romantic because of his avoiding of rubato and crescendi & decrescendi. Here there is no rubato, but microexpressivity and a natural slowing down in endings.
@joseluizfrancis-cresciment67474 жыл бұрын
Gustav Leonhardt & Nikolaus Harnoncourt are a turning point for our understanding of music, called 'correct historical interpretation' .. We have to be very grateful for their work .. Walcha, Richter and other keyboard giants have different paths .. JS Bach's work you gain a lot from these different and essential reading .. Ave Bach!
@hugoclarke32843 жыл бұрын
@@mirko9072 Except that what you describe as a "baroque rubato" isn't rubato at all. With rubato, the player bends time if you will, based on their emotive response to the music. (In baroque music, micro rubato is typically acceptable at the end of a phrase or in a short, cadenza-like passage.) What Leonhardt among others do is give a kind of elasticity to rhythmic groups of notes; this is not a micro rubato because it is mathematical and predictable, in the same way jazz musicians swing notes of equal duration. This works well with dance style baroque music, bringing the notes to life as oppose to sounding too machine-like. It has to be done carefully and consistently though, or it will sound like the performer is struggling to maintain a steady and even tempo.
@syourke34 жыл бұрын
How does a blind man learn all this complicated music? I can read music and I can play these partitas but there’s no way U could have learned them without studying the score. Did he learn this by ear? I mean, I can understand a blind man playing more simple music by ear but these pieces are complicated and require much practice. And he plays them beautifully!
@musael222 жыл бұрын
In his practice, he used to sing out loud each part I guess blind people have to expand their others senses way beyond other people usually do.
@gilson_2 жыл бұрын
Is a gift from God...
@josemigueldvg61193 ай бұрын
Good
@camilloflaim89334 жыл бұрын
Ahh ecco perché il non vedente Walcha si permise di imparare ed eseguire a memoria i 9 libri di musica organistica di J.S.Bach.
@ignaciofernandez5876 Жыл бұрын
si hay algo odioso son ,los a anuncios que interrumpen la audición y Vds.lo saben muy bien.
I have heard that walcha was blind.... It's realy true? If yes then he is not only a great musician but also a real man.....
@camilloflaim89334 жыл бұрын
I know all suites toccatas partitas ,ouverture
@canman50604 жыл бұрын
This could be a pedal harpsichord.
@ruperttmls79854 жыл бұрын
A Neupert or a Pleyel maybe?
@joonaa2751 Жыл бұрын
@@ruperttmls7985 It’s an Ammer
@chrisingres62213 жыл бұрын
...diese dt. Rahmencembalos haben einen wirklich strangen Sound: irgendwo zw. Hammondorgel, Hammerklavier und Cembalo, sehr old-school! Und die typisch schnörkellose deutsche Nachkriegsästhetik: bloß keine unnötige Verzierung, das könnte ja von der "Reinheit" der Musik ablenken, na ja, also: wer's mag...ist ja alles eine Frage des Geschmackes. Interessantes Tondokument aus den Anfängen der hist. Aufführungspraxis jdf. 5*
@herrickinman93033 жыл бұрын
The first thing that I struck me about this recording was the strange sounding instrument, which you describe as somewhere between a Hammond organ, fortepiano, and harpsichord. It reminds me of the now extinct Pleyel "harpsichord" from the 1960s, but with a hint of organ grinder.
@ignaciofernandez5876 Жыл бұрын
si hay algo odioso son los a nuncios y Vds. lo saben muy bien