EFFECTIVE 14 Nov. 2012 PRIVATE MESSAGING HAS BEEN RE-ENABLED. IF YOU RECEIVE A SUSPICIOUS DO NOT CLICK ON ANY LINKS AND PLEASE REPORT TO THE ADMINISTRATOR FOR FURTHER INVESTIGATION.
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Here Mr Rondeau has occasional trouble coordinating right and left hands; I'm going to suggest a slightly cranky ancient instrument is the culprit---but who knows...
Here's Bach at a high moment, a Cantata comprising pieces from the B Minor Mass, heard and seen in a performance by the superb Netherlands Bach Society
... with as large an orchestra as I've seen under director Van Veldhoven: Tympani, three trumpets, fine and faultless singers (a mere dozen voices). Some pretty
refined dynamics, perfect tempi. Studio-perfect performances from these folks, before live audiences (is that a redundancy ?). I'll leave it to others to analyze the
sound recording; I'm not listening on big speakers.
The director's commentary: https://www.youtube.com/watch?v=Zkx1vgl7RbU
Have a fine Saturday night and/or Sunday morning !
So, this series, playing on PBS this year, is called "Now Hear This." Let's start with Handel---and see Baroque architecture, painting, couture, cuisine---and other accompaniments to excellent music-making:
http://www.pbs.org/wnet/gperf/now-hear- ... ode/10091/
Like the reading of music itself, the manipulation of the violin and its siblings remains a miracle and a mystery to me---suitable, I suppose, to the subject, this almost unearthly early music ?
Roderick- That is definitely a baroque style bow, pre-Tourte (the inventor of the modern bow, 1780): https://en.wikipedia.org/wiki/Fran%C3%A7ois_Tourte
More early violins survived than their bows. ItÃ¢â‚¬â„¢s possible that it is a contemporary copy of an early bow.
Even though the Dutch Kleynman violin is from 1684, it was a copy of an Italian violin by Amati, who influenced Stradivari.
This video by Henrietta Wayne helps us understand the evolution of the violin bow from the 1500s. Notice that she uses no chin rest (neither does Sato for his Bach) and places her chin on the right side as opposed to the Ã¢â‚¬Å“modernÃ¢â‚¬Â� method on the left side with a carved chin rest.
If you don't care for alto Damien Guillon, wait for soprano Maria Keohane.
Concertmaster Sato is superb and restrained, his improvisations at the end of Keohane's turn more convincing than intrusive, for once.
Each of these videos is accompanied by a short text; here's the one for this cantata:
The only parts that Bach definitely wrote especially for 'Gott, man lobet dich in der Stille', performed by the Netherlands Bach Society for All of Bach, are
the recitatives and the final chorale of the piece. Although the opening aria and the ensuing chorus for a large group of musicians to the words Ã¢â‚¬ËœRejoice,
you joyful voicesÃ¢â‚¬â„¢ correspond closely to the text, Bach initially did not compose them for these words. The latter and other remaining parts were
borrowed from his earlier pieces.
Recorded for the project All of Bach on March 15th 2014 at St Martin's Church, Groningen. If you want to help us complete All of Bach, please
subscribe to our channel http://bit.ly/2vhCeFB and consider donating http://bit.ly/2uZuMj5.
For the interview with countertenor Damien Guillon on 'Gott, man lobet dich in der Stille' go to https://www.youtube.com/watch?v=HuvHK...
For the interview with conductor Jos van Veldhoven on BWV 120 go to https://www.youtube.com/watch?v=ByoTV...
For the interview with trumpet player Robert Vanryne on BWV 120 go to https://www.youtube.com/watch?v=1CqeF...
For more information on BWV 120 and this production go to http://allofbach.com/en/bwv/bwv-120/
All of Bach is a project of the Netherlands Bach Society / Nederlandse Bachvereniging, offering high-quality film recordings of the works by Johann
Sebastian Bach, performed by the Netherlands Bach Society and her guest musicians. Visit our free online treasury for more videos and background
material http://allofbach.com/en/. For concert dates and further information go to https://www.bachvereniging.nl/nederla....
Netherlands Bach Society
Jos van Veldhoven, conductor
Maria Keohane, soprano
Damien Guillon, alto
Valerio Contaldo, tenor
Lionel Meunier, bass
off the final note of a movement---and holds position for several seconds, before lowering the hands, or the instrument ?
What does this practice add; what function or desire is satisfied by the ritual observance of this move . . .
I can imagine that, for one thing, the dying sound is heard and respected---both for the performer and for the audience. What else---or what more, can
you suggest ?