Bach - Keyboard Concertos Nos.1,2,3,4,5,6,7 BWV 1052-1058 + Presentat° (ref. rec. : Andrei Gavrilov)

Comments · 164

• CL

  @classicalmusicreference · 6 years ago (edited) · pinned

  ❤️ If you like CM//RR content, please consider membership at our Patreon page. <br>Thank you :) <a href="https://www.patreon.com/cmrr">https://www.patreon.com/cmrr</a><br>Johann Sebastian Bach (1685-1750) - The Keyboard Concertos.<br>Keyboard Concerto No.1 in D minor, BWV 1052<br><b>Click to activate the English subtitles for the presentation</b> (<a href="https://www.youtube.com/watch?v=5YeFuKLieTA">00:00</a>-<a href="https://www.youtube.com/watch?v=5YeFuKLieTA&amp;t=94">01:34</a>)<br>I.Allegro (<a href="https://www.youtube.com/watch?v=5YeFuKLieTA">00:00</a>) II.Adagio (<a href="https://www.youtube.com/watch?v=5YeFuKLieTA&amp;t=473">07:53</a>)<br>III.Allegro (<a href="https://www.youtube.com/watch?v=5YeFuKLieTA&amp;t=997">16:37</a>)<br><br>Keyboard Concerto No.2 in E MAjor, BWV 1053 <br><b>Click to activate the English subtitles for the presentation</b> (<a href="https://www.youtube.com/watch?v=5YeFuKLieTA&amp;t=1529">25:29</a>-<a href="https://www.youtube.com/watch?v=5YeFuKLieTA&amp;t=1587">26:27</a>)<br>I.Allegro (<a href="https://www.youtube.com/watch?v=5YeFuKLieTA&amp;t=1468">24:28</a>) II.Siciliano (<a href="https://www.youtube.com/watch?v=5YeFuKLieTA&amp;t=1967">32:47</a>) III.Allegro (<a href="https://www.youtube.com/watch?v=5YeFuKLieTA&amp;t=2365">39:25</a>)<br><br>Keyboard Concerto No.3 in D Major, BWV 1054<br><b>Click to activate the English subtitles for the presentation</b> (<a href="https://www.youtube.com/watch?v=5YeFuKLieTA&amp;t=2755">45:55</a>-<a href="https://www.youtube.com/watch?v=5YeFuKLieTA&amp;t=2815">46:55</a>)<br>I.Allegro (<a href="https://www.youtube.com/watch?v=5YeFuKLieTA&amp;t=2755">45:55</a>) II.Adagio e piano sempre (<a href="https://www.youtube.com/watch?v=5YeFuKLieTA&amp;t=3228">53:48</a>)<br>III.Allegro (<a href="https://www.youtube.com/watch?v=5YeFuKLieTA&amp;t=3695">1:01:35</a>)<br><br>Keyboard Concerto No.4 in A Major, BWV 1055<br><b>Click to activate the English subtitles for the presentation</b> (<a href="https://www.youtube.com/watch?v=5YeFuKLieTA&amp;t=3867">1:04:27</a>-<a href="https://www.youtube.com/watch?v=5YeFuKLieTA&amp;t=3938">1:05:38</a>)<br>I.Allegro (<a href="https://www.youtube.com/watch?v=5YeFuKLieTA&amp;t=3867">1:04:27</a>) II.Larghetto (<a href="https://www.youtube.com/watch?v=5YeFuKLieTA&amp;t=4111">1:08:31</a>)<br>III.Allegro ma non tanto (<a href="https://www.youtube.com/watch?v=5YeFuKLieTA&amp;t=4527">1:15:27</a>)<br><br>Keyboard Concerto No.5 in F minor, BWV 1056<br><b>Click to activate the English subtitles for the presentation</b> (<a href="https://www.youtube.com/watch?v=5YeFuKLieTA&amp;t=4784">1:19:44</a>-<a href="https://www.youtube.com/watch?v=5YeFuKLieTA&amp;t=4866">1:21:06</a>)<br>I.Allegro (<a href="https://www.youtube.com/watch?v=5YeFuKLieTA&amp;t=4784">1:19:44</a>) II.Largo (<a href="https://www.youtube.com/watch?v=5YeFuKLieTA&amp;t=4994">1:23:14</a>) III.Presto (<a href="https://www.youtube.com/watch?v=5YeFuKLieTA&amp;t=5200">1:26:40</a>)<br><br>Keyboard Concerto No.6 in F, BWV 1057<br><b>Click to activate the English subtitles for the presentation</b> (<a href="https://www.youtube.com/watch?v=5YeFuKLieTA&amp;t=5393">1:29:53</a>-<a href="https://www.youtube.com/watch?v=5YeFuKLieTA&amp;t=5450">1:30:50</a>)<br>I.Allegro (<a href="https://www.youtube.com/watch?v=5YeFuKLieTA&amp;t=5393">1:29:53</a>) II.Andante (<a href="https://www.youtube.com/watch?v=5YeFuKLieTA&amp;t=5871">1:37:51</a>) III.Allegro assai (<a href="https://www.youtube.com/watch?v=5YeFuKLieTA&amp;t=6121">1:42:01</a>)<br>Flutes : Susan Milan &amp; Lenor Smith <br><br>Keyboard Concerto No.7 in G minor, BWV 1058<br><b>Click to activate the English subtitles for the presentation</b> (<a href="https://www.youtube.com/watch?v=5YeFuKLieTA&amp;t=6435">1:47:15</a>-<a href="https://www.youtube.com/watch?v=5YeFuKLieTA&amp;t=6540">1:49:00</a>)<br>I.Allegro (<a href="https://www.youtube.com/watch?v=5YeFuKLieTA&amp;t=6435">1:47:15</a>) II.Andante (<a href="https://www.youtube.com/watch?v=5YeFuKLieTA&amp;t=6669">1:51:09</a>)<br>III.Allegro assai (<a href="https://www.youtube.com/watch?v=5YeFuKLieTA&amp;t=7097">1:58:17</a>)<br><br>Klavier / Piano : Andrei Gavrilov <br>Cembalo / Harpsichord : John Constable<br>Academy Of St.Martin-In-The-Fields<br>Conductor : Sir Neville Marriner <br>Recorded in 1986, at London<br>New Mastering in 2020 by AB for CMRR<br>Find CMRR&apos;s recordings on <b>Spotify</b> : <a href="https://spoti.fi/3016eVr">https://spoti.fi/3016eVr</a><br><br>Le Concerto en ré mineur, *BWV 1052*, est le plus complexe et le plus développé des concertos pour solistes, et la partie de clavecin est plus idiomatiquement conçue en termes de clavier que celle de n&apos;importe lequel des autres, mais, comme la plupart d&apos;entre eux, on pense qu&apos;il s&apos;agit d&apos;une adaptation d&apos;un concerto pour violon ; les premier et deuxième mouvements avaient été incorporés (avec un orgue comme protagoniste soliste) dans la Cantate n° 146 (&quot;Wir müssen durch viel Trübsal&quot;), d&apos;environ 1728. L&apos;Allegro initial est d&apos;une puissance et d&apos;une énergie extraordinaires, avec une partie soliste dont la figuration change constamment et un accompagnement orchestral très intégré dont la fonction est bien plus que celle d&apos;un simple renforcement dans les passages tutti. Tout le matériel essentiel est contenu dans la puissante introduction à l&apos;unisson de six mesures, diverses parties de ce thème étant isolées et développées séparément au cours du mouvement. Il y a une cadence écrite à peu près à la moitié du mouvement. L&apos;Adagio (en sol mineur) est l&apos;un des nombreux mouvements lents de ces concertos qui est construit sur une basse ostinato. Il est ici répété dans différentes tonalités tout au long du mouvement, sous divers ornements fournis par la main droite de la partie soliste. Le dernier mouvement, qui est tout à fait l&apos;égal du premier en énergie et en esprit, a les caractéristiques de rondo d&apos;une ritournelle orchestrale qui se répète entre les épisodes solistes, mais les épisodes eux-mêmes sont d&apos;une irrégularité et d&apos;une liberté remarquables, en particulier le dernier d&apos;entre eux, qui est de la nature d&apos;une cadence brillante.<br><br>Le Concerto en mi, *BWV 1053*, n&apos;a pas non plus de prototype connu, mais on trouve des versions antérieures de ses trois mouvements dans les cantates n° 49 (&quot;Ich geh und suche mit Verlangen&quot;) et 169 (&quot;Gott soll allein mein Herze haben&quot;), toutes deux avec orgue obligé et datant de 1726. Le grand hautboïste allemand Hermann Töttcher pensait que les versions de Leipzig étaient dérivées d&apos;un concerto pour hautbois perdu que Bach avait écrit à Cöthen, et la justesse de sa reconstruction pour hautbois (en fa), publiée en 1955, semblerait certainement étayer sa théorie. Le premier mouvement et l&apos;Allegro final (qui est de forme ternaire, avec une section centrale distincte principalement dans les tonalités mineures, suivie d&apos;une reprise littérale) sont tous deux d&apos;humeur vive et extravertie ; ils sont séparés par un mouvement lent suprêmement éloquent en do dièse mineur et un rythme sicilien, remarquable par sa cantilène sinueuse et très ornementée.<br><br>Le Concerto en ré, *BWV 1054*, est un arrangement du Concerto pour violon en mi, BWV 1042, que Bach a probablement composé à Cöthen. Le premier mouvement est basé sur quatre courts motifs présentés dans les quatre premières mesures, qui se combinent pour lui donner son caractère exubérant. Il y a une section centrale distincte, liée, par le biais d&apos;une brève cadence écrite, à ce qui est, en fait, une récapitulation. L&apos;Adagio (en si mineur) est construit sur une basse ostinato qui, bien que ne faisant que six mesures, n&apos;est entendue que deux fois dans sa totalité - au début et à la fin du mouvement - bien que son rythme et son phrasé caractéristiques ne soient jamais absents longtemps. Bach compense habilement la perte de la capacité du violon à soutenir une longue ligne mélodique en ornant la partie soliste dans la version pour clavier. Le troisième mouvement est un rondo très vivant avec quatre épisodes solos d&apos;une brillance croissante.<br><br><b>SUITE DU COMMENTAIRE : VOIR CI-DESSOUS.</b><br><br>Johann Sebastian Bach PLAYLIST (reference recordings) : <a href="https://www.youtube.com/watch?v=spHBTyagfZ4&amp;list=PL3UZpQL9LIxOLRwxl1dEfDrH3c8mX5UB1">https://www.youtube.com/watch?v=spHBTyagfZ4&amp;list=PL3UZpQL9LIxOLRwxl1dEfDrH3c8mX5UB1&amp;index=3</a>

  27

• HA

  @Hans_W. · 6 years ago

  Five hours of Bach a day<br>keeps depression away

  108

• CH

  @charles.e.g. · 4 years ago (edited)

  Gavrolov’s playing here is so wonderfully clean, clear and precise. Absolutely no use of the sostenuto pedal, which would only blur and muddy the contrapuntal lines. It is more difficult to perform Bach without the pedals, but it is also more accurate and articulate, and ultimately, much more beautiful.

  29

• MN

  @MNhopes · 2 years ago (edited)

  My favorite composer and my favorite pianist. Andrei Gavrilov was born to play Bach! How wonderful it is that two geniuses met!❤❤ Thank you!

  18

• CA

  @canman5060 · 6 years ago

  The young Gavrilov already showed remarkable talent in the 1980&apos;s.

  12

• ID

  @Idol_of_Shigir · 1 year ago (edited)

  I have heard Andrei Gavrilov on &nbsp;records I bought maybe 40 years ago. They were issued by &quot;Melodiya&quot;, a former USSR music publisher, and I still have them. I was immediately captured by his interpretation. My favourite performer for Bach piano concertos. And, with such a clear and transparent recording, the beauty and complexity of the piano score comes even more pronounced.

  4

• SV

  @sverrer148 · 1 year ago

  Det gir frelse &nbsp;og kjærlighet til &nbsp;oss og &nbsp;verden, som &nbsp;Bach viser vei.

  6

• NO

  @nodepe · 6 years ago

  It&apos;s great to see a photo of young Gavrilov about the time he recorded Bach keyboard concertos. Although he was not the first Soviet (USSR was still alive in 1985) musician who established himself in the West, he was one of the first who did that after the Perestroika (almost) legally. Around the early &apos;90s, I read one of Gavrilov&apos;s interviews about his first days in London and how it was all new experience to detach himself from the state Goskoncert (Госконцерт) agency, which took the lion share of the income of the Soviet musicians performing abroad, but - nevertheless - provided some stable monthly income. It takes some audacity and probably some arrogance to take a dive into the unknown. Almost a decade later, I did the same and - although not a musician and not Russian - felt what he meant.

  20

• CL

  @classicalmusicreference · 6 years ago (edited)

  Andrei Vladimirovich Gavrilov is a Russian pianist, born in Moscow on September 1, 1955. His mother, a pupil of Heinrich Neuhaus (teacher of Emil Gilels, Sviatoslav Richter...), taught him the piano. He also works with Tatiana Kessner and Leo Naou mov. After studying at the Central School and the Moscow Conservatory, he worked with Richter and won first prize at the Tchaikovsky Competition in Moscow in 1974. <br><br>Gifted with a dazzling technique, Gavrilov can play almost anything. But he combines the skill and power of his fingers with an acute sense of musicality. He is the interpreter of the Russians (Rachmaninov, Tchaikovsky, Prokofiev), but also of the Viennese. In 1985, after having been banned for five years from performing in the West for political reasons, he was able to leave the USSR to stay in London for two years. He made his debut in the United States and his career quickly took off internationally. In 1989 he won the International Prize of the Chigiana Academy of Siena. He has a particular predilection for the music of Prokofiev, Chopin and J. S. Bach.<br><br>We present him here in this beautiful remastered recording of Bach&apos;s Keyboard Concertos accompanied by another specialist, Sir Neville Marriner. <b>A presentation of each concerto is available by activating the subtitles.</b> Nice listening :-)<br><br>🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : <a href="https://spoti.fi/3016eVr">https://spoti.fi/3016eVr</a><br>🔊 Download CMRR&apos;s recordings in High fidelity audio (QOBUZ) : <a href="https://bit.ly/2M1Eop2">https://bit.ly/2M1Eop2</a><br>❤️ If you like CM//RR content, please consider membership at our Patreon page. <br>Thank you :) <a href="https://www.patreon.com/cmrr">https://www.patreon.com/cmrr</a>

  37

• CA

  @CatherineLair-r3s · 1 year ago

  I love J S Bach. It is wonderful interpretation.

  5

• RO

  @robynsalain · 6 years ago

  articulation musicale géniale,ferveur absolue,haute admiration

  21

• ET

  @EttorealbertoGelli-vr6sz · 7 months ago

  Il 1052 e il 1055 sono il suono che si sente nel settimo cielo

  1