from Jose' Sepulveda, the Hermeterec......may I presume to call you Craig now, it feels so much more comfortable I went to Catholic schools my entire life and "Mr." is how the sisters taught me to address persons of the male persuasion! I, too am a guitarist (though not as good as you are) and am working on the Chaconne and so I know how challenging it is. I hope you are concertizing now because you are certainly good enough. Love your agressive approach to BWV 1004! You inspire me.
from Jose' Sepulveda, the Hermeterec.......Mr. Lake, I first discovered you about five years ago when I first started studying guitar. You were, I think playing the Prelude, Allegro and Fugue BWV 998 and I want to tell you that I think you have made TREMENDOUS strides since then! I thought, back then that you were a very good guitarist, but not an outstanding one, capable of putting your own stamp on and advanced piece of music like the Chaconne. Well, you surely can do that now11
Well done Craig. I admire anyone who takes the time to learn this piece. If you have got past page 4 you probably will be on the home straight. I find this piece really difficult to remember without having the music nearby so well done for remembering too. Check me out when you get time...Pipixcan69
PS Angel Romero's flamenco version of the Chaconne is not what Bach intended but it kinda grows on you after a while !!
you say segovia's transcription is "stylistically inappropriate" but i would argue that a piece like this one should have more ornamentation if you want to hold true to the baroque style. therefore your arragement may be closer to the original, but that doesn't make it appropriate for an instrument like the guitar.
@delameu I don't think you are quite following the point. I was commenting on the added HARMONY in Segovia's transcription, not the ornamentation. I would agree that adding ornamentation stylistically is fine except that this chaconne really is kind of a written out ornamentation of the opening chord progression and there is very little room (or need) to add much more other than trills at the major cadence points. Also, Bach is also usually quite specific about his ornaments in his manuscripts.
@craigalake yes i got your point on harmony. segovia's arrangement doesn't really have much ornamentation either anyway. i was just trying to say that bach probably would've written it differently for each instrument, had he transcribed it.
@delameu Yes he certainly would have! And mine is quite different from the violin. However, in terms of ornamentation, the violin probably has equal (or more I suspect) facility as the guitar. We have an example of exactly what Bach would do when transcribing violin to plucked strings. The 4th Lute suite is his own transcription of the E major violin partita.
@delameu Anyway, all that aside, I was really just replying to gonja3000 who seemed offended by me claiming credit for the transcription.
BTW I actually think that the Segovia transcription is a legitimate version of the chaconne and he did a great service to us guitarists showing what was possible on the guitar. It is from a beautiful era of romanticism that shouldn't be discarded. It may not be baroque but it is still beautiful.
@gonja3000 Segovia famously was the first to transcribe this for guitar, you are right, but he didn't do the ONLY transcription. His is rarely played by concert guitarists today because he added lush romantic harmonies (like the Busoni piano transcription) that are stylistically inappropriate and spoil Bach's counterpoint. Get a copy of Segovia's transcription and compare it to my performance (before you comment next time) and you'll see the difference even before you reach the first barline.
@gonja3000 BTW, Williams, Russell, Barrueco, Gailbraith and Yepes, (to name just a few) all play their own transcriptions. Parkening is one of the only top players I'm aware of that played the Segovia edition (other than Segovia himself).
Great job! Bach's work is all about spirituality, and a performer's task is to convey that, which you've done well. It doesn't hurt that your guitar's tone helps get the job done, too!
If one choose for example,to take that third diminished chord with loose g and e,a slight different sound appears.but is it wrong?in how much extent can you say any of Bach´s interpretations on guitar are not adequate,since they´re always arrangements and all is different.A matter of taste,then it must be.Whatever moves you.
Do you use a D-.tuning here? I have the Segovia version of this,but only to read-the violin notes(sonatas und partitas).Wich arrangement du you use?Both your version and Segovias contain bass-lines not written for violin.Also have some tabs,so i play the powerful chords in bars 35(i think )where you just play the the single notes. This is one of Bach´s pieces where you can put in a lot of so-called modern feeling and play much by own ear.
At first I had the urge to burn my guitars, but then a little voice said "No, practice, practice, practice!" Thanks for the tremendous performance and inspiration
Thanks Courtney. I look forward to seeing which guitar you end up setlling with. I was impressed with the way you played Turlough's Ghost (is that the name?) in guitar workshop.
Breathtaking. It must be a real pleasure to play that and let your emotions gush as you get into it. Congratulations on a huge accomplishment. Well done.
Beautiful...sure brings back memories. I started with the classical guitar before I switched to voice. Good old Stuart Fox at Cal Arts..."but you need a large voice to sing opera." Well, if he could hear me now. Anyway, enough reminiscing. Great playing.
Why do so many players double-dot the opening? Is it really a conscious, interpretative decision or, possibly, an unconscious imitation of previous versions. Either way I don't get it.....
Also only guitarists would slur the 32nd notes in pairs - very guitaristic but not very baroque. Listen to Paul Galbraith or Jonathan Leathwood for more informed interpretations.
I'm sorry you don't "get it" but the "notes inégales" (over dotting) is certainly a conscious, informed choice as the rhythmic pattern in the opening statement is based on the French Chaconne as you might hear in the Lully "tragédies lyriques". I haven't heard so many players playing it like that however.
And how would you suggest I slur the 32nd notes? Or are you suggesting they should not be slurred? For a most informed performance (although Galbraith is beautiful) listen to Nigel North.
sorry to cause offence. Nigel North is great. I use inegales for the 3rd lute suite but wouldn't for the chaconne. I accept this is all rather pointless and I'm not really sure why I posted my comments - I think you play extremely well, we just hear things differently, which is as it should be. Since you ask I think the fast scales are conceived as gestures and that slurring in pairs creates internal accents. I'd prefer slurring only on strong beats or not at all. Easier said than done!
3rd Lute suite and the very French Passaggio in the 1st lute suite also.
I would agree with you on avoiding strong accents within the fast scales however I think most people that don't slur at all in this section end up over accenting every note like machine gun flamenco scales.
By the way, since the opening rhythm of the chaconne is dotted I prefer the term "double-dotted" to describe the elogation of the dotted note value [this became formal notation some time later] Notes inegales better describes playing even pairs of notes unequally, with varying degrees of lengthening of the first note of each ,according to the preference of the player.
Very nice!! Amazing that you got the entire piece all memorised in your head!! Im fast becoming a fan of yours. looking forward to more bach from you.
btw your sound is soooo very good & clear. What guitar & mics are you using?
great reminds me a little bit of parkenings version but it needs a little more emotion more dramatic crescendos and dimuendos try not to keep everythinng on the same level
Dear Craig.I AWARD THIS 4 1/2 DRESDENS.YOU HAVE some AFFECT FOCUS...but the rest is basically like everyone else.however you rate 5 Anna Magdalenas for your humanity..which is the most important criterion.
Isn't that contradictory? (I'm glad it's not all bad) How are you defining humanity? Anyway, I'm very interested in your views on baroque performance practice. For the most part I agree with your views posted on your channel. I am becoming aware of my own subconscious fear of not conforming to the "20th century arte deco baroque principles". Too many years as a child listening to John Williams and being told by my teacher that he is God. I will post some of BWV 996 shorlty and ask you to review.
So I look forward to clearly dilineated gestures with micro accelerandi,tenuti and rallentandi in addition to varied color and dynamics.We need Ponticello,Sulla Tasta,and every varying grade in between to change every phrase or so.Otherwise...why not play the piano and get better voicing? Listen to my playlist BACH ON A HUMAN LEVEL....to hear all manner of performers eschewing the mono-dimensional un-baroque Arte-Deco baroque.
Very nicely done, really like your phrasing. I heard David Russell perform his transcription of the entire Partita. Before doing so, he related to the audience that Bach had composed the Chaconne as a requiem for his wife. It is a powerfully emotional piece of music.
Thank you! I have Russell playing it on CD. Love it! Your lucky to have seen him play it live. Have you heard Paul Gailbraith playing it? Even better I think. His Chaconne takes 19 minutes but is just beautiful and never drags despite being so slow.
Thanks! No it's a Simon Marty (the top is quite red like a ramirez but thats where the simularities end). It's an Australian guitar with a kind of radial bracing rather than the traditional fan bracing. Scott Tennant and Marco Tamayo play them.
Probably because the triple and quadruple stopping make it fiendishly difficult on the violin (not that it's easy on the guitar but the chords are easier). Also, violinists have so much great repertoire whilst this is one of just a few great works that the guitar can do justice to, so we make the most of it.
I don't think tabs will be easy to find because most people use notation for this piece. I'd be happy to pass on my transcription (in notation) in "Finale" format if you have that software but I have not written in any fingering, just notes.
I would actually be most grateful to see your transcription of the chaconne. I'm currently working on an orchestration of the piece, and having a finale document would be extremely helpful.
Send your email address to my channel through the "send message" link in the "connect with craigalake" menu. I'll email you it to you. There is no fingering however, only notes and it has changed a little since I wrote it out. It is very close to the violin score.
Wow......Too be honest I don't give a damn about posting comments or reading them but you are the exception! I also must add that, I no virtuoso at the guitar but I do play grade six classical pieces, and I must commend you on this outstanding performance........I have done J.S Bach proud and for all must of us that are watching, are watching in utter awe!
Seriously good, very well executed and brilliant composure during the faster sections. I'm struggling just to memorise the entire thing and keeping it clear sounding during the faster bars.
Actually it can be played much slower than this and still work musically. I recently bought Paul Gailbraith's CD of the Bach solo violin works (highly recommended) and his chaconne takes over 19 minutes. It is magnificant! Never once do you fell it is too slow and yet all the scale passages become very easy (of course this was not why he did it slowly, it would have been purely a musical decision.) Although other aspects become more difficult at a slower pace.
Wow 19 mins! The thing with Bach (from what I've read) was that his compositions left little room for the performer to add their own parts, so it'd be interesting to hear Gailbraith's version. I only have Arthur Grumiaux's solo violin works (which I also recommend).
did bach write this origionally for guitar? just that our wind ensemble is playing this, and while I like the idea of this piece for wind ensemble, we don't have enough really good musicians to really pull it off... sad, really, because it sounds amazing when its really filled out...
anyway, I play guitar too, and this is an AMAZING performance!
i'm just grateful that we still have people who are capable of doing that, and of bringing their own ideas to it. what is unfortunate is that we choose to use the Chaconne and the Guitar as platforms for our intellectual insecurities and the petty conflicts that they bring.i'm not trying to play a cheesy "peacemaker" role. i just think we need to re-adjust our priorities and get back to enjoying the art of Bach, which is so deep that we're still trying to figure it out. Jake
i feel that as long as we're comparing musical achievement, the answer is simple: Bach. this movement is just one remarkable example from the thousands he produced. whether its played by yepes or menuhin or mr. lake (definitely an accomplished performer) isn't so important..to me it always sounds beautiful as long as its played with sincerity.
Sincerely, after 4 years of university training, I've learned more just from his recordings. Truley. Once again, congradulations on your recordings also!
Great job buddy. It is awesome to learn such a masterpiece. Have you heard of Paul Galbraith? In my opinion, the greatest guitarist ever. He plays all the Bach violin and lute works. Check him out. His interpretation of the Chaconne is the slowest I've ever heard. It's also the most dramatic.
Yeah I know who he is but I haven't gotten 'round to getting a cd yet. Most of my mates saw him in concert a couple of years ago and said its was awesome.
I have now heard Galbraith. I downloaded the Fugue and Allegro from BWV 998. His voicing and understanding of the implied polyphony in Bach is incredible! He brings out voices that no other player that I have heard can (albeit with 2 extra strings but still...). I have ordered his Bach CDs.
Definitely one of the better performances of this piece on youtube. The only thing I would like to hear more of is more right hand movement... One thing unique about the guitar is the incredible ability to change tone dramatically going from ponticello to tasto.
Thanks. Agreed but I'm not sure in baroque music. I wouldn't say its wrong to use tasto and ponti but I choose not to. I prefer to save it for Rodrigo etc. but, who knows what they would have done in the baroque period if they had our modern instruments.
that was a great performance, and your tremolo is perfectly powered, but to do this piece even better i would recommend u to lower the sound (not the pace) of your tremolo
Thanks:) But there is no tremelo in this piece. Do you mean the arpeggios at 4:42? If so, I think I like what I do there (whilst I am open to criticism which is why I posted) but violinists tend to shred that to pieces.
Just great. I guess parts 2 and 3 wouldn't fit together in one clip?
Anyway, sorry for the delay in responding. The last week or so has been pretty crazy, and I wanted to give my full attention to your kind offer to comment. There is much to say, so I hope you won't mind if I do so in an email. Please check yours, as I'll be sending to you forthwith.
Thanks! Actually the chord at 6:40 is exactly what Bach wrote but I arpeggiate it in much the same way a harpsichordist might so I'll have to disagree with you on that point. Anyway thanks for the comment.
Very fine playing. I like as well on a guitar as on a violin. You are to be congratulated not only for your technique but also for your very mature performance.
"RECONSTRUCTS"!!!??? listen to yourself, man! Baroque music is not about RECONSTRUCTION!!! for GODS SAKE MAN, LISTEN TO YOURSELF@!!! !#I Baroque music is just that, its music! for GODS SAKE there were many different interpreters in the Baroque period, not JUST ONE, THERE ARE MANY WAYS TO PLAY BACH, NOT JUST ONE. Do you think Bach played his own music the same way, every day? Do you think at all, or have you already set in stone your ideas, and thats the end of it?
I think you have misunderstood me. Actually I agree with what you are saying. What irks me is when "Museum Musicians" come along and dismiss a performer as being 'historically uninformed' despite delivering a good, musically sensible performance that pleases the ears of today's audience. I am all-for being historically informed, but one can also choose to disregard period practice, which is not inherently 'superior' or even more 'authentic'.
You can listen to the Ciaccona of your own Australian period practitioner of the violin, Richard Tognetti - gut strings, period bows, instruments, tuning and the works. 1) The pulse still breathes. 2) It is not over-dotted.
Last comment about notes inegales (we both know our stuff & have better things to do than this). The 'partita' or solo that the Chaconne forms part of is mostly Italian, not French, as is evident even from the titles (Corrente, Giga, and of course Ciaccona). If Bach wanted it performed in the French style with over-dotted rhythms he would not have given the Italian title.
Your problem is you are becomming to precious about what Bach wanted. This is not possible for us to know with certainty, ever. Baroque authenticity to my mind simply means free and natural in the style of a performer from Bach's day. Why can't you tolerate a more 'french' rendition of Bach's music? Can you not imagine a french musician from the Baroque period playing Bach? wouldn't that be more 'authentic' than any amount of research and 'rightness' can ever be?
Finally, bad tone. But that's the Australian guitar, rather than the Australian player. (Now I also get the unjustifiable preference for Williams over Yepes). For the life of me, I don't know why people want to play these guitars. Volume is no substitute for tone quality (which is the first priority). Why play a loud guitar that sounds like a banjo rather than a traditional guitar with a warmer tone?
Your wrong on all counts. The guitar is a simon Marty - a TRADITIONAL guitar. it is SMALLMAN who builds non-traditionals. What on EARTH gives you the right to judge someone's tone based on a YOUTUBE recording! your comments are just degrading to the point of pettiness.
Because Craig has used a rather clever way of recording his videos so the sound is realistic and natural. However, I can admit when I've gone too far and I apologise for exaggerating. I wouldn't quite go so far as to say the tone is traditional (evident at 4'35"), but it sure is much better than the metallic tone of the non-traditional guitars.
I also prefer my old traditional guitar for the tone (I may still use it for recording) but the Marty has so many advantages like sustain and projection and playability and the tone is still good. Perhaps not as clear in voicing for polyphony but nothing like a Smallman. What you hear at 4:35 is overplaying and string rattle as a result.
Let your marty age a little and it will sound just as good as any traditional guitar, trust me. The Marty I'm using is more than ten years old, has lost some of the punch, but its tone and colours are amazing.
craigalake, this is beautiful playing, you made my day, thanks! There are maybe a few spots where fluency could be improved, but few players including myself can play it as well as you.
I have played a lot of lattice braced guitars and whilst some are metallic most are very dark because of the slow response of the thinner sound board. (I heard Smallman say he wanted to be more "Fleta" than Fleta. I think Fleta knew exactly how much "Fleta" was enough.) This hides a bad tone and nail noise but makes them extremely murky and unclear in the bass and middle because there is no attack to the note.
I majored in music. I'm the one that has degrees. I'm the one that studied at Peabody Conservatory of Music. I think Barrueco knows a hell of lot more about tone than you. I DO NOT sacrifice tone for volume. You don't play anything. You haven't touched any high end guitars from the 70's or recent ones. I did. You can't judge something without experiencing with it first.
Yes, Mr Amaral (or is it Prof. Dr. Amaral), the only guitar I ever played was a broomstick, and I clearly have no education beyond the TV. You must be so grateful for the superior opportunities you have had in life. Have mercy on a little nobody, a fool who, in his warped little mind dares conceive of opinions contrary to your own learned objectivity. Your humble idiot, V
I'm the one that studied classical guitar in Europe and in Peabody. Not you. You have NOTHING when it comes to music. All you have is your pathetic biased opinion. How can you tell me what I prefer or not? I know what I strive for and I strive for tone. You don't know anything about guitars and you've NEVER played high end classical guitars.
You talk about traditional guitars? Yepes played a 10 string and that is NOT traditional. You don't even know the HISTORY of the classical guitar but you preach about it. Yepes tone is INFERIOR when it comes to guitarists like David Russell or Manuel Barrueco but he's still one of the greatest.
You're full of ignorance and bias. You have no reasoning or knowledge. Why do you think every one here is criticizing your childish comments?
from Jose' Sepulveda, the Hermeterec......may I presume to call you Craig now, it feels so much more comfortable I went to Catholic schools my entire life and "Mr." is how the sisters taught me to address persons of the male persuasion! I, too am a guitarist (though not as good as you are) and am working on the Chaconne and so I know how challenging it is. I hope you are concertizing now because you are certainly good enough. Love your agressive approach to BWV 1004! You inspire me.
Hermeterec 1 month ago
from Jose' Sepulveda, the Hermeterec.......Mr. Lake, I first discovered you about five years ago when I first started studying guitar. You were, I think playing the Prelude, Allegro and Fugue BWV 998 and I want to tell you that I think you have made TREMENDOUS strides since then! I thought, back then that you were a very good guitarist, but not an outstanding one, capable of putting your own stamp on and advanced piece of music like the Chaconne. Well, you surely can do that now11
Hermeterec 1 month ago
@Hermeterec Thank you Jose! It's nice to hear that.
craigalake 1 month ago
could you please contact me and send me the score please I can´t foun it online, thanks, and by a way awesome interpretation
994jorge 5 months ago
I really like the sound of your guitar. Well played, technical and with feeling. This is music.
Theo0w13 7 months ago
very rewarding listening to this interpretation.
cdifa52 8 months ago
Great! Where is the second part?
jsnauwaert 10 months ago
Great!!! BTW how do you like Simon Marty's guitars.
MrSnorlax22 10 months ago
What luthiers would you recommend for a price range of about $7000. Thanks!
MrSnorlax22 10 months ago
Well done Craig. I admire anyone who takes the time to learn this piece. If you have got past page 4 you probably will be on the home straight. I find this piece really difficult to remember without having the music nearby so well done for remembering too. Check me out when you get time...Pipixcan69
PS Angel Romero's flamenco version of the Chaconne is not what Bach intended but it kinda grows on you after a while !!
Pipixcan69 11 months ago
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Beautiful!...Masterfully played! Congrats!
I wish you a Merry Christmas and Healthy & Happy new year.
Honghaguitarist9 1 year ago
great playing craig...great interpretation...I was just wandering, what guitar is the one you playing??
oossyy 1 year ago
@oossyy Thanks! The guitar is a Simon Marty 2006.
craigalake 1 year ago
you say segovia's transcription is "stylistically inappropriate" but i would argue that a piece like this one should have more ornamentation if you want to hold true to the baroque style. therefore your arragement may be closer to the original, but that doesn't make it appropriate for an instrument like the guitar.
delameu 1 year ago
@delameu I don't think you are quite following the point. I was commenting on the added HARMONY in Segovia's transcription, not the ornamentation. I would agree that adding ornamentation stylistically is fine except that this chaconne really is kind of a written out ornamentation of the opening chord progression and there is very little room (or need) to add much more other than trills at the major cadence points. Also, Bach is also usually quite specific about his ornaments in his manuscripts.
craigalake 1 year ago
@craigalake yes i got your point on harmony. segovia's arrangement doesn't really have much ornamentation either anyway. i was just trying to say that bach probably would've written it differently for each instrument, had he transcribed it.
delameu 1 year ago
@delameu Yes he certainly would have! And mine is quite different from the violin. However, in terms of ornamentation, the violin probably has equal (or more I suspect) facility as the guitar. We have an example of exactly what Bach would do when transcribing violin to plucked strings. The 4th Lute suite is his own transcription of the E major violin partita.
craigalake 1 year ago
@delameu Anyway, all that aside, I was really just replying to gonja3000 who seemed offended by me claiming credit for the transcription.
BTW I actually think that the Segovia transcription is a legitimate version of the chaconne and he did a great service to us guitarists showing what was possible on the guitar. It is from a beautiful era of romanticism that shouldn't be discarded. It may not be baroque but it is still beautiful.
craigalake 1 year ago
Bravissimo,......hard work, good sound, nice interpretation, good technic and devinitiv not Segovia transcription!!
ciaconna1004 1 year ago
@ciaconna1004
Thanks! (Nice user name by the way)
craigalake 1 year ago
This is nice playing indeed.
narhem123 1 year ago
Amazing!
BillyVanHelsing 1 year ago
This is beautiful. Beautiful transcription and beautifully played.
yourforte 1 year ago
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what the fuck are you talking about this was transcibed for classical guitar by Andres Segovia
gonja3000 1 year ago
@gonja3000 Segovia famously was the first to transcribe this for guitar, you are right, but he didn't do the ONLY transcription. His is rarely played by concert guitarists today because he added lush romantic harmonies (like the Busoni piano transcription) that are stylistically inappropriate and spoil Bach's counterpoint. Get a copy of Segovia's transcription and compare it to my performance (before you comment next time) and you'll see the difference even before you reach the first barline.
craigalake 1 year ago
@gonja3000 BTW, Williams, Russell, Barrueco, Gailbraith and Yepes, (to name just a few) all play their own transcriptions. Parkening is one of the only top players I'm aware of that played the Segovia edition (other than Segovia himself).
So, gonja3000, WTF are YOU talking about?
craigalake 1 year ago 3
@gonja3000 ?
craigalake 1 year ago
@gonja3000 The first guitar transcription is credited to Segovia.
Sejaynus 11 months ago
@gonja3000 You are absolutely right. But they are remove your comment becoz of fuck.
vanea99 6 months ago
one of the best perfomances...!!!
shreivox 1 year ago
Great playing of a Great piece.
ClassicalGuitar1111 1 year ago
my goodness...is there a way I can get tabs or sheet music for this?
ManuelAndCallisyn 2 years ago
wonderful,i like it,thank you 5*
horizont20001 2 years ago 8
Excellent as i expect from Craig! you are "Glenn Gould" of classical guitar.
deperim 2 years ago
Also love the leg spin
Livecool1 2 years ago
The future for the ausies. I see he loves to chip down the wicket, can be use a his signature shot
Livecool1 2 years ago
чистенько, это самое главное) ну чуть-чуть дыхания я бы добавила))) а так, мне нравится)
MsAlina29 2 years ago
Спасибо
craigalake 2 years ago
Well played. I hope I can play this one day, this piece is so incredible
hristuppiteitinu 2 years ago
Wonderful !!
and your Guitar sounds Great.
I'll get Simon Marty in next Year (Cedar Top)
Which Strings do you Play on your Guitar?
I think.. you play with Carbon String..
kissber84 2 years ago
Thanks. Yes I use carbon 2nd and 3rd (Savarez Alliance) and titanium 1st (d'addario). Good luck with your new Marty!
craigalake 2 years ago
Comment removed
kissber84 2 years ago
Could you tell me more detail Information?
2nd ,3nd <- Savarez Corum or HT , Normal or Hard Tension .
1st <- Hard , or Normal .
Please, can i know Bass String too ?
Your Sound is one of the Greatest.
I will use same String
kissber84 2 years ago
Great job! Bach's work is all about spirituality, and a performer's task is to convey that, which you've done well. It doesn't hurt that your guitar's tone helps get the job done, too!
srfgrn 2 years ago
your Chaconne is first-class!
vetmath2 2 years ago
where did you get this notes or tabs for this version?
Rosi0123456789 2 years ago
This one has a very large emotinonal spectra.
gipcarp 2 years ago
If one choose for example,to take that third diminished chord with loose g and e,a slight different sound appears.but is it wrong?in how much extent can you say any of Bach´s interpretations on guitar are not adequate,since they´re always arrangements and all is different.A matter of taste,then it must be.Whatever moves you.
gipcarp 2 years ago
Do you use a D-.tuning here? I have the Segovia version of this,but only to read-the violin notes(sonatas und partitas).Wich arrangement du you use?Both your version and Segovias contain bass-lines not written for violin.Also have some tabs,so i play the powerful chords in bars 35(i think )where you just play the the single notes. This is one of Bach´s pieces where you can put in a lot of so-called modern feeling and play much by own ear.
gipcarp 2 years ago
I sat speechless for seven minutes and my mom can tell you it doesn't often happens. Your performance is very motivating, thank you.
gembela07062001 2 years ago
Excellent performance. I loved your choice of Tempo.
abricio 2 years ago
At first I had the urge to burn my guitars, but then a little voice said "No, practice, practice, practice!" Thanks for the tremendous performance and inspiration
barryiozia 2 years ago
Thank's, great to hear!
craigalake 2 years ago
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where did you get this notes or tabs for this version?
Rosi0123456789 2 years ago
did you ever audition for youtube orchestra?
philphie 2 years ago
No, didn't know about it until I watched the mash up last night night.
craigalake 2 years ago
Great music. God Bless J.S.Bach
the most gifted man ever
We are lucky we are living at a time we can here his heavenly music
Thank you for your performance, well done. and i know how you feel whenever you play or here such beautiful music
hogsprinc 2 years ago
one of the hardest pieces of guitar arrangment ever written and you played it with ease and it was a masterful performance!!!
starsegovia 2 years ago
Wow that was awesome... your tone for this was breathtaking... very strong and commanding
froodgoose 2 years ago
Thanks Courtney. I look forward to seeing which guitar you end up setlling with. I was impressed with the way you played Turlough's Ghost (is that the name?) in guitar workshop.
craigalake 2 years ago
Breathtaking. It must be a real pleasure to play that and let your emotions gush as you get into it. Congratulations on a huge accomplishment. Well done.
LFUFMNX 3 years ago
Very passionate and stirring.
TheDemonEve 3 years ago
Very nice work!
PeterInglisGuitar 3 years ago
Do you know any of the Ravel Pavanes?
billthaxton 3 years ago
Beautiful...sure brings back memories. I started with the classical guitar before I switched to voice. Good old Stuart Fox at Cal Arts..."but you need a large voice to sing opera." Well, if he could hear me now. Anyway, enough reminiscing. Great playing.
billthaxton 3 years ago
In my opinion this piece sounds much better on guitar then on violin. Great play!
crocothemis 3 years ago
Great! add to my favorites!
prandrei 3 years ago
Why do so many players double-dot the opening? Is it really a conscious, interpretative decision or, possibly, an unconscious imitation of previous versions. Either way I don't get it.....
Also only guitarists would slur the 32nd notes in pairs - very guitaristic but not very baroque. Listen to Paul Galbraith or Jonathan Leathwood for more informed interpretations.
paulcroft1944 3 years ago
I'm sorry you don't "get it" but the "notes inégales" (over dotting) is certainly a conscious, informed choice as the rhythmic pattern in the opening statement is based on the French Chaconne as you might hear in the Lully "tragédies lyriques". I haven't heard so many players playing it like that however.
And how would you suggest I slur the 32nd notes? Or are you suggesting they should not be slurred? For a most informed performance (although Galbraith is beautiful) listen to Nigel North.
craigalake 3 years ago
sorry to cause offence. Nigel North is great. I use inegales for the 3rd lute suite but wouldn't for the chaconne. I accept this is all rather pointless and I'm not really sure why I posted my comments - I think you play extremely well, we just hear things differently, which is as it should be. Since you ask I think the fast scales are conceived as gestures and that slurring in pairs creates internal accents. I'd prefer slurring only on strong beats or not at all. Easier said than done!
Paul
paulcroft1944 3 years ago
No offence, I enjoy robust debate.
3rd Lute suite and the very French Passaggio in the 1st lute suite also.
I would agree with you on avoiding strong accents within the fast scales however I think most people that don't slur at all in this section end up over accenting every note like machine gun flamenco scales.
craigalake 3 years ago
By the way, since the opening rhythm of the chaconne is dotted I prefer the term "double-dotted" to describe the elogation of the dotted note value [this became formal notation some time later] Notes inegales better describes playing even pairs of notes unequally, with varying degrees of lengthening of the first note of each ,according to the preference of the player.
paulcroft1944 3 years ago
seriously, this should have over a million views!
slipslipknot555 3 years ago 5
hello if its in D minor what is it usually played in?
expired1 3 years ago
It's originally d minor and is commonly known as "partita in d minor" to distingiush it from the other partitas.
craigalake 3 years ago
wow...i'm working on this now...but on violin... its beautiful on the guitar :D
eboyinc 3 years ago
outstanding performance!
humbucker5643 3 years ago
Very nice!! Amazing that you got the entire piece all memorised in your head!! Im fast becoming a fan of yours. looking forward to more bach from you.
btw your sound is soooo very good & clear. What guitar & mics are you using?
jbdoggy 3 years ago
Thanks!
The guitar is a Simon Marty and the mics are 2 Behringer B-1 large diaphram condenser mics.
craigalake 3 years ago
great reminds me a little bit of parkenings version but it needs a little more emotion more dramatic crescendos and dimuendos try not to keep everythinng on the same level
bobbobby1992 3 years ago 2
VERY GOOD,VERY GOOD,VERY GOOD.
cabaleira 3 years ago
Dear Craig.I AWARD THIS 4 1/2 DRESDENS.YOU HAVE some AFFECT FOCUS...but the rest is basically like everyone else.however you rate 5 Anna Magdalenas for your humanity..which is the most important criterion.
smithsherman 3 years ago
Isn't that contradictory? (I'm glad it's not all bad) How are you defining humanity? Anyway, I'm very interested in your views on baroque performance practice. For the most part I agree with your views posted on your channel. I am becoming aware of my own subconscious fear of not conforming to the "20th century arte deco baroque principles". Too many years as a child listening to John Williams and being told by my teacher that he is God. I will post some of BWV 996 shorlty and ask you to review.
craigalake 3 years ago
Dear Craig,996 is a very un-Arte-Deco suite.
So I look forward to clearly dilineated gestures with micro accelerandi,tenuti and rallentandi in addition to varied color and dynamics.We need Ponticello,Sulla Tasta,and every varying grade in between to change every phrase or so.Otherwise...why not play the piano and get better voicing? Listen to my playlist BACH ON A HUMAN LEVEL....to hear all manner of performers eschewing the mono-dimensional un-baroque Arte-Deco baroque.
Thank God!
smithsherman 3 years ago
Wouldn't the harpsichord have better voicing?
ThisDream 3 years ago
I believe that plucked strings are capable of better voice seperation than keyboard instruments.
craigalake 3 years ago
This goes on my BACH AS AN OBESQUIOUS SYMBOL TO CONFORMIST MISANTHROPY...playlist
smithsherman 3 years ago
How many Dresdens?
craigalake 3 years ago
Very nicely done, really like your phrasing. I heard David Russell perform his transcription of the entire Partita. Before doing so, he related to the audience that Bach had composed the Chaconne as a requiem for his wife. It is a powerfully emotional piece of music.
Auriga37 3 years ago
Thank you! I have Russell playing it on CD. Love it! Your lucky to have seen him play it live. Have you heard Paul Gailbraith playing it? Even better I think. His Chaconne takes 19 minutes but is just beautiful and never drags despite being so slow.
craigalake 3 years ago
well done! is that a ramirez that you're playing?
notetoalex 3 years ago
Thanks! No it's a Simon Marty (the top is quite red like a ramirez but thats where the simularities end). It's an Australian guitar with a kind of radial bracing rather than the traditional fan bracing. Scott Tennant and Marco Tamayo play them.
craigalake 3 years ago
I can find about ten guitar versions to every one violin version.
WHY?!?!?!
BlckComb 3 years ago
Probably because the triple and quadruple stopping make it fiendishly difficult on the violin (not that it's easy on the guitar but the chords are easier). Also, violinists have so much great repertoire whilst this is one of just a few great works that the guitar can do justice to, so we make the most of it.
craigalake 3 years ago
True. But it was meant to be a rhetorical question.
BlckComb 3 years ago
Молодец!!!Сыграно с душой и очень выразительно!
skwax 3 years ago
благодарю Вас
craigalake 3 years ago
wonderful played.
My favourite composition of bach =)...
can u tell me where i can find the tabs, so i can learn this masterpiece, too
I didn´t found yet.
Jeahbuddy 3 years ago
I don't think tabs will be easy to find because most people use notation for this piece. I'd be happy to pass on my transcription (in notation) in "Finale" format if you have that software but I have not written in any fingering, just notes.
craigalake 3 years ago
hmm...well,it doesn´t matter.
someday I will be that good, so I can work on my own transcription =)
Jeahbuddy 3 years ago
Hello, wonderful performance...congratulations!
I would actually be most grateful to see your transcription of the chaconne. I'm currently working on an orchestration of the piece, and having a finale document would be extremely helpful.
Once again congratulations on your wondeful work!
axelhm74 3 years ago
Send your email address to my channel through the "send message" link in the "connect with craigalake" menu. I'll email you it to you. There is no fingering however, only notes and it has changed a little since I wrote it out. It is very close to the violin score.
craigalake 3 years ago
Wow......Too be honest I don't give a damn about posting comments or reading them but you are the exception! I also must add that, I no virtuoso at the guitar but I do play grade six classical pieces, and I must commend you on this outstanding performance........I have done J.S Bach proud and for all must of us that are watching, are watching in utter awe!
5 stars: - Tempo - Passion - Technique
LukeJames1993 3 years ago
Seriously good, very well executed and brilliant composure during the faster sections. I'm struggling just to memorise the entire thing and keeping it clear sounding during the faster bars.
orientalnegro 3 years ago
Thank you!
Actually it can be played much slower than this and still work musically. I recently bought Paul Gailbraith's CD of the Bach solo violin works (highly recommended) and his chaconne takes over 19 minutes. It is magnificant! Never once do you fell it is too slow and yet all the scale passages become very easy (of course this was not why he did it slowly, it would have been purely a musical decision.) Although other aspects become more difficult at a slower pace.
craigalake 3 years ago
Wow 19 mins! The thing with Bach (from what I've read) was that his compositions left little room for the performer to add their own parts, so it'd be interesting to hear Gailbraith's version. I only have Arthur Grumiaux's solo violin works (which I also recommend).
orientalnegro 3 years ago
Wonderful performance!
Klautenbogg 3 years ago
What type of guitar is that? The sound is superial.
xenmurok 3 years ago
Simon Marty 2006
craigalake 3 years ago
Thanks. :)
xenmurok 3 years ago
You must hear Carlo Marchione's version...it´s an advice..
macedo300 3 years ago
did bach write this origionally for guitar? just that our wind ensemble is playing this, and while I like the idea of this piece for wind ensemble, we don't have enough really good musicians to really pull it off... sad, really, because it sounds amazing when its really filled out...
anyway, I play guitar too, and this is an AMAZING performance!
rockclimber21 3 years ago
Solo violin originally. You'll find it on youtube. Try Itzhak Perlman, Yascha Heifetz or Yehudi Menuhin.
craigalake 3 years ago
One of the best versions I've heard on youtube. and what a nice transcription, great sound too!
Well done
It's my favourite piece :)
Liranm89 3 years ago
Extremely well played!
staham 4 years ago
You will not be dissapointedwith Galbraith.
jasonhobert37 4 years ago
Oh I like this piece sooo much !
And you did honour to it !!
Thanks for sharing !!
best regards,
wolfgang
Vreci 4 years ago
oh those 32s note runs are not easy on a guitar
garyopenhill 4 years ago
No they're not and they are the first thing to fall apart with a few nerves. Happened to me big time last year in the final of Tokyo. DISASTER!
craigalake 4 years ago
i'm just grateful that we still have people who are capable of doing that, and of bringing their own ideas to it. what is unfortunate is that we choose to use the Chaconne and the Guitar as platforms for our intellectual insecurities and the petty conflicts that they bring.i'm not trying to play a cheesy "peacemaker" role. i just think we need to re-adjust our priorities and get back to enjoying the art of Bach, which is so deep that we're still trying to figure it out. Jake
potatoheadblues 4 years ago
i feel that as long as we're comparing musical achievement, the answer is simple: Bach. this movement is just one remarkable example from the thousands he produced. whether its played by yepes or menuhin or mr. lake (definitely an accomplished performer) isn't so important..to me it always sounds beautiful as long as its played with sincerity.
potatoheadblues 4 years ago
high musicality sense.
the God of guitar put the hand on your shoulder.
From Japan
vetmath 4 years ago
ありがとう。オーストラリアより。
craigalake 4 years ago
International Competition in Tokyo, you and Mr. Samuel CHAKONNE very impressed to hear, and I decided to try this song!
Tank you!
gachacha 4 years ago
arigatou. gambatte kudasai.
craigalake 4 years ago
whoa best chaconne on youtube good job im currently working on the gigue bwv 996 i saw your vid great job on that too
expired1 4 years ago
awesome job! I prefer the tempo to be a little more faster though.
zambragranadina 4 years ago
Nice tone. Nice Guitar.
mg518 4 years ago
Greatest sounding Chaconne I have yet to hear.
angrymormon 4 years ago
Very nice of you to say so.
craigalake 4 years ago
Sincerely, after 4 years of university training, I've learned more just from his recordings. Truley. Once again, congradulations on your recordings also!
jasonhobert37 4 years ago
I,ve heard his counterpoint is sublime. I will go out and get his bach CD ASAP.
craigalake 4 years ago
Great job buddy. It is awesome to learn such a masterpiece. Have you heard of Paul Galbraith? In my opinion, the greatest guitarist ever. He plays all the Bach violin and lute works. Check him out. His interpretation of the Chaconne is the slowest I've ever heard. It's also the most dramatic.
jasonhobert37 4 years ago
Yeah I know who he is but I haven't gotten 'round to getting a cd yet. Most of my mates saw him in concert a couple of years ago and said its was awesome.
craigalake 4 years ago
I have now heard Galbraith. I downloaded the Fugue and Allegro from BWV 998. His voicing and understanding of the implied polyphony in Bach is incredible! He brings out voices that no other player that I have heard can (albeit with 2 extra strings but still...). I have ordered his Bach CDs.
craigalake 4 years ago
yepes is way better than heifetz!!
rodcrippler 4 years ago
????
craigalake 4 years ago
Definitely one of the better performances of this piece on youtube. The only thing I would like to hear more of is more right hand movement... One thing unique about the guitar is the incredible ability to change tone dramatically going from ponticello to tasto.
BFGUITAR 4 years ago
Thanks. Agreed but I'm not sure in baroque music. I wouldn't say its wrong to use tasto and ponti but I choose not to. I prefer to save it for Rodrigo etc. but, who knows what they would have done in the baroque period if they had our modern instruments.
craigalake 4 years ago
that was a great performance, and your tremolo is perfectly powered, but to do this piece even better i would recommend u to lower the sound (not the pace) of your tremolo
rodcrippler 4 years ago
Thanks:) But there is no tremelo in this piece. Do you mean the arpeggios at 4:42? If so, I think I like what I do there (whilst I am open to criticism which is why I posted) but violinists tend to shred that to pieces.
craigalake 4 years ago
yeahh well still a good play
rodcrippler 4 years ago
not "one of the", THE :)
johnlepilote 4 years ago
Thanks mate!
craigalake 4 years ago
Craig,
Just great. I guess parts 2 and 3 wouldn't fit together in one clip?
Anyway, sorry for the delay in responding. The last week or so has been pretty crazy, and I wanted to give my full attention to your kind offer to comment. There is much to say, so I hope you won't mind if I do so in an email. Please check yours, as I'll be sending to you forthwith.
Talk with you later, mate,
Fletcher
pleasedaspunch 4 years ago
very good! congrats for the trancription and playing.
i dont like that chord on 6.40, not very baroque...
youngdroppa9 4 years ago
Thanks! Actually the chord at 6:40 is exactly what Bach wrote but I arpeggiate it in much the same way a harpsichordist might so I'll have to disagree with you on that point. Anyway thanks for the comment.
craigalake 4 years ago
Congratulations.
DaniloKaid 4 years ago
Very fine playing. I like as well on a guitar as on a violin. You are to be congratulated not only for your technique but also for your very mature performance.
2934703 4 years ago
Thank you!
craigalake 4 years ago
Agreed. I think the best of all is the French system: rounds, whites, blacks, crochet needles (because of the hooks), double crochet needles...
viktor10string 4 years ago
woah ! very good playing, clear and nice...better than mine, I must recognize
guitaresida 4 years ago
Crack me up u son. Nice Nice Nice. If u still starding. you major music late or changed type of guitar. Right?
naturanaturans 4 years ago
"RECONSTRUCTS"!!!??? listen to yourself, man! Baroque music is not about RECONSTRUCTION!!! for GODS SAKE MAN, LISTEN TO YOURSELF@!!! !#I Baroque music is just that, its music! for GODS SAKE there were many different interpreters in the Baroque period, not JUST ONE, THERE ARE MANY WAYS TO PLAY BACH, NOT JUST ONE. Do you think Bach played his own music the same way, every day? Do you think at all, or have you already set in stone your ideas, and thats the end of it?
ThisDream 4 years ago
I think you have misunderstood me. Actually I agree with what you are saying. What irks me is when "Museum Musicians" come along and dismiss a performer as being 'historically uninformed' despite delivering a good, musically sensible performance that pleases the ears of today's audience. I am all-for being historically informed, but one can also choose to disregard period practice, which is not inherently 'superior' or even more 'authentic'.
viktor10string 4 years ago
'museum musicians'? name three.
ThisDream 4 years ago
You can listen to the Ciaccona of your own Australian period practitioner of the violin, Richard Tognetti - gut strings, period bows, instruments, tuning and the works. 1) The pulse still breathes. 2) It is not over-dotted.
viktor10string 4 years ago
Richard Tognetti is both out of tune and has a bad tone. Try Rachel Podger or Andrew Menze.
ThisDream 4 years ago
Last comment about notes inegales (we both know our stuff & have better things to do than this). The 'partita' or solo that the Chaconne forms part of is mostly Italian, not French, as is evident even from the titles (Corrente, Giga, and of course Ciaccona). If Bach wanted it performed in the French style with over-dotted rhythms he would not have given the Italian title.
viktor10string 4 years ago
Your problem is you are becomming to precious about what Bach wanted. This is not possible for us to know with certainty, ever. Baroque authenticity to my mind simply means free and natural in the style of a performer from Bach's day. Why can't you tolerate a more 'french' rendition of Bach's music? Can you not imagine a french musician from the Baroque period playing Bach? wouldn't that be more 'authentic' than any amount of research and 'rightness' can ever be?
ThisDream 4 years ago
Finally, bad tone. But that's the Australian guitar, rather than the Australian player. (Now I also get the unjustifiable preference for Williams over Yepes). For the life of me, I don't know why people want to play these guitars. Volume is no substitute for tone quality (which is the first priority). Why play a loud guitar that sounds like a banjo rather than a traditional guitar with a warmer tone?
viktor10string 4 years ago
Your wrong on all counts. The guitar is a simon Marty - a TRADITIONAL guitar. it is SMALLMAN who builds non-traditionals. What on EARTH gives you the right to judge someone's tone based on a YOUTUBE recording! your comments are just degrading to the point of pettiness.
ThisDream 4 years ago 2
Because Craig has used a rather clever way of recording his videos so the sound is realistic and natural. However, I can admit when I've gone too far and I apologise for exaggerating. I wouldn't quite go so far as to say the tone is traditional (evident at 4'35"), but it sure is much better than the metallic tone of the non-traditional guitars.
viktor10string 4 years ago
I also prefer my old traditional guitar for the tone (I may still use it for recording) but the Marty has so many advantages like sustain and projection and playability and the tone is still good. Perhaps not as clear in voicing for polyphony but nothing like a Smallman. What you hear at 4:35 is overplaying and string rattle as a result.
craigalake 4 years ago
Let your marty age a little and it will sound just as good as any traditional guitar, trust me. The Marty I'm using is more than ten years old, has lost some of the punch, but its tone and colours are amazing.
ThisDream 4 years ago
Good to know!
craigalake 4 years ago
What is a Marty guitar? I really HATE how people are talking about how guitars nowadays are not traditional.
Guitars are going to keep evolving. Luthiers experiment for the better or the worst but in the end, a better end product is invented.
I like the Marty. It's not that bad. It's tone is dark.
ImaGuitaristDawg 4 years ago
craigalake, this is beautiful playing, you made my day, thanks! There are maybe a few spots where fluency could be improved, but few players including myself can play it as well as you.
yajit999 4 years ago
Thanks:)
craigalake 4 years ago
I have played a lot of lattice braced guitars and whilst some are metallic most are very dark because of the slow response of the thinner sound board. (I heard Smallman say he wanted to be more "Fleta" than Fleta. I think Fleta knew exactly how much "Fleta" was enough.) This hides a bad tone and nail noise but makes them extremely murky and unclear in the bass and middle because there is no attack to the note.
craigalake 4 years ago
Viktor10string doesn't play anything. He doesn't know anything about guitars or the luthier's goal when making guitars.
ImaGuitaristDawg 4 years ago
That is just ignorance.
Traditional guitars? Like Ramirez?
Most luthiers nowadays use new techniques for more louder and effiecient guitars. Traditional guitars are outdated.
Bad tone? What can you play?
ImaGuitaristDawg 4 years ago
That's your choice and your opinion, ImaGuitaristDawg. You prefer to sacrifice tone for volume. This is not worth responding to.
viktor10string 4 years ago
But you did.
craigalake 4 years ago
I majored in music. I'm the one that has degrees. I'm the one that studied at Peabody Conservatory of Music. I think Barrueco knows a hell of lot more about tone than you. I DO NOT sacrifice tone for volume. You don't play anything. You haven't touched any high end guitars from the 70's or recent ones. I did. You can't judge something without experiencing with it first.
You're a very ignorant guy that has no reasoning.
ImaGuitaristDawg 4 years ago
Yes, Mr Amaral (or is it Prof. Dr. Amaral), the only guitar I ever played was a broomstick, and I clearly have no education beyond the TV. You must be so grateful for the superior opportunities you have had in life. Have mercy on a little nobody, a fool who, in his warped little mind dares conceive of opinions contrary to your own learned objectivity. Your humble idiot, V
viktor10string 4 years ago
I'm the one that studied classical guitar in Europe and in Peabody. Not you. You have NOTHING when it comes to music. All you have is your pathetic biased opinion. How can you tell me what I prefer or not? I know what I strive for and I strive for tone. You don't know anything about guitars and you've NEVER played high end classical guitars.
ImaGuitaristDawg 4 years ago
And Barrueco wasn't biased against Yepes? And you haven't been biased by your own teachers?
viktor10string 4 years ago
You talk about traditional guitars? Yepes played a 10 string and that is NOT traditional. You don't even know the HISTORY of the classical guitar but you preach about it. Yepes tone is INFERIOR when it comes to guitarists like David Russell or Manuel Barrueco but he's still one of the greatest.
You're full of ignorance and bias. You have no reasoning or knowledge. Why do you think every one here is criticizing your childish comments?