Added: 5 years ago
From: Bacholoji
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  • Good stuff but a little brash for my taste.

  • @DikeEris hear hear! pun intended *tips his hat*

  • Amazing! So crisp, free and full of passion. HalleluYah! Well done!

  • im so sad i had to leave my cello at school for spring break :( i cant take it with me on my trip 1 week without it is like dying!

  • I see that there is a spectrum when it comes to intrepertation. On one side is the strict, structural foundation of how a piece is supposed to be played originally, in accordance to the era and what the composer marked and so on. Then there is the other side which is what the performer feels about the piece and what can he/she do to leave their own mark in the music. Maisky is simply a man that gauged himself as he sees fit in his intrepertations. It really is refreshing.

  • WOW! Maisky is SO young! Beautiful bow control!

  • Comment removed

  • Simply wonderful!!!!!!!!!!!!!!!!

  • You musicians out there, never forget that Bach wrote this as a baroque suite — that means each composition is based on a DANCE rhythm, however slow like the saraband or the loure. Keep your tempo and make things gallant. This is not Rachmaninov....

  • @fatbumba I suggest you read this whole article

    Search for "Baroque Dance and the Bach Cello Suites"

    by Tim Janof

    If you can't find it I'll e-mail the link. Youtube won't let me post a link

  • @h1larryus I read the article, which I found to be less than scholarly, and lacking in synthetic abilities. It is widely known that by the time Bach wrote his suites, French and Italian baroque dance rhythms were considered archaic. Bach's intention is to transcend the actual dance motive, and to focus on the character of the dance. Some key rhythmic elements remain, however, and Allemandes, Sarabandes, Menuets and Gigues all retain their essential pulse. The Gigue has kept is dactylic rhythm.

  • @h1larryus What my initial comment states, is that there IS a baroque character to suite pieces in Bach's music, even if (and nothing new here) they are NOT intended to be actually danced. Cellists play these things with horrendous rubato, and an ear that has been heavily distorted by the abundance of string music in late 19th century Russian and German repertoire. If you listen to Bach on a viola di gamba, you'll hear a completely different musical potential.

  • @h1larryus Therefore a Gavotte is a gavotte... IN CHARACTER... Music is emotion. Now if some Russian cellist plays a gavotte with the pathos of a Beethoven movement, my contention is that he is way off the mark. But still, if you like it, it is your absolute, undebatable right. I find that, among cellists, Yo Yo Ma has the lightest and most amble sense of rhythm, and I tend to prefer his style to the self-possessed, narcissistic and dramatic style that tends to seduce many cellists.

  • @h1larryus For alternative examples of how this suite can be played, check out how masters on plucked string instruments impart a sense of purpose and logic to the harmonic progression by articulating a solid bass foundation. Youtube videos of Göran Sollscher, Oliver Holzenburg, Filomena Moretti... all render this music brilliantly.

  • Great dactylic rhythm but too much rubato. Baroque musicians play this more fluidly.

  • haha, i can play this now

    the shifting on the A is the hardest part, though I have to admit!

  • haha totally agree, im playing this now for competition, it's not easy by any means

  • congrats on learning it!

  • I can't find sheet music anywhere! It's such a beautiful song!!!

    ^_^

  • The best bit is the chromatic at 1:58

  • The Cello- for me- has to sound the most beautiful instrument...

  • That's amazin :D

    But I couldn't help but notice his bow hand was very tight-looking... Maybe it's the shape of his fingers that makes it look so tight cause you honestly can't hear any tensity in the song where it doesn't call for it

  • The muscles grow with so much practice, somewhat bulky looking, but with fine tuned control!

  • Very nice playing. I caught him sticking in a harmonic at least once in the song. I'm really glad that this is in high quality, too.

  • I love how on the last note he raises his left hand and almost looks like he's conducting himself.

  • The best version you'll ever hear of this is Paul Tortelier 1980 EMI label version. Simply incredible.

  • Would you mind finding me a link to that? I'd love to hear it.

  • @cellodiva2007 I found a Tortelier version here on YouTube, and it's very interesting! He uses the same rhythm for the 3 eight notes that Maisky uses, sort of a turn before the beat. Tortelier takes it all the way though, and it becomes a swing rhythm! I can almost hear a jazz drummer in the background...

  • @CosmicDamian You're right!! I never noticed about Tortelier. Perhaps he was in the mood for some swing lol

  • I play cello too. ^_^ My friend's violin teacher told me, some of the professional string players developes an individual playing technique - as you can see, he uses a peculiar bowing.

  • hyperbole

  • Wow dude!

  • I play cello. Im not as good as him but I did notice that his bow seemed way tight. Maybe I have been using mine too loose.

  • I don't know but i'm quite sure it's the second :D he's a monster:D:D:D

  • His is extremely tight here, yours probably isn't too loose. He want's to be able to really dig in on some of the double stops I would assume.

  • One tiny stutter and mistake in the beginning of the second half, apart from that - brilliant. Open sound, plenty of bow. Bravo

  • Then post a video of your good self playing Bach on the Cello Mr Ronkonkoma2!

    Oh wait, you can't play the cello?? Then quit criticising masters!

  • well what if he did make a mistake. I play the piano and even though I am not a master player I can still tell when one makes a mistake. Same with paintings. I'm sure she wasn't criticizing the guy.

  • I'm truly at a loss for words.

  • absolutely remarkable.

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