@@aaronwhite353 many people, not just musicians, have preconceived notions of how JSB cello suites ought be played. Edicson's rendition would fit into the"untraditional" spectrum, but personally I love it.
Porque es musica barroca y se tiene entendido que la notación barroca estaba un semitono abajo de la actual por cuestiones de afinación de aquella época, muchos intérpretes lo hacen con esta afinación ya que lo siente mas fiel a lo que el autor quería expresar en la partitura y por fidelidad a la obra
@@textodeprueba5546 actually, there was not any unified tuning nor temperament at the baroque era. The semitone lower is a convention for baroque music which appeared in the 20th century, but at the tuning pitch was different in each city.
It’s a historical style of bow. This one looks like it’s in the style of a bow from around the Classical period. Google “Dragonetti bass bow” for some reference! (I believe Ruiz actually uses, or at least HAS used, Dragonetti’s own bow!!)
I agree. Absolutely lovely tone for each note. But since I've gotten into Benjamin Zander's interpretations videos (music director of the Boston Philharmonic), I realize that this style of playing makes us admire the performer and his playing more than it makes it is admire the actual music. Mr. Zander wants the performer to play in a way that makes the music's chord progression and structure make sense to the listener - in essence, the music played this way becomes a clear roadmap of the composer's intentions. With that said, I still very much enjoyed Mr. Ruiz's playing.
LewisAlcindor what ? I am not familiar with this kind of thinking. But what I can tell you as a fellow musician is that that is not such a thing as a only correct way of interpreting a piece that is nonsense! Every interpret and artist has and should always have the final word. The structure, harmonic musical elements of a piece are only there to be brought to life by a musician. So don’t come with this kinda of BS !!! Taste is not something that should be discussed on this means. Artists are free to do music as they please, otherwise it’s not an art anymore, playing an instrument is not only a craft, but a power given to us to express the deepest of the human soul. We are not only a middle the music flows through, but also an open book, a living masterpiece that evolves and changes everyday. NOT A ROBOT
@@GabrielTakano seems like you didn't full read the comment or listen to what Benjamin Zander, one of the finest musicians in the world at the moment, actually said
@@stephanepetiet412 As Benjamin Zander says himself... Bach left very little information apart from the notes. He is very clear that he is not right and the performer is wrong... as he mentions in the young cellists interpretation of suite #1. He does of course say that the suites were dances and with that in mind we can play them as such... However it is absolutely ok to play the suites in a more interpreted way or as you say 'romantic' with more expressive phrasing and variation in tempo. However there is a lot of wonderful things to think about in Mr Zander interpretation lectures.
Thank you Edicson for giving the bass community permission to play this suite at a gentler tempo!
Indeed
you're not really relying on this guy to set tempos for you.
@@aaronwhite353 many people, not just musicians, have preconceived notions of how JSB cello suites ought be played. Edicson's rendition would fit into the"untraditional" spectrum, but personally I love it.
Such a beautiful interpretation and agree about the tempos. I love the tempos♡ Anner Bysma...so lucky to have as a teacher♡
This is immaculate. Very inspiring stuff here.
I've never heard such a beatuful sounding double bass, very nice.
No solamente te admiro su habilidad, además tú instrumento que tenga tonalidad tan profundo! Muchísimas gracias!
Sublime ! Quel musicien extraordinaire ! Tellement inspirant ! Merci !
Bravissimo.
Grazie, una rivelazione.
Lo strumento è delicatissimo ed insieme con una voce poderosa.
Belleza!!!! Gracias por deleitarnos!!!!
Muy agradable. Una poderosa pieza para un contrabajo!
Astounding....your interpretation of the Courante bested all of my favorites in just one listen.
This piece on double bass sounds way better and deeper than any person who plays it on cello.
Te admiro muchísimo! De verdad!, qué versión tan increíble!
Gracias por compartirnos al padre Bach en tu trabajo maestro!
どうやったらこんなに綺麗な音色が出るんだろう…
So so beautiful!!!
Wow~ You are amazing!
bellisimo maestro!!!! muy bueno todo!!!!!!
bravissimo, una performance eccezionale!
Impresionante, sublime,que más puedo decir ,viva venezuela
Grande , so so beautiful .... 😎😊
brutal hermano.
Tocas hermoso. Es realmente lindo oírte.
Amazing. 😍😍
Grande!!
Yesss!!!
Prelude
0:12
Allemande
4:06
Courante
10:56
Sarabande
13:54
Minuet I 17:08 (II 18:47)
Gigue
21:32
Único,original, magistral. Bravo mi pana. Por cierto... porqué no tocas barroco con cuerdas de tripa? Un abrazo. Johnny Castro
Johnny como estás?
@@ositoCastro Igualmente Maestro, por que vía me puedo comunicar con usted?
@@ositoCastro Si, así me comentó Miguel Ibañez, yo estoy trabajando en el CNASPM. Mañana le escribo por Whatsapp saludos!
Boy that looks hard
Como dicen por aquí, en dos palabras ; im- presionante
Браво 👍
This is beautiful! Any reason why you tuned the strings a half-step down?
Porque es musica barroca y se tiene entendido que la notación barroca estaba un semitono abajo de la actual por cuestiones de afinación de aquella época, muchos intérpretes lo hacen con esta afinación ya que lo siente mas fiel a lo que el autor quería expresar en la partitura y por fidelidad a la obra
@@textodeprueba5546 actually, there was not any unified tuning nor temperament at the baroque era. The semitone lower is a convention for baroque music which appeared in the 20th century, but at the tuning pitch was different in each city.
I think the music like you played that wonderful but what's that bow ? It's overstretched #itwasverygood
It’s a historical style of bow. This one looks like it’s in the style of a bow from around the Classical period. Google “Dragonetti bass bow” for some reference! (I believe Ruiz actually uses, or at least HAS used, Dragonetti’s own bow!!)
i can't believe someone voted with thumb down
A biiiit to romantic but the soloist is phantastic anyway...!👍
I agree. Absolutely lovely tone for each note. But since I've gotten into Benjamin Zander's interpretations videos (music director of the Boston Philharmonic), I realize that this style of playing makes us admire the performer and his playing more than it makes it is admire the actual music. Mr. Zander wants the performer to play in a way that makes the music's chord progression and structure make sense to the listener - in essence, the music played this way becomes a clear roadmap of the composer's intentions.
With that said, I still very much enjoyed Mr. Ruiz's playing.
LewisAlcindor what ? I am not familiar with this kind of thinking. But what I can tell you as a fellow musician is that that is not such a thing as a only correct way of interpreting a piece that is nonsense! Every interpret and artist has and should always have the final word. The structure, harmonic musical elements of a piece are only there to be brought to life by a musician. So don’t come with this kinda of BS !!! Taste is not something that should be discussed on this means. Artists are free to do music as they please, otherwise it’s not an art anymore, playing an instrument is not only a craft, but a power given to us to express the deepest of the human soul. We are not only a middle the music flows through, but also an open book, a living masterpiece that evolves and changes everyday. NOT A ROBOT
@@GabrielTakano seems like you didn't full read the comment or listen to what Benjamin Zander, one of the finest musicians in the world at the moment, actually said
@@stephanepetiet412 As Benjamin Zander says himself... Bach left very little information apart from the notes. He is very clear that he is not right and the performer is wrong... as he mentions in the young cellists interpretation of suite #1. He does of course say that the suites were dances and with that in mind we can play them as such... However it is absolutely ok to play the suites in a more interpreted way or as you say 'romantic' with more expressive phrasing and variation in tempo. However there is a lot of wonderful things to think about in Mr Zander interpretation lectures.
The prelude is fuckedddd
Che brutta esecuzione