This is probably my new favorite recording of the 4th suite. Thank you for bringing back improvisation. We lost it during the classical era and never really recovered from it.
Just before listening to this, I listened to the Casals recording, and there is a lot of the fingerboard noise there also. Personally I enjoy it. It reminds you that music is not just abstract ethereal sound but is made by flesh and blood humans playing somewhat unwieldy physical contraptions.
Hello there, i am a cellist and i have to say my teacher actually looks for fingerboard noise... It's just a natural sound of the instrument, represents the action and movement, the force of the fingers of the left hand, working.
I totally agree.. What a beautiful interpretation.. I actually had the feeling that the music IS the fingerboard noises, as if a dancer was dancing silently and you could only hear their feet touching the floor.. The written notes are so full of movement that it transcends pure sound to become pure movement..
Great! Just ignore all the non cellists who have literally NO idea about what they think they are talking about. Don’t you just love social media everyone is a specialist!
Having read most of the comments, my reaction is still that I LOVE the sound of this performance. I find it heartfelt and virtuosic. I will listen again, to better grasp the musicality of it. A FINE addition to NBS's library of superb performances. I enjoyed all of this, without reservation, but especially like the Bouree II aNd the Gigue. Well done!
Interesting. I have never considered that piece particularly beautiful. That said, I’ve been listening to the suites for many many years now, and I keep ‘discovering’ beauty and new layers of depth in pieces that I had already listened to many times before. Maybe I’ll have one such moment with Bourree II at some point;)
One of the greatest compositions of all time and possibly the best performance of this. This triumph of a video deserves hundreds of thousands of likes!! Absolute perfection, thank you!
Listening again, I love that the instrument, strings and performer are all at times on the edge of what they can comfortably do, which reminds me of Beethoven's pushing the edge of what was possible on his fortepiano. His works sound very different on a Steinway Grand, losing some of his revolutionary attack. Same here when compared to modern (mid 19th-century onwards) cellos, bows and strings. Bach's Prelude here is philosophical, meditative, but with some flurries of notes indicating a troublesome undercurrent. These two elements struggle with each other throughout the whole suite, and the instrument, strings and performer are absolutely at one here with Bach. Bravo to the performer, luthier and string maker! Oh, and the composer too :-)
Eine geniale Verschmelzung der Musik Bach`s mit berauschend puristischen Bildern. Wie ein verfilmtes Gemälde bester niederländischer Maltradition. Das kann man sich noch fünfzig Mal anschauen und entdeckt immer noch neues. Danke!
BTW I have been playing the cello for decades. This is a very good, austere interpretation befitting a baroque cello style. My only issue is in the prelude his hitting the low notes before each arpeggio in a sharp unpleasant manner. Playing them in a longer more resonant way will set them in the listener’s ear better. Imagine a keyboard player playing a similar Bach piece, they would play it broadly and, if on a piano, with some pedal.
Wunderschöne Aufführung dieser technisch anspruchsvollen und perfekt komponierten Suite im gut phrasierten Tempo mit tiefem doch gut artikuliertem Ton des genialen Solocellos und mit sorgfältig kontrollierter Dynamik. Bestimmt die beste Kombination der höchsten Technik und der angeborenen Lyrik. Einfach wunderbar!
Magnificent interpreration. Love the improvisation in the repetition of the second half of the Sarabande, by "floating" the bass. The ornamentation is poetic as well. I happen to love the close mics aswell, eating every nuance and sidenoise.
Just read a few comments, people shouldn't even bother trying to play cellos, no matter how good you get, there will be complaints about technique, instrument used, interpretation, even if you record a pro video of a great cello in a huge theater with amazing dexterity
Nice to see him playing a newer instrument. Most Baroque players seem to not realize that the instruments were new back then and if they truly wanted a period performance they should be playing new instruments.
How right you are, Dear Secret, yet, as musicians want to play the best, and as the level of acoustick mastery in the early 21st century is not what it was in the 17th century, a musician will usually choose, if he can, to play one from that era. This era produces some incredible things, but, one of the things that era producet, which was truly incredible, was a culture of masterful acoustick understanding - to be used on the most sophisticated technology of it's day - the musical instrument. Age, alone, does not account for why cellos, from several centuries ago, sound 'better' & 'best' They sounded 'better' & 'best' right off the bat, but, yes, over time, that ' better' & ' best' very definitely improved, some...
@@beasheerhan4482 Lord have mercy, you make my head hurt! I've read your comment three times and have no idea what you are trying to say . Also, far, too, many, commas.
That melody in Bourree II sounds so modern to me. I don't know what it is. It sounds uncharacteristic of Bach to me, from the Bach I've heard (and I've certainly not heard it all), but I love it!
Fantastic Sarabande! great performance! The audio recording maybe had too close the mics? I think we miss a lot of the hall sound (actually you can hear it turning volume full) but I know by his feeling playing the cello that he enjoyed to acompain those room harmonics. Great job.
I am really enjoying his performance and the sound of his cello. I am however not used to the clicking sounds generated by his strings as the clicking sound is distracting me. I still like the tone and I enjoyed the Sarabande.
Bruno Cocset est un violoncelliste historique français né en 1963. Biographie Il est diplômé du Conservatoire à rayonnement régional de Tours, du Conservatoire national supérieur de musique de Lyon, et du Conservatoire national supérieur de musique de Paris en 1986, où il étudie dans la classe de Christophe Coin Il fut également l'élève d'Anner Bijlsma et de Jaap Schröder. Il a joué avec les Arts Florissants, la Petite Bande, les Musiciens du Louvre, L'Arpeggiata et autres. Il a enregistré avec Le Concert des Nations et Hesperion de Jordi Savall. En 1996 il crée son propre ensemble baroque « Les Basses Réunies ». Il est connu pour la redécouverte de Jean Barrière et d'Evaristo Felice Dall'Abaco[4], mais également de Francesco Geminiani. Bruno Cocset enseigne le violoncelle au Conservatoire national supérieur de musique et de danse de Paris, à l'École supérieure de musique de Catalogne et à la Haute École de musique de Genève.
Could someone perhaps explain why the beginning of Bouree II is so different from the rest of the part? Is that the popular song material that the section is based on or something like that? Forgive me I won't pretend I know the classical terms. Thank you!
@@jluec so basically it goes like this: Prelude: harmony progressions and introducing the mood of the suite Allemande: French dance, very elegant, introduces the suite Courante: fast/running dance, Sarabande: no one truly knows where it originated but it’s a slow dance in 3 where the 2nd beat is emphasised Two other dances, the second is in a completely different mood to the entire suite, the first of these is then repeated Gigue: British dance where everyone’s drunk and merry
Excellent performance . I would like to discuss here a little question that bothers me. I am an intermediate amateur cello player. The suites progress by difficulty. (1 is the easiest, but not easy, if you know what i mean). There is a huge gap between III and IV. But why is that? The Suite in E flat could have been designed for a cello tuned BFcg, there where several tunings around in those days. We lack a proof for that, but if you look at Suite V it seems to be common practice amongst the cellists to tune the a string down to g. In F it is way easier than in E flat, and there are even versions in G major around, which sound brighter (because it s a 1,5 tones higher). What do you think about that? Do you consider transposing somewhat like cheating? I know you might say: You cannot transpose a prelude by Chopin in D flat to C just to read it easier. I say: it´s a different thing. In Bach´s case we have hints that the transposing is there because of different tunings that time and Bach would have never hesitated to do so. I am curious about your opinion.
It totally depends on what you want to do with your cello. If you just want to enjoy playing and hearing well executed cello pieces, or hell, just rippin' the fuck out of the No. 1 Prelude at a party (it will probably get you laid), then use whatever key you want, no one is going to be able to tell the difference and if they can they'll just sound super pretentious. BUT, if you ever want to classically jam (I'm sure that's a thing) then you are going to want to learn the piece in the key it was written in because sure as hell the other folks did. Alternate tunings are a completely different thing. If just about everything you play is easier with an alternate tuning then use that tuning. If it works for only one or two pieces, then forget it unless you have at least two different cellos. That sounds crazy, but listen, I'm currently learning to play the cello suites on bass guitar and that means I have to use a drop D tuning, but sometimes I like to play bass lines from someone like, let's say Bob Marley, that work in standard tuning. I would rather switch guitars rather than re-tune the one I'm playing. I don't know if you know how easy it is to tune a bass guitar, but it's SUPER easy. I have two basses, one for Bach and the other for everything else, AND I'M NOT A PROFESSIONAL MUSICIAN!!! End of the day, if you're bringing yourself joy and giving joy to others, there ain't no cheatin'.
@@alecrobinson7124 You are not specific in your criticism. My own reaction is that the sound of the cello comes through more than credibly. I find it very compelling. The sounds on the fingerboard remind of some of the sounds one hears with certain tracker action organs. Just part of the instrument. I have no problem with it.
All though this is beautiful I have a cello and the bow isn’t pointy like that and there isn’t that much space between the bridge and whole fingerboard. But it sounds beautiful like every single cello In The world (you know besides those cheap 20 dollar ones you can get on amazon) and that’s all that matters
If time travel was real: Every conversation: "Herr Bach, what inspired you to write your cello suites?" Bach: "God came to me in a dream. He said. 'My wife was a witch!' As you can imagine, those were dark days. So naturally, it just flowed out of me. First in G Major then in c" Me: "Herr Bach, what happened then?" Bach: "I remarried"
0:07 Prelude
3:38 Allemande
7:58 Courante
11:11 Sarabande
15:31 Bourree I + II
20:20 Gigue
👍🏻
Merci, merci beaucoup !
Bonito
9999999999ol9999l999999l9999l99999999999999l99999l999l9999999oll99lo99999999999999l999999999ll9999999
@@AlejandraRodriguez-jj9rs ?
This world is worth living in, with all these musical performances.
This is probably my new favorite recording of the 4th suite. Thank you for bringing back improvisation. We lost it during the classical era and never really recovered from it.
Jazz?
@@elijahbrenyo4912 Probably means improv in this style of music, not for all music in the world
Just before listening to this, I listened to the Casals recording, and there is a lot of the fingerboard noise there also. Personally I enjoy it. It reminds you that music is not just abstract ethereal sound but is made by flesh and blood humans playing somewhat unwieldy physical contraptions.
After 10 months of your comment, here is a reply. I completely agree with you and I am happy you open my eyes for it.
Hello there, i am a cellist and i have to say my teacher actually looks for fingerboard noise... It's just a natural sound of the instrument, represents the action and movement, the force of the fingers of the left hand, working.
I just really like the sound of it, like ASMR
I totally agree.. What a beautiful interpretation.. I actually had the feeling that the music IS the fingerboard noises, as if a dancer was dancing silently and you could only hear their feet touching the floor.. The written notes are so full of movement that it transcends pure sound to become pure movement..
@@caiorlb This is also a beautiful way to hear it!
Finally a performance in which the rhythmic integrity of the movement is preserved! Loved it!
Great! Just ignore all the non cellists who have literally NO idea about what they think they are talking about. Don’t you just love social media everyone is a specialist!
👍👍👍👍👍👍👍👍👍
👍👍👍👍👍👍👍👍👍
Why do I have to think about the fairytale "The Emperor's new clothes" ?
The Bourrée interpretation is amazing. A Treasury.
Having read most of the comments, my reaction is still that I LOVE the sound of this performance. I find it heartfelt and virtuosic. I will listen again, to better grasp the musicality of it. A FINE addition to NBS's library of superb performances. I enjoyed all of this, without reservation, but especially like the Bouree II aNd the Gigue. Well done!
Same .
How are you verified???
Agree
Well done from beginning to end.
I love the little sounds of the strings clicking against the fiberboard. It's a sound I'l very familiar with, playing on gut strings and I love it.
no, they could be more quiet for me!
@@nachteulen_kollektiv2023 yes, I find it annoying, as soon as you pay attention to it (and it comes quickly) it becomes quite disturbing.
@@stephanedurand7713 I wouldn't have noticed if it wasn't for the comments XD
@@DCBfanboy one of the first thing I've noticed, listening on monitor speakers.
@@stephanedurand7713 yeah but usually I just enjoy the music I don't listen to the "noises".
Anyone else obsessed with Bourree ll of this suite?
Elijah yes, it’s the best movement in this suite!
It sounds like it could have been written yesterday! Many of the progression that Bach wrote have become staples of modern music.
Bouree II is the best part of all the suites, violin sonatas and partitas included.
Let 's just be honest: We all wish Bourree I was a lot shorter...and Bouree II was a lot longer.
Interesting. I have never considered that piece particularly beautiful. That said, I’ve been listening to the suites for many many years now, and I keep ‘discovering’ beauty and new layers of depth in pieces that I had already listened to many times before. Maybe I’ll have one such moment with Bourree II at some point;)
The interpretation of the 2nd Bourrée is awesome.
Gigue !!
Bourrée.
This cello really is an extension of his body and mind.
👍👍👍👍👍👍👍👍👍
One of the greatest compositions of all time and possibly the best performance of this. This triumph of a video deserves hundreds of thousands of likes!! Absolute perfection, thank you!
Even if you are put off by the jerky prelude, keep listening, if anything just for the Sarabande. It is gorgeous!
Listening again, I love that the instrument, strings and performer are all at times on the edge of what they can comfortably do, which reminds me of Beethoven's pushing the edge of what was possible on his fortepiano. His works sound very different on a Steinway Grand, losing some of his revolutionary attack. Same here when compared to modern (mid 19th-century onwards) cellos, bows and strings. Bach's Prelude here is philosophical, meditative, but with some flurries of notes indicating a troublesome undercurrent. These two elements struggle with each other throughout the whole suite, and the instrument, strings and performer are absolutely at one here with Bach. Bravo to the performer, luthier and string maker! Oh, and the composer too :-)
This is really great performance! Great respect to Mr. Cocset, NBS and all the engineers!
Beautiful. Thanks again. This channel and this production is a gem.
Eine geniale Verschmelzung der Musik Bach`s mit berauschend puristischen Bildern. Wie ein
verfilmtes Gemälde bester niederländischer Maltradition. Das kann man sich noch fünfzig Mal
anschauen und entdeckt immer noch neues.
Danke!
BTW I have been playing the cello for decades. This is a very good, austere interpretation befitting a baroque cello style. My only issue is in the prelude his hitting the low notes before each arpeggio in a sharp unpleasant manner. Playing them in a longer more resonant way will set them in the listener’s ear better. Imagine a keyboard player playing a similar Bach piece, they would play it broadly and, if on a piano, with some pedal.
I'm sooo happy to watch this channel keep growing and growing. Maybe this channel is most popular 'CLASSICAL' music channel in the world.
Wunderschöne Aufführung dieser technisch anspruchsvollen und perfekt komponierten Suite im gut phrasierten Tempo mit tiefem doch gut artikuliertem Ton des genialen Solocellos und mit sorgfältig kontrollierter Dynamik. Bestimmt die beste Kombination der höchsten Technik und der angeborenen Lyrik. Einfach wunderbar!
It’s so nice that we hear such amazing talent on utube ty :)
LOVE is keeping the fire of these suites alive to the ends of civilization.
Magnificent interpreration. Love the improvisation in the repetition of the second half of the Sarabande, by "floating" the bass. The ornamentation is poetic as well. I happen to love the close mics aswell, eating every nuance and sidenoise.
I love this magnificent performance!!
この演奏...気に入りました。
I love this performance...
Thank you for this very unique interpretation!
Interesting interpretation really loved the Sarabande.
Just read a few comments, people shouldn't even bother trying to play cellos, no matter how good you get, there will be complaints about technique, instrument used, interpretation, even if you record a pro video of a great cello in a huge theater with amazing dexterity
Incredible performance!
This music has made me introspective.
So beautiful!
I love it. One day, one day I will play it. It is a challenging and fantastic journey. Gigue#
this cello is so beautiful
Happy to report that I was able to tune out the sound of the strings after about 20 minutes! Oh wait...
Bravo. Well done!
hah
A pleasure to listen to.
Omg! Artistry at its finest ❤
Just amazing.
tbh the fingerboard sounds are satisfying
One beginner lesson from all of these pro videos, when you hit the notes, make it sure you don't go soft
i love the body language and facial expression of this performer... he looks the part
Xghi
👍👍👍👍👍👍👍👍👍
Nice to see him playing a newer instrument. Most Baroque players seem to not realize that the instruments were new back then and if they truly wanted a period performance they should be playing new instruments.
How right you are, Dear Secret, yet, as musicians want to play the best, and as the level of acoustick mastery in the early 21st century is not what it was in the 17th century, a musician will usually choose, if he can, to play one from that era. This era produces some incredible things, but, one of the things that era producet, which was truly incredible, was a culture of masterful acoustick understanding - to be used on the most sophisticated technology of it's day - the musical instrument. Age, alone, does not account for why cellos, from several centuries ago, sound 'better' & 'best' They sounded 'better' & 'best' right off the bat, but, yes, over time, that ' better' & ' best' very definitely improved, some...
@@beasheerhan4482 hogwash.
@@aachoocrony5754 How can it be hogwash? She spelled accoustic with a 'k' so clearly she knows what she's talking about. You must be ignorant.
@@dartme18 I was about to fall off the cliff and you have saved me. I am grateful -.-
@@beasheerhan4482 Lord have mercy, you make my head hurt! I've read your comment three times and have no idea what you are trying to say . Also, far, too, many, commas.
Me encanta el chelo y Bach,
.muy buena ejecución
Masterpiece!!! Wow
Okay... what I learned from this... next time I play this... I'm definitely turning off my metronome.
That melody in Bourree II sounds so modern to me. I don't know what it is. It sounds uncharacteristic of Bach to me, from the Bach I've heard (and I've certainly not heard it all), but I love it!
Je ne suis pas très musicienne, mais je dois avouer que c' est beau !
👍👍👍👍👍👍👍👍👍
👍👍👍👍👍👍👍👍👍
Alors écoutez ceci : czcams.com/video/knUsROhzKwY/video.html
This was fantastic
If this cello suite no.4 was on Spotify I would listen to it so much
There’s an entire collection of bachs cello suites on Spotify
indeed beautiful interpretation, I would say, a BRAVE rendering
If more people listened to Bach, there would be much less negativity and evil.
As you can see from this comment section, that’s unfortunately not how music works
Bravo!!!
Прекрасное исполнение.
I didn't see any juggling! I guess I will have to just settle for the exceptionally beautiful music.
Fantastic Sarabande! great performance!
The audio recording maybe had too close the mics? I think we miss a lot of the hall sound (actually you can hear it turning volume full) but I know by his feeling playing the cello that he enjoyed to acompain those room harmonics. Great job.
Extraterential music❤
marvelous !!
楽器と完璧に融合してる
Really good!M
Thank you
exellent~!!
Quelle drôle de performance ! Superbe.
I dunno about the spiccato parts but I do like this overall very much
beautiful
Ah sì yesssss
All of it .
Molto bello!!!
Really original, his sixteenth notes are long, while the others are short.
18:11 Bourree II
... gracias,thank you, namasté...
I am really enjoying his performance and the sound of his cello. I am however not used to the clicking sounds generated by his strings as the clicking sound is distracting me. I still like the tone and I enjoyed the Sarabande.
additional mechanical sounds are the instruments themselves talking to us. embrace the clicking sound.
I love the short low note in between the up and down in the prelude so you have any advice for learning this piece
Why are bass notes too short? Keep them longer.
My cat loves it. And me too.
Maybe a controversal but not less beautiful and interesting interpretation.
He did a great job, this suite is quite difficult to play compared to other suites, it requires a lot of finger stretching.
I am in love.
Impressive
Bruno Cocset est un violoncelliste historique français né en 1963.
Biographie
Il est diplômé du Conservatoire à rayonnement régional de Tours, du Conservatoire national supérieur de musique de Lyon, et du Conservatoire national supérieur de musique de Paris en 1986, où il étudie dans la classe de Christophe Coin Il fut également l'élève d'Anner Bijlsma et de Jaap Schröder.
Il a joué avec les Arts Florissants, la Petite Bande, les Musiciens du Louvre, L'Arpeggiata et autres. Il a enregistré avec Le Concert des Nations et Hesperion de Jordi Savall. En 1996 il crée son propre ensemble baroque « Les Basses Réunies ». Il est connu pour la redécouverte de Jean Barrière et d'Evaristo Felice Dall'Abaco[4], mais également de Francesco Geminiani.
Bruno Cocset enseigne le violoncelle au Conservatoire national supérieur de musique et de danse de Paris, à l'École supérieure de musique de Catalogne et à la Haute École de musique de Genève.
I love him!!!🌈💕🔥🙏🏼🌞
Could someone perhaps explain why the beginning of Bouree II is so different from the rest of the part? Is that the popular song material that the section is based on or something like that? Forgive me I won't pretend I know the classical terms. Thank you!
It's the power of the interpretation! He just played with another vision.
@@Erick-wd6lb oh no i meant the composition itself
@@jluec so basically it goes like this:
Prelude: harmony progressions and introducing the mood of the suite
Allemande: French dance, very elegant, introduces the suite
Courante: fast/running dance,
Sarabande: no one truly knows where it originated but it’s a slow dance in 3 where the 2nd beat is emphasised
Two other dances, the second is in a completely different mood to the entire suite, the first of these is then repeated
Gigue: British dance where everyone’s drunk and merry
Love this performance. Who made your bow? is it a copy of an old Italian bow?
CZcams should have a SuperLike button to better represent the depth of this cellist
Great Magister.
Trying to sleep but instead very dizzy
great
i know it's not perfect, but i like this version
8:39 i think i not intentionally find a very good frame for a painting study of values of light
Baroque articulation, gut strings, the very position of the cello gives a different sound and is a little noisier. But this is a very fine rendition.
喜欢！谢谢！
so this is Bach's suite for solo cello and percussion
Excellent performance . I would like to discuss here a little question that bothers me. I am an intermediate amateur cello player. The suites progress by difficulty. (1 is the easiest, but not easy, if you know what i mean). There is a huge gap between III and IV. But why is that? The Suite in E flat could have been designed for a cello tuned BFcg, there where several tunings around in those days. We lack a proof for that, but if you look at Suite V it seems to be common practice amongst the cellists to tune the a string down to g. In F it is way easier than in E flat, and there are even versions in G major around, which sound brighter (because it s a 1,5 tones higher). What do you think about that? Do you consider transposing somewhat like cheating? I know you might say: You cannot transpose a prelude by Chopin in D flat to C just to read it easier. I say: it´s a different thing. In Bach´s case we have hints that the transposing is there because of different tunings that time and Bach would have never hesitated to do so. I am curious about your opinion.
IMO The key gives each suite its special colour and quality - albeit we’re so used to hearing them (roughly) a tone higher!
It totally depends on what you want to do with your cello. If you just want to enjoy playing and hearing well executed cello pieces, or hell, just rippin' the fuck out of the No. 1 Prelude at a party (it will probably get you laid), then use whatever key you want, no one is going to be able to tell the difference and if they can they'll just sound super pretentious.
BUT, if you ever want to classically jam (I'm sure that's a thing) then you are going to want to learn the piece in the key it was written in because sure as hell the other folks did.
Alternate tunings are a completely different thing. If just about everything you play is easier with an alternate tuning then use that tuning. If it works for only one or two pieces, then forget it unless you have at least two different cellos. That sounds crazy, but listen, I'm currently learning to play the cello suites on bass guitar and that means I have to use a drop D tuning, but sometimes I like to play bass lines from someone like, let's say Bob Marley, that work in standard tuning. I would rather switch guitars rather than re-tune the one I'm playing. I don't know if you know how easy it is to tune a bass guitar, but it's SUPER easy. I have two basses, one for Bach and the other for everything else, AND I'M NOT A PROFESSIONAL MUSICIAN!!!
End of the day, if you're bringing yourself joy and giving joy to others, there ain't no cheatin'.
18:10 Bouree II
BANG!
Majestic 🖤🌈🌹🌹💚🐠🥰🥰♥️
Bang, bang, knock, knock, crash boom. Stop the hammering!
My thumb is up but I have to say that the sound of the hammering on the fretboard gets rather annoying after a while...
He plays with pure gut strings. Even the lower strings are not silver-wounded. So the noise is hardly to avoid.
The performance sounds great! I'm in agreement that it sounds like a cello+percussion duet but I don't mind!
All of Bach did a great job with production in so many ways, but some of their sound engineering and mic-ing leaves a lot to be desired.
@@alecrobinson7124 You are not specific in your criticism. My own reaction is that the sound of the cello comes through more than credibly. I find it very compelling. The sounds on the fingerboard remind of some of the sounds one hears with certain tracker action organs. Just part of the instrument. I have no problem with it.
it's call gut strings, loving it
All though this is beautiful I have a cello and the bow isn’t pointy like that and there isn’t that much space between the bridge and whole fingerboard. But it sounds beautiful like every single cello In The world (you know besides those cheap 20 dollar ones you can get on amazon) and that’s all that matters
the Orchestra of the Age of Enlightenment has a lot of CZcams videos on the construction of baroque bows with that long beaky tip. highly recommend.
Back again after 4 years. Still an amazing performance!! Still annoyed by the strings tapping... :)
Cannot really avoid doing it with a gut strung cello, so you have to either choose a defficient modern cello version or this
@javierdiazsantana 0 phrasing though.
If time travel was real:
Every conversation: "Herr Bach, what inspired you to write your cello suites?"
Bach: "God came to me in a dream. He said. 'My wife was a witch!' As you can imagine, those were dark days. So naturally, it just flowed out of me. First in G Major then in c"
Me: "Herr Bach, what happened then?"
Bach: "I remarried"
Can't hear thumbs on fretboard !! But this song is amazing !!
❤️