{"id":189,"date":"2011-12-03T18:33:03","date_gmt":"2011-12-03T23:33:03","guid":{"rendered":"https:\/\/www.ludwig-van.com\/?p=189"},"modified":"2011-12-03T18:33:03","modified_gmt":"2011-12-03T23:33:03","slug":"its-refreshing-to-hear-someone-be-a-bit-more-free-and-easy-with-bachs-keyboard-music","status":"publish","type":"post","link":"https:\/\/www.ludwig-van.com\/toronto\/2011\/12\/03\/its-refreshing-to-hear-someone-be-a-bit-more-free-and-easy-with-bachs-keyboard-music\/","title":{"rendered":"It’s refreshing to hear someone be a bit more free and easy with Bach’s keyboard music"},"content":{"rendered":"

\"\"<\/a>I hadn’t intended to post anything non-concert related this weekend, but I spent several hours today with J.S. Bach’s French Suite No. 1, which is written rather darkly in D minor. The first four of this set of six suites probably date from 1722, during the instrumentally fertile time Bach spent working for Prince Leopold of Alhalt-K\u00f6then (that’s the little castle in the provincial town Bach couldn’t wait to get out of, right.)<\/p>\n

I tried all sorts of ways of playing the music, and, in the process, realised how modern pianists may be doing the score a disservice by not being more free with timing and the shaping of phrases.<\/p>\n

One of the reasons I had picked the French Suites was that the music, to my eyes and ears, sounds like it should be approached with more abandon (to use that term very loosely).<\/p>\n

I cannot find what I’m looking for on YouTube and don’t dare share my shabby playing here (it sounds much better in my head). Hopefully, however, I can make my point anyway.<\/p>\n

Here’s my comparison: First, a metronomic performance by “Bach scholar and pianist Cory Hall”; Second, the opening Allemande by a Famous Performer (Andras Schiff) whose reputation alone would give the interpretation credibility; Third, Glenn Gould — with the closing Gigue on the second video; and, finally, Milanese harpsichordist Gabriele Toia<\/a>, performing the whole suite.<\/p>\n

I prefer the modern piano — now I’d like to hear someone use this much more versatile instrument in the same way Toia uses his. (Gould deserves credit, too, for taking the music to his own special place.)<\/p>\n