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    Archived pages: 10 . Archive date: 2013-11.

  • Title: Johann Sebastian Bach - Sonatas for harpsichord, violin, flute, viola, figured bass - MIDI - Virtual musician
    Descriptive info: .. This Web site was created on 25 April 2000 and up to 12 April 2004 it was visited 30387 times.. Starting from 13 April 2004 it has welcome.. new visitors.. -.. Updated on Saturday 11 November 2006.. JOHANN SEBASTIAN BACH.. WELCOME TO www.. Bach-JS.. net.. by.. Bruno de Giusti.. Discuss about Johann Sebastian Bach and classical music on.. TUTTOLOGY.. forum!.. Please click here to enter site.. (.. DISCLAIMER.. )..

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  • Title: Johann Sebastian Bach - Sonatas for harpsichord, violin, flute, viola, figured bass - MIDI - Virtual musician
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  • Title: Johann Sebastian Bach: disclaimer
    Descriptive info: PERSONS WHO ACCESS THE MATERIAL MADE AVAILABLE BY BRUNO DE GIUSTI AT HIS WEBSITE ON THE WORLDWIDE WEB ( WWW.. BACH-JS.. NET WEBSITE ) AGREE TO THE FOLLOWING:.. USE OF THE WWW.. NET WEBSITE.. THE ENTIRE CONTENT OF THIS WWW.. NET WEBSITE IS SUBJECT TO COPYRIGHT WITH ALL RIGHTS RESERVED.. YOU MAY DOWNLOAD OR PRINT OUT A HARD COPY OF INDIVIDUAL PAGES AND/OR SECTIONS OF THE WWW.. NET WEBSITE, PROVIDED THAT YOU DO NOT REMOVE ANY COPYRIGHT OR OTHER PROPRIETARY NOTICES.. ANY DOWNLOADING OR OTHERWISE COPYING FROM THE WWW.. NET WEBSITE WILL NOT TRANSFER TITLE TO ANY SOFTWARE OR MATERIAL TO YOU.. YOU MAY NOT REPRODUCE (IN WHOLE OR IN PART), TRANSMIT (BY ELECTRONIC MEANS OR OTHERWISE), MODIFY, LINK INTO OR USE FOR ANY PUBLIC OR COMMERCIAL PURPOSE THE WWW.. NET WEBSITE WITHOUT THE PRIOR WRITTEN PERMISSION OF BRUNO DE GIUSTI.. NO RELIANCE.. WHILE BRUNO DE GIUSTI USES REASONABLE EFFORTS TO OBTAIN INFORMATION FROM SOURCES WHICH HE BELIEVES TO BE RELIABLE, BRUNO DE GIUSTI MAKES NO REPRESENTATION THAT THE INFORMATION OR OPINIONS CONTAINED ON THE WWW..  ...   IMPLIED.. LIMITATIONS OF LIABILITY.. IN NO EVENT, INCLUDING (WITHOUT LIMITATION) NEGLIGENCE, WILL BRUNO DE GIUSTI BE LIABLE FOR ANY LOSS OR DAMAGE OF ANY KIND, INCLUDING (WITHOUT LIMITATION) ANY DIRECT, SPECIAL INDIRECT OR CONSEQUENTIAL DAMAGES, EVEN IF EXPRESSLY ADVISED OF THE POSSIBILITY OF SUCH DAMAGES, ARISING OUT OF OR IN CONNECTION WITH THE ACCESS OF, USE OF, PERFORMANCE OF, BROWSING IN OR LINKING TO OTHER SITES FROM THE WWW.. LINKED WEBSITES.. WHEN YOU ACCESS CERTAIN LINKS ON THE WWW.. NET WEBSITE YOU MAY LEAVE THE WWW.. BRUNO DE GIUSTI HAS NOT REVIEWED ANY OF THE WEBSITES LINKED TO THE WWW.. NET WEBSITE AND DOES NOT ENDORSE OR ACCEPT ANY RESPONSIBILITY FOR THE CONTENT OF SUCH WEBSITES NOR THE PRODUCTS, SERVICES OR OTHER ITEMS OFFERED THROUGH SUCH WEBSITES.. LOCAL LEGAL RESTRICTIONS.. THE WWW.. NET WEBSITE IS NOT DIRECTED TO ANY PERSON IN ANY JURISDICTION WHERE (BY REASON OF THAT PERSON'S NATIONALITY, RESIDENCE OR OTHERWISE) THE PUBLICATION OR AVAILABILITY OF THE WWW.. NET WEBSITE IS PROHIBITED.. PERSONS IN RESPECT OF WHOM SUCH PROHIBITIONS APPLY MUST NOT ACCESS THE WWW..

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  • Title: Johann Sebastian Bach - Sonatas for harpsichord, violin, flute, viola, figured bass - MIDI - Virtual musician
    Descriptive info: www.. INTRODUCTION.. HOW TO PLAY BACH'S MUSIC.. WHAT MEANS BEING A VIRTUAL MUSICIAN.. OUTSTANDING AND RARE MUSIC FILES.. THE LISTENER'S IMPRESSIONS HOME PAGE.. Discuss about Bach and classical music on.. BRUNO DE GIUSTI'S WEB SITE.. (anti-spam policy).. FIND MORE BACH'S FREE MIDIS!.. KunstderFuge.. com.. This site is optimised for a resolution of 1024×768.. No part of this web site can be used without my written permission.. net - © Copyright 2000-2006 - All rights reserved - Please read.. disclaimer..

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  • Title: Johann Sebastian Bach - Sonatas for harpsichord, violin, flute, viola, figured bass - MIDI - Virtual musician
    Descriptive info: There must be a reason why the Y2K has to be considered important: at least it reminds us that Johann Sebastian Bach died 250 years ago (unfortunately he also was made of flesh).. Have you ever listened to a program of classical music on the radio? What is the thing that makes you more upset? May be the time they spend talking about music? No problem: I also hate that, therefore, as a pure.. virtual musician.. , to celebrate the Great Master I have prepared something ad hoc : simply  ...   an accurate description; while listening, if you like, you can also read the text below.. Happily a web page is not a radio: you can easily skip tedious and unnecessary words.. Music has not to be talked about: it has to be listened to.. Click here to listen to the new English Suites trascribed for orchestra and the French Suites!.. Have you got doubts? Questions? Would you like to meet the author of this web site or simply to discuss any of its topics? Then, please come and visit us in..

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  • Title: Johann Sebastian Bach - Sonatas for harpsichord, violin, flute, viola, figured bass - MIDI - Virtual musician
    Descriptive info: If you browse the net, you'll find a huge quantity of information about the Composer: here you'll find only what's really worth, the reason why the net is plenty of words about him.. Moreover, I have discovered that some of his most important classical pieces do not exist in MIDI format.. Therefore, I am trying to fill this gap.. Why MIDI? Because.. there is no difference between playing a piano, a violin or a MIDI sequence.. I have personally sequenced these pieces and I can assure that 25 years of experience on Bach's music are here very well summarised: am I extravagant? Just to make an example, please listen to the most famous musicians that allegedly play any composer's music: well, may be only the great violinist David Oistrakh was in a safe place, while playing Bach; it is true: the best pianists, violinists and players in general have miserably fallen down from the Heaven when they approached the Composer.. Instead, unknown players have often played him very well.. The reason? Probably to play Bach well, you need the naturalness and immaculacy of a kid; his music is like a child: a human being that physically is an incredibly complicate machine, but his soul, deep inside, is clear, transparent, perfect.. As God: someone said children are so lovely, right and fresh because before being born, they lived besides God.. Therefore I can only imagine Bach actually playing in a hall reserved to him in God's warm home.. Can you imagine a well-paid player, a musician considered one of the best in the world, having the right attitude to play his music?.. What discerns a good performance of Bach? Nobody can demonstrate it: to do that, we'd have to go back in the time, invite the Great Master to come and illuminate  ...   unbelievable rhythmical games: changes and big contrasts from legato to staccato, right use of embellishments, slow movements sweet and graceful, fast movements made up of rhythm.. But this is only technique: what at the end is really worth, it is having Bach inside; living with his music in your brain and your heart; realising that Mozart, Beethoven, Schumann and so on, are everlasting shining stars, while Bach is a galaxy or, more properly, the entire Universe; that you'll never ever get tired with his music, even if you listen to it 100, 10,000, a million times.. Strictly talking again about technical skills, Bach's disciples and the (limited) group of his real fan of the time, reported that he played any instrument with an unbelievable rhythmical zest! His expressivity, more than coming from the change of sound level (piano and forte: a very hard job, even if possible, on a harpsichord.. ), welled up from all the technique described above, plus his innate ability of slightly slowing down the tempo for instants at certain points of the performance, without affecting the overall development of the melody.. This is essential to any good performances of his pieces; unfortunately many greatest players often forget this simple description, in such a way that they sound to play Chopin more than Bach (no staccato, exaggerated modification of the tempo, excessive or improper use of legato, embellishments and so on).. Hence, please enjoy these pieces, pure and clear as their father did them, and played the way he wanted to.. Don't wonder why I am sure they are played the right way; it's easy: they simply are! :-) For your peace of mind, suppose I often dream of Bach playing an harpsichord or a violin and telling me, with that funny Eisenach accent: Schau', wie einfach es ist!..

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  • Title: Johann Sebastian Bach: being a virtual musician
    Descriptive info: BEING A VIRTUAL MUSICIAN.. What does virtual musician mean? It's just being a musician with no limit.. Is computer an instrument exactly like a violin or a piano? YES, OF COURSE! There is no reason why people have to consider computer music as cold , mechanical or impossible to listen to.. There is no reason why people have to consider musicians who use this instrument, like mature children who enjoy playing with the PC sound card.. I'll try to demonstrate, through some considerations, that, as it has always been, the overall good quality of a performance doesn't come at all from the instrument you use, be it real or virtual; instead, all depends on the player, who, at the moment, cannot be virtual at all.. THE PRACTICAL EFFECT.. Who plays an instrument, at the end, makes something to a black box (suppose we don't know what's inside an oboe or a French horn), that causes it to utter a sound.. A skilled player will make it sound as close as possible to what he wants.. A good player, in addiction of being skilled, can produce sounds that, put together, have the same expression and life of, for instance, a singer.. Therefore, the result is not given by the instrument, but by the player him/herself, who's able to give the performance that something special (give Rachmaninov a upright piano and you'll see).. Telling the contrary would mean admitting that anyone can be a good photographer, as long as he/she uses a good camera.. THE PHYSICAL ASPECT.. I accept supernatural considerations like: a computer will never have the same sound of a violin! Ok, I understand man isn't made only of flesh, fortunately.. But, at the end, what we perceive is a sound.. And a sound is an acoustic wave.. As well as you reproduce exactly the same acoustic field in a space, if you close your eyes (the better way to listen to music, try it), you CANNOT perceive any difference, unless you are a medium.. The pivotal point is therefore playing that bloody same.. wave!.. GOOD AND BAD INSTRUMENTS.. There are instruments of quality, like a Stradivarius violin, or bad instruments, like those one you can by for a few hundred Euros: the bad quality of an instrument only makes a good performance sound worse, but no good one can improve a bad performance.. A PC can play a MIDI file from the sound point of view very very well or very very badly, depending on many factors, such as the skill of who sequenced it, the quality of the sound card you installed on it, the speakers you use, and so on.. Let's take the more snareful of the instruments: the violin.. This normally sounds horribly on a PC, for many reasons; I only indicate the main ones: A) Many sound cards don't have good champions of its sound, because the implementers used bad violins and/or bad players to champion it in the second movement or simply they used sounds electronically generated: scaring! You'll get the same effect, even more.. scratching, by squeezing your cat's tail! B) A violin has 4 strings: the same note on a different string sounds in a totally different way, the speed and pressure of the bow changes the sound, etc.. C) Many sound cards don't recognise staccato, so they play legato and staccato the same way (a thing that happens also with the flute: you always can hear the air from the player's mouth before each note) and this radically affects the performance.. The issue is that a good sound card, in addition to having a good and well programmed Digital Signal Processor, needs a lot of memory to store many champions of the same instrument, at different octaves, levels, strings and so on.. But memory isn't certainly becoming a problem: in the future there will be many champions for the same note, depending on whether it is played piano, forte, slowly, quickly, staccato, legato and whatever else you can imagine.. Each instrument can have his own added sound , like  ...   different from a violin or a flute: it cannot be considered as an instrument! And then it sounds cold, mechanical and it is hard to modulate its sound, a thing very easy on a violin.. Then came Bach, probably a person without many stereotypes in his mind, who gave the keyboard the same dignity of a violin: it was only a matter of music to be played.. The technique is different, so different must be the parts the two instruments have to play, but this doesn't mean one is better or more instrument than the other (one, instead, can like one or the other: I adore the harpsichord timbre and hate the violin!); then came the fortepiano and the actual piano.. Things have changed, but man is always the same: isn't it?.. YEARS OF STUDY.. One of the arguments that often arise, when talking about this topic with players is: A player have to study an entire life to get the best and you only have to put notes into a computer! FALSE! In order to get the best from a MIDI, you have to dedicate a lot of time because:.. 1) You must be given that fairy gift impossible to explain, called musical sensitivity; that deep feeling that makes your listener think you're singing, while playing, and not just typing on the keyboard.. 2) You must be grounded in music, obviously, the same level as a real player;.. 3) You have to know what you are going to virtually play, otherwise the result would be the same of a player who doesn't know anything about the author or his music;.. 4) You have to know your instrument (sequencer MIDI, sound card, amplifier and speakers) perfectly and as there are Stradivarii and bad violins, there are good and bad software and hardware; there are violins that you must play for a long time before realising which tricks can make it give the best, so are sequencers and sound cards; a violin is composed of strings, bow and so on, a MIDI instrument is composed of hardware and software, but at the end there is no difference between their goals: both are built to produce sounds, the way their players want to be;.. 5) There is a lot of work in that sentence put notes into a PC.. Firstly you must know how to put them, when and where; this doesn't happen automatically: each author has his way to be played and you must consider it.. Then you have, for each note, to decide which level and tempo must have and this can take days for a single movement of a single-instrument Bach's sonata: virtual musicians have to study the phrasing, trying again and again, exactly like real ones.. Moreover, in the future there will probably be other instructions to give the computer, as seen before.. Otherwise the result will be wrong, cold or mechanical, as if you were playing a harpsichord like typing; thus you'd give the MIDI smearers a weapon to destroy all your and other people's work!.. BAD QUALITY MIDIS.. Finally, one of the main reasons why computers aren't considered instruments is therefore the bad level of their players.. Effectively, on the Internet, you find a huge quantity of MIDI files, but only a tiny percentage are acceptable from the point of view of the musical quality.. That is because PCs are instruments anyone can easily access (music courses, unfortunately, aren't) and most people have no idea about what is and how to play a fugue, a symphony of just a sonata: they heard something in their life, probably they play an instrument, as bad as they sequence MIDIs (they just definitely put notes into the computer).. If you take 1,000 persons on the street, and give them a violin, then how many of them -do you think- could be able to play a single note decently? Probably, they could be much more, in a more spiritually (and art)-oriented society, but this doesn't have anything to do with music, as it concerns distinct and always low-level interests..

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  • Title: Johann Sebastian Bach - Sonatas for harpsichord, violin, flute, viola, figured bass - MIDI - Virtual musician
    Descriptive info: ALL MIDI FILES ON THIS WEB SITE ARE OF MY PROPERTY,.. THEREFORE THEY CANNOT BE USED WITHOUT MY WRITTEN PERMISSION.. PERSONAL AND NOT COMMERCIAL USE IS ANYWAY ALLOWED:.. CLICK ON THE FILES TO LISTEN TO THEM, RIGHT-CLICK TO DOWNLOAD THEM.. Johann Sebastian Bach (1685-1750).. Best played with IBM ThinkPad Series 600 and T22 (with Windows 98).. English Suites.. the listener's impressions.. ).. followed by transcriptions of Bruno de Giusti for other instruments and/or orchestra.. (dedicated to people who think these are just little pretty pieces for harpsichord.. ).. N.. 1 in A major, BWV806:.. 1.. Prélude.. ,.. 2.. Allemande.. 3.. Courante I.. ,.. 4.. CouranteII-Double I-II.. 5.. Sarabande.. 6.. Bourrée I-II.. 7.. Gigue.. 2 in A minor, BWV807:.. Courante.. 3 in G minor, BWV808:.. Gavotte I-II.. 4 in F major, BWV809:.. Menuet I-II.. 5 in E minor, BWV810:.. Passepied I-II.. en Rondeau.. 6 in D minor, BWV811:.. Sarabande-Double.. English Suites.. Transcriptions by Bruno de Giusti into other pieces.. Concerto in E minor.. Allegro con brio.. Andante.. Fuga: allegretto.. Suite for orchestra in A minor.. Suite for orchestra in G minor.. *.. Suite for orchestra in F major.. Suite for orchestra in E minor.. **.. Passepied I-II.. ***.. Suite for orchestra in D minor.. Other pieces.. Allemande for organ in A major.. Courante for orchestra in A major.. Sarabande  ...   contrario: Moderato.. 13.. 14.. Allegro Moderato.. 15.. Canone alla quinta in moto contrario: Andante.. 16.. Ouverture: Maestoso.. 17.. 18.. Canone alla sesta: Con moto.. 19.. Piacevolmente.. 20.. Allegro giusto.. 21.. Canone alla settima: Andante con moto.. 22.. Alla breve.. 23.. Allegro moderato.. 24.. Canone all'ottava: Allegretto in carattere pastorale.. 25.. Adagio.. 26.. 27.. Canone alla nona: Un poco vivace.. 28.. Andante brillante.. 29.. Allegro non troppo.. 30.. Quodlibet: Moderato.. Aria da capo: andante espressivo.. (different from the first!).. Six sonatas for harpsichord and violin.. description.. ) (.. 1 in B minor, BWV1014:.. 2 in A major, BWV1015:.. Andante con moto.. Allegro assai.. Andante un poco.. Presto.. 3 in E major, BWV1016:.. Adagio, ma non tanto.. 4 in C minor, BWV1017:.. Siciliano: Largo.. 5 in F minor, BWV1018:.. Largo.. Vivace.. 6 in G major, BWV1019:.. Solo cembalo: Allegro.. Three sonatas for harpsichord (accompanied by viola da gamba) and viola da gamba.. 3 in G minor, BWV1029:.. Vivace.. Three sonatas for harpsichord and flute.. 1 in B minor, BWV1030:.. Largo e dolce.. 2 in E flat major, BWV1031:.. Siciliano.. 3 in A major, BWV1032:.. (Unfound complete),.. Three sonatas for flute and figured bass (harpsichord and viola da gamba).. 1 in C major, BWV1033:.. Andante-Presto.. Minuetto I-Minuetto II.. 2 in E minor, BWV1034:.. Adagio ma non tanto.. 3 in E major, BWV1035:..

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  • Title: Bach - Sonatas for harpsichord, violin, flute, viola, figured bass - MIDI - The listener's impressions
    Descriptive info: THE LISTENER'S IMPRESSIONS.. To add a further comment, please e-mail me at.. Probably in this world there are no more than two-three musicians left, who, like you, have deeply understood, as you say, The right way to play Bach.. Roël Weidenbaum-Gershony, Musician.. Ti scrivo per dirti che sono rimasto molto impressionato dalla qualità magnifica dei tuoi files, di cui ti felicito e ringrazio dal profondo del cuore.. (I write to tell you that I have been really impressed by the magnificent quality of your files, for what I send you congratulations and thanks from the deep of my heart.. Luca.. Desidero farLe i miei più sinceri complimenti, e devo confessarLe che La invidio un pochino: riuscire ad elaborare una composizione è un traguardo che non sono mai riuscito a raggiungere.. Complimenti inoltre per il bel sito su Bach, che ho già saccheggiato , e concordo pienamente con le Listener's Impression.. (Congratulations, and I must confess that I envy you a bit: to work out a composition is a goal I haven't reached yet.. Congratulations also for your nice Bach's site that I have already sacked , and I totally agree with the Listener's Impressions.. Fabrizio Marchesano, Engineer.. I have had your rendition of the Goldberg variations for some time now, and listen to it often, as it is as good or better than some of the actual recordings I have heard!.. Matthew Jay, Composer.. Thank you for the Sounds, i've downloaded them all, and truly enjoy them, especially BWV988.. Ashampoo plays them very well indeed.. Malcolm.. Ho avuto il piacere di visitare il suo sito e, devo dire, sono rimasto colpito dalla bellezza delle sue esecuzioni.. Ascoltando il suo Bach ci si rende conto di come, davvero, l'espressività sia dovuta alla struttura musicale stessa delle composizioni, senza dover ricorrere a strumenti che modifichino le caratteristiche fisico-acustiche della fonte del suono.. Bellissimo davvero.. (I've had the pleasure to visit your site and I must say that I've been surprised by the beauty of your performances.. Listening to your Bach, one can realise how expressiveness is due indeed to the musical structure itself of the compositions, without having to resort to instruments that modify the physical-acoustic characteristics of the sound source.. Really wonderful.. Giacomo Fiaschi.. Bravo, complimenti per il sito e per la maestria con cui suoni Bach.. Complimenti.. (Bravo, congratulations for your site and for your mastery when playing Bach.. Congratulations.. Matteo Poggesi.. Your interpretation is very sensitive and clear! In the most beautiful, loveful I know, the 5.. 3 [harpsichord and violin sonata, 3rd movement] adagio, I would have liked the dissonances of the violinchords to be more clearly shown; some more volume.. to make the conflict more evident.. Also perhaps cembali phrases would have lived a bit more if you kept a bit more every phase together with a little rubato.. Tommy Löfgren.. I just got around to listening to some pieces from your Bach s Home Page.. They re delightful! I would like your permission to create a CD from them.. I would like to play it for my infant son as he gets ready to sleep.. Albert Chas.. Schultz, Consultant.. I much admire the Keyboard version of Bach Flute Sonatas BWV 1030 - 1032 on Classical Archives.. John Goodstadt.. http://www.. mypiano.. biz/.. I did download and cut a CD of your BWV988.. It does sound great! I fully agree with you that it is the ability of the player, not the instrument per se, that makes a superior, good, mediocre, or poor performance.. [.. ] I did record a number of version of BWV988 and then played them in succession to my wife.. Yours is her favorite harpsichord performance.. As she put it, it is played with an understanding of the music.. Indeed, music is more than making a sound, or succession of sounds.. It has to express a human yearning, and yours does.. Whether music is performed by human voice, beating on a hollow log, or whatever object, it is this human aspect (John Cage not withstanding) that makes music, and certainly, differenciates between a good composition or bad, a brilliant performance or something mediocre.. Anyhow, we very much like your performance.. Hope to hear more of your performances.. Frank A.. Lojewski.. I am really surprised in your web site where I found excellent Bach MIDI.. Now I am very happy to introduce your Bach on my web site, and I hope a lot of Japanese listen to beautiful music.. T.. Tonooka.. Thank you for creating such a lovely site for classical music.. Doreen Harbour.. geocities.. com/arosaryforyou/index.. html.. Wow!!!!! Incredible sequencing! An absolute auditory pleasure.. Any plans to arrange the Brandenburgs??? Your interpretation of the 5th first movement is eagerly anticipated!.. David Aldouby.. Dear Bach lover, I am a pianist, teacher and composer (whenever I have time!).. Although I believe I share your bottomless admiration for the music of Bach, the musician musicians', I don't know if I would agree on the MIDI rendering of the music as the best and most correct way to  ...   giuste mani, anche un mezzo «apparentemente» povero e rudimentale è in grado di fornire intense emozioni musicali.. Si ricava più piacere da questi pochi k-bytes che da molti, ponderosi mp3 disseminati nella Rete.. (These MIDI files demonstrate that, in the right hands, even a medium «seemingly» poor and rudimentary is able to produce intense musical emotions.. One can draw more enjoyment by these little kilobytes than by many, ponderous mp3s strewn in the Net.. Francesco Lo Cascio, Pianist and music critic.. I visited your WEB site and stumbled upon quite delightful MIDI files with chamber music by J.. In my opinion, these are the most accurately set, I heard, and sound excellently with AWE, Linux and Emu's 8MB GM soundfonts.. Ulrich Bruchholz.. Nell'ultimo movimento [BWV 1035] il tuo Come si suona Bach è spiccato, tra l'altro per me è il più bello dei quattro.. Non so fino a che punto il mio giudizio possa essere attendibile, ma non ho mai sentito nessuno suonare Bach meglio.. Davvero sai, almeno, a me piace così.. Mi dà qualcosa.. Di indefinibile, qualcosa dentro.. Da ascoltare ad occhi chiusi e lasciarsi trasportare.. Molto meglio i tuoi MIDI dei miei cd!.. (In the last movement [BWV 1035] your How to play Bach is apparent, among the other things it is the most beautiful of all four.. I don't know whether my appreciation could be trustworthy, but I've never heard anyone playing Bach better.. Really, you know, well I like it in this manner.. It gives me something.. Something impossible to describe, something deep inside.. To be listened to with shut eyes and let yourself be carried away.. Much better your MIDIs than my CDs!).. Stefania Buffa, Saleswoman.. The tracks I have listened to so far are very stylish and certainly among the better examples around.. Thank you.. Your own fugue, which is playing as I write this, is certainly very effective.. In general what I enjoy about your work is that you allow the music to breathe, something I don't always hear in midi realizations.. Roger Brown, Organist.. Secondo me sei un genio: giuro che ormai ascolto solo le tue esecuzioni midi e credo che butterò via un sacco di CD con le performance di vari sedicenti artisti che sono convinti di conoscere la musica di Bach.. Stai dando una lezione di umiltà notevole a quegli esaltati!.. (In my opinion you are a genius: I swear I'm actually listening only to your midi performances and I think I'll throw into the bin a whole lot of CDs with the performances of various so-called artists who are certain of knowing Bach's music.. You are giving a substantial lesson of humility to those zealots!).. Maria Serena Silvestri, Jazz bassist.. I am very happy to have this material, and in particular the violin-harpsichord sonatas.. Sven Berglund.. I was completely and totally blown away by your fugue for harpsichord and clarinet! All hail the modern-day Johann Sebastian Bach! Just wanted to let you know that I LOVE it!.. Steve Shafer, Musician.. Ottimo, Bruno.. La qualità dei tuoi midi è pregevole.. Bach è il pilastro e il codificatore del klavier, ed io lo ho suonato e studiato a lungo.. (Very well, Bruno.. The quality of your MIDIs is relevant.. Bach is the pillar and the coder of the klavier , and I have been studying and playing it for a long time.. Compliments!).. Luisanna Fiorini, Harpsichordist.. Bruno: I've just played your Fugue for harpsichord and clarinet, No.. 1, thrice (i.. e.. three times) in succession.. Fabulous piece! I like the Bach MIDIs, too, but have only listened so far to a few of the movements.. Adam M.. Dubin, M.. D.. and pianist.. Ho ascoltato la tua fuga.. Mica male!!! Sei in gamba! Ho sentito un po' anche gli altri pezzi.. Buono il cembalo con lo staccato nel basso, non meccanico come certi altri midi che ho sentito.. (I listened to your fugue.. Not bad at all!!! You are skilful! I have listened a bit to some of the other pieces as well.. The cembalo left-hand part shows a good staccato, not as mechanical as certain other MIDIs I've heard.. Giacomo Andreola, Artist craftsman (recorder maker).. I enjoyed your MIDI transcriptions and fugue very much - they must have been a great deal of work.. Thanks! I'm tempted to ask if they're historically informed, but maybe I shouldn't ;-) Your fugue is very happy and along the lines of Bach's early organ works (influenced by Buxtehude).. It would be nice to hear another one.. Charles.. Bruno, did you play the harpsichord yourself? I enjoy it, but I never agree with anyone claiming that that's THE way to play Bach !.. Ruth Djatmiko.. Outstanding! Really fantastic! The quality of these MIDI files is absolutely excellent! How did you do them? I had never found anything like this in my life: they are far better than most original recordings.. The cembalo part is probably the best I ever heard and the arrangement, the expression and the feel are unique! Well done!.. P.. , Harpsichordist..

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  • Title: Bach - Six sonatas for harpsichord and violin - Description
    Descriptive info: Johann Sebastian Bach.. Six sonatas for harpsichord and violin BWV 1014-1019.. AN INTRODUCTION TO THE SONATAS.. Missing Bach's sonatas and partitas is like missing the Art of Fugue or the Passions: it means loosing one of the pillars of the whole classical music.. Bach is ground to all his successors in all fields: he wrote everything for any instrument and one can find Bachian fugues in Beethoven and Rachmaninov, the Bach's Ciaccona, BWV 1004, in Mendelssohn's violin concerto, Bach's contrapunctum in Schumann's symphonies.. Bach is everywhere at any time, but unfortunately not many music lovers are aware of that!.. These six sonatas are part of a huge set of sonatas and partitas for any kind of instrument: they summarise well all that work and therefore must be known entirely.. Their standard structure can be described as follow: 1.. A slow graceful first movement; 2.. A fast movement; 3.. A slow, deep and sweet piece; 4.. A bursting out and lively fast movement.. There is however an evident exception in the last sonata, further considered.. Please do not think these pieces are minor, just because they have been written for a few instruments (there are pieces of Bach played by a single violin, cello or flute): instead they are soaked of Bach's magnitude and the monumentality of a Passion is concentrated in these pieces.. On the contrary, it seems that the less instruments he composed for, the higher the accuracy of his compositions: the typical example is in the partitas for solo violin, in which a single melodic line entirely describes the deep sensitivity of the greatest composer of all times.. A brief notes about how I sequenced them.. In order to keep as close as possible to Bach's intentions, I used original texts (URTEXT); who has approached these unavoidable books, knows perfectly that Bach did not indicate nothing more than the necessary on his score: that is why one can hardly find indications for legato, staccato or embellishments.. It was indeed usage of that time to leave the performer free to develop the phrasing and enrich the pieces with the right embellishments at the right time.. This wasn't due to the fact that the players were bright stars in the baroque period and therefore they were free to interpret the music and to twist the composer's initial idea; simply every player knew perfectly the do's and don'ts of a performance, as rules in this field were rigid and nobody would have played legato a sequence of alternating sixteenth and eighth notes in a fast piece, unless clearly indicated.. Traditional rules, that's all, passed on and on from masters to disciples and possibly developed on a basis of common good sense (or, more appropriately, good.. sounding)!.. A high contrast between staccato and legato, the exact use of embellishments, not excessive changes of tempo in the fast movements and more noticeable (but not affecting the overall tempo of the piece) in the slow ones were ground to a good phrasing; moreover, this was reported also by Bach's disciples and fans, about the way of playing of the composer himself: his performances were very sweet and graceful in the slow movements, quick and plenty of rhythmical spring in the fast ones.. This granted him the appropriate definition of being a man with the rhythm in all limbs ! Therefore, I respected the usage of the time and can assure the result is great in all parts of it.. Another consideration: the usage of calling these sonatas Violin Sonatas tout-court is absolutely wrong, because Bach was probably the most.. democratic musician in his time and granted to each instrument its own personal space in his works.. Indeed, the autographed copies of these sonatas report them as Sonatas for cembalo certato and solo violin, accompanied by a viola da gamba, if one likes (!) and listening to them makes understand why, in the headline, the priority has been given to the keyboard instrument.. Have you got doubts about this? Here is a sequence of 5 movements from the sonatas.. In each one, parts have been inverted , i.. the violin and the right-hand of the harpsichord have been interchanged.. If you know these sonatas a little or not at all, you'll probably perceive no difference between the two versions; only if you know them well, you'll  ...   with the figured bass attached.. 2 IN A MAJOR, BWV1015.. The third movement is one of Bach's masterpieces, even if it is not well known as other famous ones.. It is a pure and perfect canon for violin and the right hand part of the harpsichord.. The violin starts a measure in advance and the harpsichord follows it up to the last note.. To sequence it has been very easy: it has been sufficient to copy the violin part, avoiding the last measure, and paste it into the right hand part of the harpsichord, one measure after! I used the harp for the left hand part of the harpsichord to simulate the mute bass register of the keyboard and this gives the piece, already wonderful, a particular atmosphere of serenity in the sadness.. 3 IN E MAJOR, BWV1016.. May be the same key signature, may be the similar use of chords, anyway I find a lot of analogy to the first movement of this piece, in some parts of Chopin's piano studio in E major! The second movement is probably the clear description of the happiness of children: the theme is of an absolute joy, simplicity and brightness, and the rhythmical structure is astonishing.. This and the last movement are like drug for the two players! Indeed, in the latter, the idea of a race of two fast competitors is natural.. 4 IN C MINOR, BWV1017.. It starts with a sweet and resignedly doleful siciliano and the second movement is a champion to demonstrate Bach's skill and musical equity: the three equivalent melodic lines mix furiously in a complicate but perfect and nearly divine contrapunctum.. This has been the most difficult piece to sequence, due to the continuous change between legato and staccato and the total diversity of all its parts.. The third movement comes as an oasis of serenity after the avalanche of the second one, but it is only a rest to resume a hard battle in the fourth movement, which, for that reason, may remind the most famous (no reason why) first movement of the 5th symphony of Ludwig Van Beethoven: one straggles up to the end, against an unchangeable and determined destiny.. 5 IN F MINOR, BWV1018.. In my opinion, this is the deepest and greatest sonata.. The first movement, sweet and sorrowful, sometimes looks like an opening sky, allowing a bright sun shining, but after an illusion of a few seconds of comforting warmth, the sorrow comes back again and again.. It is hard to find something deeper in the music of any time; did you know that many people say they don't like Bach, because his music is cold and rational ? This movement gives the exact idea of how much ignorance and insensitiveness are spread around the world!.. Up to now, in the sonatas one can notice the exact equivalence between the part of the harpsichord and that of the violin, even if the former is often working twice, having to lead two melodic lines! Well, the third movement, seemingly written in a preludio style, grants the keyboard a leading part and relegates the violin to a simple accompaniment.. In opposition to the other one in a minor key, this sonata confers to its movements no official space to the major mode and the result is that it has a remarkable character of tender sadness; however the third movement, although starting in C minor, turns unexpectedly into A flat major right at the end, giving some instants of relief, immediately annihilated by the difficult and uproaring fourth movement.. 6 IN G MAJOR, BWV1019.. This is an exception in the whole work, as: 1) it is composed of five movements; 2) it starts with a fast movement.. The first part reminds the Italian concerto style, with the alternating between the orchestra and the main instrument repeating the same phrase, but it is the third movement that amazes: in a sonata for two instruments, a single one plays a whole movement, while the other stands still.. Looking at the title of the six sonatas, one can easily imagine which of the two instruments plays: please do not call them Violin Sonatas anymore! A brilliant, quick and overwhelming fifth movement closes the piece and the whole work in a similar way to the sonata in E major..

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