Bach - Partitas Nos. 1,2,3,4,5,6 BWV 825-830 / REMASTERED (Century's recording: Glenn Gould)

Album available // Bach: Partitas Nos. 1 - 6, BWV 825 - 830 by Glenn Gould 🎧 Qobuz (Hi-Res) bit.ly/3NEXQVl Deezer (Hi-Fi) bit.ly/3OkhapO 🎧 Amazon Music (Hi-Res) amzn.to/3RVZWmf Napster (Hi-Fi) bit.ly/3tuDJlF 🎧 SoundCloud (aac) bit.ly/3V0X9qy Youtube Music (mp4) bit.ly/3tPdi6F 🎧 Tidal — Apple Music — Spotify — Pandora, Anghami, QQ音乐, LineMusic 日本… Johann Sebastian Bach (1685-1750) 6 Partitas by Glenn Gould / Remastered 00:00 Partita No. 1 in B-flat Major, BWV 825 - I. Prelude 01:52 Partita No. 1 in B-flat Major, BWV 825 - II. Allemande 03:45 Partita No. 1 in B-flat Major, BWV 825 - III. Courante 05:29 Partita No. 1 in B-flat Major, BWV 825 - IV. Sarabande 08:38 Partita No. 1 in B-flat Major, BWV 825 - V. Menuet I; Menuet II 10:05 Partita No. 1 in B-flat Major, BWV 825 - VI. Gigue 11:25 Partita No. 2 in C minor, BWV 826 - I. Sinfonia 15:37 Partita No. 2 in C minor, BWV 826 - II. Allemande 18:51 Partita No. 2 in C minor, BWV 826 - III. Courante 20:41 Partita No. 2 in C minor, BWV 826 - IV. Sarabande 23:16 Partita No. 2 in C minor, BWV 826 - V. Rondeaux 24:51 Partita No. 2 in C minor, BWV 826 - VI. Capriccio 26:38 Partita No. 3 in A minor, BWV 827 - I. Fantasia 28:24 Partita No. 3 in A minor, BWV 827 - II. Allemande 30:29 Partita No. 3 in A minor, BWV 827 - III. Corrente 32:34 Partita No. 3 in A minor, BWV 827 - IV. Sarabande 34:35 Partita No. 3 in A minor, BWV 827 - V. Burlesca 36:21 Partita No. 3 in A minor, BWV 827 - VI. Scherzo 37:15 Partita No. 3 in A minor, BWV 827 - VII. Gigue 38:41 Partita No. 4 in D Major, BWV 828 - I. Overture 44:15 Partita No. 4 in D Major, BWV 828 - II. Allemande 50:40 Partita No. 4 in D Major, BWV 828 - III. Courante 54:20 Partita No. 4 in D Major, BWV 828 - IV. Aria 55:47 Partita No. 4 in D Major, BWV 828 - V. Sarabande 1:00:39 Partita No. 4 in D Major, BWV 828 - VI. Menuet 1:01:53 Partita No. 4 in D Major, BWV 828 - VII. Gigue 1:03:39 Partita No. 5 in G Major, BWV 829 - I. Praeambulum 1:05:27 Partita No. 5 in G Major, BWV 829 - II. Allemande 1:07:18 Partita No. 5 in G Major, BWV 829 - III. Corrente 1:07:58 Partita No. 5 in G Major, BWV 829 - IV. Sarabande 1:10:01 Partita No. 5 in G Major, BWV 829 - V. Tempo di Minuetto 1:11:06 Partita No. 5 in G Major, BWV 829 - VI. Passepied 1:11:53 Partita No. 5 in G Major, BWV 829 - VII. Gigue 1:13:33 Partita No. 6 in E minor, BWV 830 - I. Toccata 1:23:26 Partita No. 6 in E minor, BWV 830 - II. Allemande 1:25:31 Partita No. 6 in E minor, BWV 830 - III. Courante 1:27:50 Partita No. 6 in E minor, BWV 830 - IV. Air 1:28:34 Partita No. 6 in E minor, BWV 830 - V. Sarabande 1:32:13 Partita No. 6 in E minor, BWV 830 - VI. Tempo di Gavotta 1:33:05 Partita No. 6 in E minor, BWV 830 - VII. Gigue Piano: Glenn Gould Recorded in 1957-63 New mastering in 2022 by AB for CMRR ❤ Join us on our WhatsApps fanpage (our latest album preview): bit.ly/3Mraw1r 🔊 Discover our new website: www.classicalmusicreference.com/ 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ): bit.ly/370zcMg 🔊 Follow us on Spotify: spoti.fi/3016eVr ❤ If you like CMRR content, please consider membership at our Patreon or Tipeee page. Thank you :) www.patreon.com/cmrr // en.tipeee.com/cmrr The challenge of this remastered edition was to give homogeneity to a series of recordings made over a period of 6 years in mono and stereo. The Hi-Res treatment (high resolution) has allowed to give a presence never reached before to Glenn Gould's playing. Although Youtube has improved the quality of these video encodings, the sound quality will be much better on platforms such as Qobuz (hi-res) Deezer (hi-fi) ... which benefits from a listening quality without any compression of audio files (see links at the top of the description above). The challenge of this remastered edition was to give homogeneity to a series of recordings made over a period of 6 years in mono and stereo. The Hi-Res treatment (high resolution) has allowed to give a presence never reached before to Glenn Gould's playing. Although Youtube has improved the quality of these video encodings, the sound quality will be much better on platforms such as Qobuz (hi-res) Deezer (hi-fi) ... which benefits from a listening quality without any compression of audio files (see links at the top of the description above). Clavier-Übung is the German term for "keyboard practice". In the late 17th and early 18th centuries, it was the generic title for collections of keyboard music, first popular after its adoption by Johann Kuhnau, although today the term is usually associated with Johann Sebastian Bach's publication series. At the age of forty, Bach wrote this Clavier-Übung, one of the most important collections of keyboard literature, with an impressive mastery and depth. Here, as is often the case with Bach, virtuosity is a virtue: that of reconciling in a global vision the diversity of Baroque music and language in a demanding balance. First published separately in Leipzig between 1726 and 1730, the six Partitas appeared in 1731 as Bach's Opus 1. This collection became the first part of the Clavierübung. The pedagogical function is obvious, especially since the composer intended this booklet for the recreation of the mind of amateurs. Very enlightened amateurs: this music, printed and therefore public, presents a great difficulty of execution. Bach wanted to prove that the art of the composer was equal to that of the virtuoso, which was already famous. The six Partitas for harpsichord (BWV 825 to 830), sometimes called "German Suites," are the last major collection in which Bach practiced the keyboard suite, and it is the one in which he reached the peak of his art. One of the pianist's most detailed statements on the problems of finding an adequate instrument on which to perform Bach occurs in an interview with Gould himself: "l have been greatly tempted to do Bach recording on the harpsichord", Gould told "David Johnson » in this interview; "it's much easier on the harpsichord - I think I could do it in one third the time per recording session. I don't think there would be nearly as many retakes for questions of character for the reason that the harpsichord does not have the variety of character in it that the piano does. The piano has so many things that can go wrong that in order to get those many things to go right, in terms of inner balances, one must be careful in a subtle way that just isn't demanded by the harpsichord. There are certain works which you can play marvelously at one tempo on the harpsichord and you cannot, by any means, attempt to approach that kind of tempo on the piano with any real success. People have the impression that the harpsichord doesn't accommodate itself to quick tempi as well as does the piano, which is made for blockbusting technicians who want to dash off Liszt etudes and things. But this isn't true in contrapuntal music, The piano is not an instrument for which I have any great love as such, I have played it all my life and it's the best vehicle I have to express my ideas because it's extremely convenient, It's the only instrument on which you can fairly suggest an orchestral effect, except, of course, the organ." In the case of Bach, Gould admitted that he had "fixed the action in some of the instruments I play on - and the piano I use for all recordings is now so fixed - so that it is a shallower and more responsive action than the standard. It tends to have a mechanism which is rather like an automobile without power-steering: you are in control and not it; it doesn't drive you, you drive it. This is the secret of doing Bach on the piano at all. You must have that immediacy of response, that control over fine definitions of things." Bach by Marcelle Meyer - Complete Inventions & Sinfonias, Partitas, Toccatas, Italian Concerto .. (Century's recording): https://www.youtube.com/watch?v=spHBTyagfZ4&t=5680s Johann Sebastian Bach PLAYLIST (reference recordings): https://www.youtube.com/watch?v=spHBTyagfZ4&list=PL3UZpQL9LIxOLRwxl1dEfDrH3c8mX5UB1&index=4

“The aim and final end of all music should be none other than the glory of God and the refreshment of the soul.” - Bach

If you start your day with no energy, no inspiration, and no joy in your heart - just listen to this.

I have one word to say is thanks

A real gift for humanity.

Rest in peace, brilliant classical pianist Glen Gould. Thanks for all the great classical pieces.😇 And thanks for posting his recordings.

Two men born to meet each in time and through time. A temporal relationship that transcends time and space.

I don't know much about music but I know this is brilliant.

Classical music isn't exclusive to professional musicians or music aficionados; it's for everyone. It can create a state of mind, stimulate creativity, and infuse beauty and art into our daily lives.

I have been listening Glenn Gould’s recordings of the partitas for many years. It is my “if you could only listen to one thing for the rest of your life,” music.

1970 in our German High School our Music Teacher introduced us to BACH and GOULD which became instantly synonymous provoking me to start to practice the Piano Voce Dei s. d. g.

Glenn Gould brought to life something that, maybe even Bach, wasn't aware of. Perfect timing. An amazing quality in Bach's music, rendered possible by a genius: Glenn Gould.

I love how you can hear Glenn Gould humming and singing as he plays, he truly truly loved Bach Partitas and enjoyed playing them each time. What a man !

The phrasing and independence of each voice as played by Glenn is wonderful!

Дякую світу за це диво,за музику і тих,хто її створив і дав нам можливість насолоджуватись нею

グールドのバッハがユーチューブで聴けるなんて、何と幸せな時代に生きていることか…😊

…diese Transparenz,- Bach wird durch Glenn Gould in all seiner Komplexität absolut begreifbar…und gleichermaßen außergewöhnlich subtil fühlbar…

DOES ANYONE ELSE MISS GLENN'S SINGING AS HE PLAYED???? . I SURE DO. HIS GENIUS WAS MULTIFACETED AND DESERVES TO BE HEARD INTACT.

Che bel ritmo di danza....magnifico!!!!

The challenge of this remastered edition was to give homogeneity to a series of recordings made over a period of 6 years in mono and stereo. The Hi-Res treatment (high resolution) has allowed to give a presence never reached before to Glenn Gould's playing. Although Youtube has improved the quality of these video encodings, the sound quality will be much better on platforms such as Qobuz (hi-res) Deezer (hi-fi) ... which benefits from a listening quality without any compression of audio files (see links at the top of the description above). Clavier-Übung is the German term for "keyboard practice". In the late 17th and early 18th centuries, it was the generic title for collections of keyboard music, first popular after its adoption by Johann Kuhnau, although today the term is usually associated with Johann Sebastian Bach's publication series. At the age of forty, Bach wrote this Clavier-Übung, one of the most important collections of keyboard literature, with an impressive mastery and depth. Here, as is often the case with Bach, virtuosity is a virtue: that of reconciling in a global vision the diversity of Baroque music and language in a demanding balance. First published separately in Leipzig between 1726 and 1730, the six Partitas appeared in 1731 as Bach's Opus 1. This collection became the first part of the Clavierübung. The pedagogical function is obvious, especially since the composer intended this booklet for the recreation of the mind of amateurs. Very enlightened amateurs: this music, printed and therefore public, presents a great difficulty of execution. Bach wanted to prove that the art of the composer was equal to that of the virtuoso, which was already famous. The six Partitas for harpsichord (BWV 825 to 830), sometimes called "German Suites," are the last major collection in which Bach practiced the keyboard suite, and it is the one in which he reached the peak of his art. One of the pianist's most detailed statements on the problems of finding an adequate instrument on which to perform Bach occurs in an interview with Gould himself: "l have been greatly tempted to do Bach recording on the harpsichord", Gould told "David Johnson » in this interview; "it's much easier on the harpsichord - I think I could do it in one third the time per recording session. I don't think there would be nearly as many retakes for questions of character for the reason that the harpsichord does not have the variety of character in it that the piano does. The piano has so many things that can go wrong that in order to get those many things to go right, in terms of inner balances, one must be careful in a subtle way that just isn't demanded by the harpsichord. There are certain works which you can play marvelously at one tempo on the harpsichord and you cannot, by any means, attempt to approach that kind of tempo on the piano with any real success. People have the impression that the harpsichord doesn't accommodate itself to quick tempi as well as does the piano, which is made for blockbusting technicians who want to dash off Liszt etudes and things. But this isn't true in contrapuntal music, The piano is not an instrument for which I have any great love as such, I have played it all my life and it's the best vehicle I have to express my ideas because it's extremely convenient, It's the only instrument on which you can fairly suggest an orchestral effect, except, of course, the organ." In the case of Bach, Gould admitted that he had "fixed the action in some of the instruments I play on - and the piano I use for all recordings is now so fixed - so that it is a shallower and more responsive action than the standard. It tends to have a mechanism which is rather like an automobile without power-steering: you are in control and not it; it doesn't drive you, you drive it. This is the secret of doing Bach on the piano at all. You must have that immediacy of response, that control over fine definitions of things." 🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/370zcMg ❤ If you like CM//RR content, please consider membership at our Patreon page. Thank you :) www.patreon.com/cmrr