Who Plays The Bach Cello Suites Correctly
Koos Nolst Trenite
13 June 2004
(layout for
typewriter font)
The one who does play the Bach Cello Suites correctly, is
Robert Cohen.
I have here a recording of 1990 in England,
which is licensed from 'Collins Classics,' for inclusion in its
'Bach Edition' (Complete Works of Johann Sebastian Bach, on CD),
to 'Brilliant Classics' - a compilation which I have recommended
earlier.
Someone else who plays the Bach Cello Suites also correctly, gently
and with equal beauty, is
Pierre Fournier.
I listen to a recording of 1960, in Germany, on Deutsche Grammophon
Gesellschaft (DGG) or Archiv Produktion.
Even if they might not be aware of that themselves, these are, to my
understanding, caring, loving, sincere, beautiful beings,
the ideal performers of Bach, of course.
Koos Nolst Trenite "Cause Trinity"
human rights philosopher and poet
'King Solomon was greater
in riches and wisdom
than all the other kings
of the earth.'
2 Chronicles 9:22
__________
References:
- 'In Memory Of My Murdered Friends' (21 Februari 2003)
http://groups.google.com/groups?selm=3b6f518d.03022...@posting.google.com&output=gplain
- 'My Great Love For Rosalyn Tureck - her philosophy of performing
Bach, Mozart and other greatest music' (16 September 2003)
http://groups.google.com/groups?selm=3b6f518d.03091...@posting.google.com&output=gplain
- 'If You Were Alive Now... in response to "If Bach Lived Today ..."'
(2 May 2003)
http://groups.google.com/groups?selm=3b6f518d.03050...@posting.google.com&output=gplain
- 'Test for Sanity' {HRI 20040519-2} (19 May 2004)
http://groups.google.com/groups?selm=3b6f518d.04061...@posting.google.com&output=gplain
Copyright 2004 by Koos Nolst Trenite - human rights philosopher
and poet
This is 'learnware' - it may not be altered, and it is free for
anyone who learns from it, and (even if he can not learn from it)
who passes it on unaltered, and with this message included,
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Bachophile
> Who Plays The Bach Cello Suites Correctly
Rostropovich.
Henk van Tuijl
"Bachophile" <music_...@hotmail.com> schreef in bericht
news:YHTyc.16017$H65....@nwrddc02.gnilink.net...
> Koos Nolst Trenite wrote:
> > Who Plays The Bach Cello Suites Correctly
>
> Rostropovich.
Heinricht Schiff - IMHO.
Henk
Luis
> Who Plays The Bach Cello Suites Correctly
I prefer Anner Bylsmma, although I think this is a complicated question.
Peter Schenkman
> Who Plays The Bach Cello Suites Correctly
"Who Plays The Bach Cello Suites Correctly"………What a really dumb
question. Everyone and No-one, take your pick.
Peter Schenkman
>
David J. G.
Nobody does. Since we don't have the original manuscripts and since the only
existing copies of the manuscripts have numerous inconsistancies in their
markings, anybody attempting the Cello Suites can only make their best guess
as to what the intentions were in terms of phrasing. Besides, "correctly" is
completely subjective so even for a work where we have an original
manuscript, interpretation has to be made anyway.
I have been studying these works for 10 years now and working on my own
score to use for my eventual recordings on the electric bass. Although my
instrument choice is obviously not one that Bach would expect (
http://www.unpronounceable.com/images/hanewinckel/studio/Dsc07496.jpg ), I
am attempting to record them as close as to what I think was intended as
possible.
I have about a dozen different scores of the Cello Suites. The only one that
I would consider being even close to definitive is the Baerenreiter New Bach
Edition set which includes facsimiles of all known sources including an
early engraved source. The score shows all of the alternate versions of the
passages that diverge in any source. This excludes any slurs which are
accepted to just be inaccurate in all of the sources. I highly recommend
this version for anybody studying these works. Instead of telling you what
the right version is for a particular discrepancy like most scores do (those
that are even based on more than the AMB facsimile) they let you make that
decision.
I have some really old recordings at http://www.jsbach.net/bass/ . When I
have some new recordings, I'll update the site. I have plans to record all
of the Solo Cello Suites and the Sonatas and Partitas for Solo Violin on the
electric bass. I am also planning on doing multitrack recordings of numerous
other works. Those will have to wait until I at least have a CD released of
some of the solo works.
Sincerely,
Dave
http://www.jsbach.net/
http://www.unpronounceable.com/dave/
Franneke
> Who Plays The Bach Cello Suites Correctly
> Someone else who plays the Bach Cello Suites also correctly, gently
> and with equal beauty, is
Bach's Cello Suites shouldn't be played that way.
Joachim
>
played, since the notion of 'correctness' suggests some kind of
objective point of reference, in this case clearly the composer. As
we're presumably never going to find out about Bach's personal do's
and don'ts in performance technique, it would seem a pretty futile
issue to debate the correctness of contemporary score readings. The
closest you can get is debating which particular interpretation works
best for you as a listener, but that can never lead to decisive
statements such as the one above.
Joachim Kelecom
Koos Nolst Trenite
'This is someone who plays the Bach Cello Suites correctly.'
And I mentioned Robert Cohen - as someone who plays them correctly.
I also attempted to allay or de-confuse the confusion that has been
introduced by those who have no or too little feeling for life to
understand music, or even are of a nature or disposition to destroy
the feeling of life and who thus attempt to destroy music too.
I am not blaming the former, but I would not turn to either the former
or the latter, to be taught music or to learn anything about music.
The former can not understand, the latter DO NOT WANT understood what
'playing music correctly' means.
Endless and meaningless discussions ensue with such people, not only
on music, but on any subject, because it is their joy and delight to
confuse others and to PREVENT understanding and to prevent connection
to life, or FEELING.
Music IS feeling, is expressing and allowing another to create
feeling, which is life itself.
Thus, without FEELING, no music. (Or, to stay on topic, no 'correct'
music.)
It has nothing at all to do with the instruments used - but these
could contribute to the feeling of the time when the music was created
or performed by the composer.
On the other hand, Mozart's Piano concertos sound much better on a
Steinway or Bosendorfer, than on a period (or any) Hammerklavier.
Again, that is not a question, but an observation. A correct one, if
you like.
Which brings us to the point of 'playing music correctly.'
(That subject is too simple, and only confused by the
'Zippelfagottists' and other Criminal Minds, of which also
music and this newsgroup is not free.)
Playing music correctly:
First there is the spirit or intention of something - that is the main
point, and I have mentioned it, describing what is 'correct.'
I quote:
'Even if they might not be aware of that themselves, these are, to my
understanding, caring, loving, sincere, beautiful beings,
the ideal performers of Bach, of course.'
So, if you are considerably or too much lacking in these, you will not
be able to perform Bach correctly.
If you DO have these, you will be able to perform Bach in any way and
on any instrument, as is proven by very many performers.
I already mentioned Louis Van Dijk (piano) - whom I hope still
to get to do some of the St. John's Passion before he (Louis)
dies.
And I mentioned Chris Hinze (flute).
But also Eugen Cicero (piano) and a host of others, have
performed Bach correctly.
So, maybe this gives you some idea of what 'playing Bach correctly'
means.
If you have understood the above, and you have enough feeling for life
(connection to life, feeling life, feeling people) then you can figure
out the rest.
KNT
hrp&p
Ambassador...@hotmail.com (Koos Nolst Trenite) wrote in message news:<3b6f518d.04061...@posting.google.com>...
jeffb
Dan Koren
news:3b6f518d.04061...@posting.google.com...
> "Who Plays The Bach Cello Suites Correctly," means
>
> 'This is someone who plays the Bach Cello Suites correctly.'
>
> And I mentioned Robert Cohen - as someone who plays them correctly.
>
The real question to consider, however, is:
What does "correctly" mean in this context?
How do you (or anyone else) know better than
anyone else? Everybody starts from the same
score, and everything one thinks one knows
about (or from) the score is no more than
one's own interpretation.
Would you please care to elaborate?
dk
Martin Davids
Ambassador...@hotmail.com (Koos Nolst Trenite) wrote:
big snip-
>
> Playing music correctly:
>
> First there is the spirit or intention of something - that is the main
> point, and I have mentioned it, describing what is 'correct.'
>
> I quote:
>
> 'Even if they might not be aware of that themselves, these are, to my
> understanding, caring, loving, sincere, beautiful beings,
>
> the ideal performers of Bach, of course.'
Of course? Caring, loving, sincere, and beautiful seem like arbitrary
or very subjective preferences of yours in a musician. Surely Bach's
music expresses other passions and is not merely beautiful of loving all
the time.
--
Martin Davids
Musical Director
Callipygian Players
www.calplayers.org
John F
David J. G. wrote:
> Although my instrument choice is obviously not one
> that Bach would expect . . .
Although I am equally sure that he didn't expect that his work would be
played by a modern symphony orchestra in which many of the instruments
have evolved considerably since his time either.
John
Beth Diane Garfinkel
> Rostropovich.
I heard a lecture not too long ago by a fairly well-known baroque cellist
named Christine Kyprianides, who made a fairly good case for the idea
that Bach never really intended them to be played--after all, it's
impossible, at least using the cello technique that existed at the time.
Now that there's thumb position, that's another matter. . .
Beth
--
"Under the green wood tree/Who loves to lie with me/And tune his
merry note/Unto the sweet bird's throat/Come hither, come hither,
come hither/ Here he shall see/No enemy/But winter and rough
weather." --William Shakespeare
Victor Eijkhout
> I have been studying these works for 10 years now and working on my own
> score to use for my eventual recordings on the electric bass. Although my
> instrument choice is obviously not one that Bach would expect
Somewhere in the past I tried some movements on a 5-string bass. After
lots of effort I went to a cello player and watched as he barely lifted
a finger to play what took me the most awkward jumps imaginable. These
works were really written for an instrument tuned in fifths.
But good luck to you. I know that I had fun finding my own solutions to
the problems a bass poses.
> http://www.unpronounceable.com/images/hanewinckel/studio/Dsc07496.jpg
Impressive. That is B through F?
V.
Eric Fretheim
certainly not one myself, but I bring it up hoping there is
someone out there who is, to pick up the ball and run it.
Based on various readings, I've come to the impression that the
cello suites were not all written for the instrument we call
the cello. At least one is written for a five-stringed
instrument, and I recall at least one reference to the "tenor"
(the instrument which is tuned a fifth above a cello, or an
octave below a violin) being the intended instrument for some
of the suites. At any rate, it is probably good to bear in
mind that specifying instrumentation at all was a fairly new
practice in Bach's day, and it is probable that he and his
contempories fully expected that liberties with instrumentation
would be taken.
There are plenty of real musicologists out there who could do a
lot better job of advancing the above, and I hope one does.
Now, from the point of view of a unpublished amatuer composer
with delusions of grandeur, I would add this: I think the idea
that any composer would write a work that he never intended to
be played is just silly. Certainly a few examples in a text
book (a la Leopold Mozart), but not full works like the Cello
Suites. Regardless of how good the case is, the premise is to
me an "up is down" thesis; no matter how well you argue it, it
fails the common sense test.
Regards,
Eric Fretheim
Beth Diane Garfinkel
> David J. G. <s...@signa.ture> wrote:
>> I have been studying these works for 10 years now and working on my own
>> score to use for my eventual recordings on the electric bass. Although my
>> instrument choice is obviously not one that Bach would expect
> Somewhere in the past I tried some movements on a 5-string bass. After
> lots of effort I went to a cello player and watched as he barely lifted
> a finger to play what took me the most awkward jumps imaginable. These
> works were really written for an instrument tuned in fifths.
Somewhere, there is a recording of Paolo Pandolfi playing them on
viol, but I believe he had to do a fair bit of re-arranging.
Dan Koren
"Martin Davids" <mda...@fake.com> wrote in message
news:mdavids-28A38B...@comcast.dca.giganews.com...
Not to mention that "caring, loving, sincere" would
immediately disqualify Gould, Tureck, Starker and
many other Bach performers.
I wonder what brand of sincerometer does KNT use.
I'd like to buy one, as it might come in handy
during business meetings.
dk
Koos Nolst Trenite
that has been introduced through the ages.
Confusion about life itself, also reflects into music.
Bach uses, performs, composes music in order to un-confuse life, as
you might glean from those who are appreciating the joy it returns
each time to their life.
I don't think there is anyone who knows that with more understanding,
than I do.
So, I will then un-confuse the thoughts you expressed in your
response, which - strangely enough - confuse (see attachment) the
performers with the music:
It is the performers who have to have a good measure of the qualities
mentioned, in order to play the music of Bach correctly. That was the
subject. (Of course anybody is free to play Bach as well as he can and
in any way he enjoys most to play it or express himself. That is not
the subject.)
Further, I will have to again remind you, that being caring, loving,
sincere, and beautiful, also truth itself, have never been "arbitrary"
at all, nor are they "preferences" - and if they have been referred to
as such, then it was by individuals of highly Criminal nature, who
wished to destroy such qualities in people (and they have succeeded to
quite some extent).
I may have to point out again, that only a Criminal Mind wants it to
be seen as "arbitrary," whether something or someone is Caring,
Loving, Sincere, Beautiful and Truthful. (They will even want it seen
as "arbitrary" who is a Criminal Mind. And preferably like it seen in
reverse, at that.)
Caring is Caring, and Loving is Loving, and Sincerity is Sincerity,
and Beauty is Beauty, and Truth is Truth, no matter how hard certain
individuals like to have the opposite believed.
I will have to remind you again, it seems, that Caring, Loving,
Sincerity, Beauty and Truth are the normal qualities of life, not
"preferences" - and only these, when present, can deal with any of
their counterparts,* and with any emotions to be expressed in music
too.
This is what Bach stands for, and reinforces for those who enjoy his
music. It is the certainty of what life itself is, that Bach feels and
intends to make you feel with his music. And it is what his music
intends, whether you understand it or not, when it makes you "feel
connected to life again."
This is why people value Bach so much and estimate Bach so highly.
If that feeling of truth that is Truth, feeling that joy that is Joy,
that caring felt to be Caring, and beauty being truly Beauty and love
being Love of Life, is not felt in your performances, then you are not
correctly playing Bach, even if you play his music.
Again, there would not be anybody who would know this with more
'correctness,' I would think.
KNT
hrp&p
________
Footnote:
(*) 'The Trinity Of Science - Truth, Love and Beauty' (Version 2.1)
{HRI 20030307-pi-1-V2.1} (7 March 2003 - V2.1 on 17 October 2003)
http://groups.google.com/groups?selm=3b6f518d.03101...@posting.google.com&output=gplain
_________________________________________________
Martin Davids <mda...@fake.com> wrote in message news:<mdavids-28A38B...@comcast.dca.giganews.com>...
Martin Davids
Ambassador...@hotmail.com (Koos Nolst Trenite) wrote:
> Well, there seems to be - there is, obviously - a lot more confusion
> that has been introduced through the ages.
>
> Confusion about life itself, also reflects into music.
>
??????
>
> Bach uses, performs, composes music in order to un-confuse life, as
> you might glean from those who are appreciating the joy it returns
> each time to their life.
Lots of things bring joy to life. What does that have to do with
"correctly" playing Bach's cello suites?
>
> I don't think there is anyone who knows that with more understanding,
> than I do.
>
Stating that you have knowledge is not the same as demonstrating it.
>
> So, I will then un-confuse the thoughts you expressed in your
> response, which - strangely enough - confuse (see attachment) the
> performers with the music:
>
> It is the performers who have to have a good measure of the qualities
> mentioned, in order to play the music of Bach correctly. That was the
> subject. (Of course anybody is free to play Bach as well as he can and
> in any way he enjoys most to play it or express himself. That is not
> the subject.)
>
If the subject is performing the suites, surely we have to talk about
performers.
> Further, I will have to again remind you, that being caring, loving,
> sincere, and beautiful, also truth itself, have never been "arbitrary"
> at all, nor are they "preferences" - and if they have been referred to
> as such, then it was by individuals of highly Criminal nature, who
> wished to destroy such qualities in people (and they have succeeded to
> quite some extent).
Calling someone "Criminal" doesn't make your case any stronger. (I'm
not sure what law you think I have violated.) Caring, loving, and
beautiful are clearly your preferences in a Bach performance. Why do
you deny it?
> I may have to point out again, that only a Criminal Mind wants it to
> be seen as "arbitrary," whether something or someone is Caring,
> Loving, Sincere, Beautiful and Truthful. (They will even want it seen
> as "arbitrary" who is a Criminal Mind. And preferably like it seen in
> reverse, at that.)
>
I said they were "arbitrary," because there are numerous other
adjectives to choose from. Such as intersesting, inspired, playful, etc.
Limiting it to Caring, loving, and beautiful can be problematic. Does
want want to sound caring during a dissonance? Loving during a
"deceptive cadence"? What does loving sound like? Is it a constant,
sugary vibrato?
> Caring is Caring, and Loving is Loving, and Sincerity is Sincerity,
> and Beauty is Beauty, and Truth is Truth, no matter how hard certain
> individuals like to have the opposite believed.
>
> I will have to remind you again, it seems, that Caring, Loving,
> Sincerity, Beauty and Truth are the normal qualities of life, not
> "preferences" - and only these, when present, can deal with any of
> their counterparts,* and with any emotions to be expressed in music
> too.
>
>
> This is what Bach stands for, and reinforces for those who enjoy his
> music. It is the certainty of what life itself is, that Bach feels and
> intends to make you feel with his music. And it is what his music
> intends, whether you understand it or not, when it makes you "feel
> connected to life again."
Did Bach tell you this? Did you glean this philosophy from his writings?
>
> This is why people value Bach so much and estimate Bach so highly.
Surely some of that is true, but for only those reasons? You presume to
tell us all why we value Bach?
--
Carl Witthoft
wrote:
>
> Not to mention that "caring, loving, sincere" would
> immediately disqualify Gould, Tureck, Starker and
> many other Bach performers.
>
> I wonder what brand of sincerometer does KNT use.
> I'd like to buy one, as it might come in handy
> during business meetings.
>
"Oh, a sincereometer. THAT'll come in handy (sneer)"
[to paraphrase a favorite Simpsons episode]
John Turner
> "Martin Davids" <mda...@fake.com> wrote in message
> news:mdavids-28A38B...@comcast.dca.giganews.com...
> > In article <3b6f518d.04061...@posting.google.com>,
> > Ambassador...@hotmail.com (Koos Nolst Trenite) wrote:
> >
> > big snip-
> > >> >
> > or very subjective preferences of yours in a musician. Surely Bach's
> > music expresses other passions and is not merely beautiful of loving all
> > the time.
>
>
> Not to mention that "caring, loving, sincere" would
> immediately disqualify Gould, Tureck, Starker and
> many other Bach performers.
Totally agree on this point. Gould had some *genius* qualities, IMO,
but "caring, loving, sincere" certainly do not spring to my thinking.
Tureck was always a bore, as far as I can tell. Others will
thoroughly disagree. Starker was just about a fabricated fraud
(raising my umbrella right now). Why on earth Firkusny ever agreed to
record a CD with him is baffling to me (recording politics, no doubt).
There is a great story about remarks that Starker made to Ormandy
during a rehearsal; I've never seen a translation of Ormandy's
response, but it was apparently unprintable in most places. Starker
shut up and the rehearsal continued, on Ormandy's terms.
>
> I wonder what brand of sincerometer does KNT use.
> I'd like to buy one, as it might come in handy
> during business meetings.
>
Let me know if you hear of such a device; I would love to have one.
John Turner
>
>
> dk
Have A Cow
>"Dan Koren" <dank...@yahoo.com> wrote in message news:<40ce075e$1...@news.meer.net>...
<snip>
>> I wonder what brand of sincerometer does KNT use.
>> I'd like to buy one, as it might come in handy
>> during business meetings.
>>
>
>Let me know if you hear of such a device; I would love to have one.
Its called a Hubbard electro-psychometer, or E-meter for short. My
recommendation is that you avoid it unless you want to end up like
Koos (a legendary usenet kook of the month). Then again...
Here's a URL for "...the Internet's most extensive E-Meter site":
http://www.cs.cmu.edu/~dst/Secrets/E-Meter
You'll notice that a Koos reference appears at the bottom of the page
in the "E-Meter Humor" section.
Hope this helps!
Valour
argue that 'correctness' should not be the principal aim of
interpreting this music.
Numerous critics have remarked upon the fact that Alexander
Kniazev's latest recording of the Bach Cello Suites is presented
on 3 CDs instead of the usual two. Some have attributed
this to Kniazev's choice of tempi, while the more observant
have noted that Kniazev takes *all the repeats* throughout the
suite.
I'd be interested in reading the opinions of others who have
listened carefully to Kniazev's Bach.
J.S. Bach Cello Suites (3 CD set); Alexander Kniazev, cello
Reviews & sound clip:
http://Kniazev.homestead.com/bach2004.html
John F
Have A Cow wrote:
> Its called a Hubbard electro-psychometer, or E-meter for short.
. . . . and all it is, is a device for measuring the electrical
resistance of skin, also known in the business as the "Galvanic Skin
Response" ( http://www.plazaearth.com/usr/gasperi/gsr.htm ). You can
put one together from parts available at Radio Shack for a fraction of
the cost.
John
Koos Nolst Trenite
"The former can not understand, the latter DO NOT WANT understood
what 'playing music correctly' means.
Endless and meaningless discussions ensue with such people, not
only on music, but on any subject, because it is their joy and
delight to confuse others and to PREVENT understanding and to
prevent connection to life, or FEELING."
Koos Nolst Trenite
in 'Re: Who Plays The Bach Cello Suites Correctly'
http://groups.google.com/groups?selm=3b6f518d.0406132035.32345e8f%40posting.google.com&output=gplain
Tho X. Bui
Koos Nolst Trenite wrote:
>
> An appropriate quote:
>
> "The former can not understand, the latter DO NOT WANT understood
> what 'playing music correctly' means.
> Endless and meaningless discussions ensue with such people, not
> only on music, but on any subject, because it is their joy and
> delight to confuse others and to PREVENT understanding and to
> prevent connection to life, or FEELING."
>
> Koos Nolst Trenite
A better quote:
"A free lobotomy is still just a lobotomy."
My Grandma
Just like first quote, it ain't appropriate here either; but it's mucho
more funnier and DEFIniTELy more from the HEART(tm) and much, much less
pHONy in its employment.
:-)
Tho
David J. G.
> lots of effort I went to a cello player and watched as he barely lifted
> a finger to play what took me the most awkward jumps imaginable. These
> works were really written for an instrument tuned in fifths.
I've seen Michael Manring play prelude from the first suite on a 4-string
bass. He puts a capo on the 12th fret and tunes the instrument in 5ths. (
check out:
http://www.chromatic-fantasy.com/2003-09-28-michael-manring/Dsc03228.html )
> But good luck to you. I know that I had fun finding my own solutions to
> the problems a bass poses.
Thanks. Yeah, solving playability problems in transposing these works and
the solo violin works to the 7-string bass has been a most enjoyable
challenge. I have been striving to play these works exactly as written. On a
7-string bass, all of these works are pretty much playable as-written. Only
a few concessions need to be made in a few works.
> > http://www.unpronounceable.com/images/hanewinckel/studio/Dsc07496.jpg
>
> Impressive. That is B through F?
Thanks again. Yes. I also have a 9-string! F# to Bb! :-)
http://www.unpronounceable.com/images/warrior/
Sincerely,
Dave
http://www.unpronounceable.com/dave/
Gerrit Stolte
peter_s...@hotmail.com (Peter Schenkman) wrote:
Could you provide more detailed information for those two? Label,
catalogue number?
Joachim
> that has been introduced through the ages.
Is that even a word? And if it is, what on earth does it mean?
> I don't think there is anyone who knows that with more understanding,
> than I do.
Good for you. I suppose this sort of makes the rest of us
superfluous.
>
>
>
> It is the performers who have to have a good measure of the qualities
> mentioned, in order to play the music of Bach correctly. That was the
> subject.
No it wasn't. The subject was which one among the performers
possessed the qualities to an extent that could be labelled 'correct'.
Rather than some kind of (pretty straightforward) statement such as
the one above, your subject asked for a value judgement.
>
>
> Further, I will have to again remind you, that being caring, loving,
> sincere, and beautiful, also truth itself, have never been "arbitrary"
> at all, nor are they "preferences" - and if they have been referred to
> as such, then it was by individuals of highly Criminal nature, who
> wished to destroy such qualities in people (and they have succeeded to
> quite some extent).
With the possible - though debatable - exception of truth, ALL of
these values are arbitrary, subjective and therefore a pretty good
example of personal preference. Love is perceived by people in
millions of ways, as are beauty and care. Though we could perhaps
establish a few archetypes on which people would concur that they are
beautiful, that does by no means indicate that the value can be
categorized objectively.
> I may have to point out again, that only a Criminal Mind wants it to
> be seen as "arbitrary," whether something or someone is Caring,
> Loving, Sincere, Beautiful and Truthful. (They will even want it seen
> as "arbitrary" who is a Criminal Mind. And preferably like it seen in
> reverse, at that.)
Introducing capitals to words nobody understands is not a solution.
>
> Caring is Caring, and Loving is Loving, and Sincerity is Sincerity,
> and Beauty is Beauty, and Truth is Truth, no matter how hard certain
> individuals like to have the opposite believed.
>
Apart from a few mental cases, I don't think any living being would
contemplate disagreeing on this. Perhaps because it is an empty
statement?
> This is what Bach stands for, and reinforces for those who enjoy his
> music. It is the certainty of what life itself is, that Bach feels and
> intends to make you feel with his music. And it is what his music
> intends, whether you understand it or not, when it makes you "feel
> connected to life again."
>
> This is why people value Bach so much and estimate Bach so highly.
Much as I share in the appreciation of Bach and his music, I am afraid
I have to disagree once more. There are numerous examples in his
prolific writing that are *not* about 'life itself', simply because
they are concerned with another reality. If we look at the
Matthäuspassion, it is pretty obvious that is a rendering of the
passion story, with great faith, devotion and ultimately a tribute to
Christ. Whether or not people can relate to the expressions of grief,
anger,... in the piece is perfectly irrelevant. He would have written
it anyway. Besides, there is evidence to suggest that Bach's
contemporaries were dismissive, or at least not very interested in his
work. He did not achieve either social, economic or political
success, did not experience 'caring' and apparently no-one really
cared about 'beauty'. Bach wrote music for music's sake.
> If that feeling of truth that is Truth, feeling that joy that is Joy,
> that caring felt to be Caring, and beauty being truly Beauty and love
> being Love of Life, is not felt in your performances, then you are not
> correctly playing Bach, even if you play his music.
>
You already said that. 'Joy is joy' is about as self evident as it
gets. What does this mean?
> Again, there would not be anybody who would know this with more
> 'correctness,' I would think.
>
Again, good for you. Pity that you can't explain it better, then.
Leonardo Been
of course entirely falsely mentioned and INTENTIONALLY falsely
mentioned and INTENTIONALLY falsely "explained" by the kooks and
the Psychopaths "responding" here in this newsgroup and
elsewhere,
existed already long before the forcefully compulsive liar, the Life
Energy Vampire and indeed exceedingly Criminal Mind l. ron hubbard
pretended to "have invented" the instrument,
"invented it" much like the local chicken farmer claiming "he has
invented eggs and is the only provider," in order to (and
managing to) sell them to those thus hypnotized, for a thousand
dollar per half dozen.
It is Criminal Minds, who do nothing BUT lying and confusing people
and creating suffering etc. THEY create all the trouble and
confusion, and they do so intentionally, with no other purpose than
to destroy life as much as they can manage.
Criminal Minds and - pathologically correctly labelled - Psychopaths,
some of whom post to Usenet and who are the real kooks (and who
are as Criminally Minded as Mr. l. ron hubbard himself, while on
the surface "opposing him") - they, by their nature of being
Criminal Minds,
are following a "Criminal Code" that could - indeed correctly - be
labeled 'The Mafia Code Against Mankind.'
I quote Koos Nolst Trenite as a - correct - source about the
instrument referred to,
(which happens to be mentioned - indeed correctly (as opposed to
any and all of the mentioned or "responding" kooks and Criminal
Minds) - and its functioning happens to be described, in the
expose on 'The Mafia Code Against Mankind' (*)):
"These facts can be established without too much work, and
with the assistance of a Life Energy Fluctuation Meter,
which,
because you measure the fast fluctuations in
regular electrical
- direct-current or 'galvanic,' as from
a battery -
resistance between concentrating Life Energy
points (acupuncture points)
such as between the hand palms touching
each a big metal surface,
to measure the very sudden, and sometimes
very big but mostly small fluctuations in
electrical resistance, from the changes in
Life Energies impinging upon your body, and
so it
is vulgarly called - by those who do not understand
why and how it works, and who deny the existence of
Life Energy - called a 'Galvanic Skin Response'
(GSR) meter, or Emotion-Meter.
Even more vulgarly and even further from the truth,
and by those of even less understanding, it is
called a lie-detector.
Presently, and to enforce 'The Mafia
Code against Mankind,' the less a
professional understands about these
things, the higher is his salary, or
the more funds for research he gets,
because he will not actually make any
correct use of the principle,
and he can be expected to spread false
and misleading date about its use and
"prove" it to be useless,
not unlike they said, a century
ago, about the introduction of
the telephone - now a common and
indispensable instrument in every
society.
It reacts on truth rather than on lies, and
it does not react properly on Criminal Minds
at all, regrettably enough:
Criminal Minds have a reverse concept
of truth, and you can not detect them
with a meter that shows the behavior of
their Life Energy, nor by other
indicators of their body - because they
do not only pretend in word, but they
pretend also in mind,
they ALSO lie Energetically - in
their thoughts, that is - they
fully create the Energies to make
their and other people's lies
seem and feel true. They do so by
means of the manipulation of Life
Energy content and behavior.
You know this very well about them:
Inside a Criminal Mind, just about
anything can be "completely true" - and
they can have any falsity "completely
true," at any moment, and keep it so
as long as they want some very false
data to be "completely true." They
are perfect actors, indeed, and are
very proud of their ability to lie
and to deceive,
and some even get famous and
highly paid for it."
written by Koos Nolst Trenite, in
(*) 'The Mafia Code Against Mankind' (Version 2.0) -
{HRI 20021018-V2.0} (18 October 2002 - V2.0 on 10 October 2003)
http://groups.google.com/groups?selm=3b6f518d.03101...@posting.google.com&output=gplain
Victor Eijkhout
> Yes. I also have a 9-string! F# to Bb! :-)
Man. Isn't that going a bit far? Can you fit your hands around that
neck? What kind of amp reproduces an F#?
Btw, I found a website for warriorinstruments.com but this jugernaut
wasn't listed. Custom job?
V.
Philip Peters
I have a recording of the cello suites on *baritone saxophone*.
Acrobatic ;-)
Philip
>
Have A Cow
On 15 Jun 2004 04:21:44 -0700, plato...@yahoo.com (Leonardo Been)
wrote:
>The instrument or 'sincerity meter'
>
> of course entirely falsely mentioned and INTENTIONALLY falsely
> mentioned and INTENTIONALLY falsely "explained" by the kooks and
> the Psychopaths "responding" here in this newsgroup and
> elsewhere,
>
> existed already long before the forcefully compulsive liar, the Life
> Energy Vampire and indeed exceedingly Criminal Mind l. ron hubbard
> pretended to "have invented" the instrument,
Thanks for clarifying this for us Koos. I have a couple of questions
for you, and the first is very much back on topic in rmcr.
Is your knowledge of who plays the Bach cello suites correctly based
upon experiences in this lifetime, or in a previous lifetime? For all
we know, you may well have known Bach personally in a previous life
and therefore have a very good understanding of what Bach would have
thought "correct".
Secondly, why do you post sometimes as Koos and other times as
Leonardo Been? A casual observer might form the impression that you
are Leonardo da Vinci reincarnated.
Thanks in advance!
Jerry Kohl
But how can any *recording* be "correct"? All recordings are false
representations, in one way or another. Ipso facto, only live
performances can even possibly be correct. ;-)
--
Jerry Kohl <jerom...@comcast.net>
"Légpárnás hajóm tele van angolnákkal."
Beth Diane Garfinkel
> I have a recording of the cello suites on *baritone saxophone*.
> Acrobatic ;-)
I know someone who likes to play them on baroque flute--not so
far-fetched, really--I have a book of flute excerpts from when I
played flute, ad some of them are movements from the cello suites and
violin partitas. I seem to remember it even having the E major prelude
for violin.
Beth Diane Garfinkel
> Caring is Caring, and Loving is Loving, and Sincerity is Sincerity,
> and Beauty is Beauty, and Truth is Truth, no matter how hard certain
> individuals like to have the opposite believed.
Does that mean that when the crowds in any of the Passions cry out,
"Crucify him! Crucify him!" that they are being caring, loving, and
sincere? I should hope not!
Joshua Kaufman
>
> In rec.music.early Philip Peters <phi...@p-peters.demon.nl> wrote:
>
> > I have a recording of the cello suites on *baritone saxophone*.
> > Acrobatic ;-)
>
> I know someone who likes to play them on baroque flute--not so
> far-fetched, really--I have a book of flute excerpts from when I
> played flute, ad some of them are movements from the cello suites and
> violin partitas. I seem to remember it even having the E major prelude
> for violin.
>
You think that's something? I have a recording of the -Chaconne- (Violin
Partita #2) on Bass Clarinet. Very odd, though I love the instrument
so...
-Joshua
--
AOL-IM: TerraEpon
David J. G.
Yes. Nothing exceeds like excess. :-)
> Can you fit your hands around that
> neck?
I can play it pretty confortably. I only have to fit my hands over the top
half. ;-) I don't spend a lot of time on the low F# so it's really more of
an 8-string for me. I've been playing a 7-string for 4 years and a 6-string
for 9 years before that. The string spacing is the same as on my 7-strings
so it's not that much of a change for me. I did use it as my main bass for
about a month. I whip it out now and then. I'm just dying to do a gig with
it and then spent the whole night on just one string. :-)
> What kind of amp reproduces an F#?
Accugroove makes a 21" cabinet that can reproduce a low F# beautifully. I
tried out the rig and bass in this picture:
http://www.chromatic-fantasy.com/2003-09-27-bassquake2003/Dsc02863.html
It literally shook the entire room. The walls vibrated and if I kept it up,
I probably could have done some real damage. :-)
However, a low F# is about 21 Hz and my Eden cabinets with 10" speakers can
handle that frequency fairly well. Not a lot of headroom though so I try not
to push the low F# too far.
> Btw, I found a website for warriorinstruments.com but this jugernaut
> wasn't listed. Custom job?
Not sure about the genesis of this instrument. It's a Warrior Signature
9-string which is listed at the site so it's not that custom (9-strings is
an option for the signature series). I bought from a friend of mine who
bought it ages ago. It's a great instrument but it doesn't sound as good as
my Hanewinckels ( http://www.hguitars.com/ ) and I don't really play the low
F# that much. I bought it more as a two-handed tapping instrument like a
Warr Guitar ( http://www.warrguitars.com/ ). I got a really good deal on it
because it was damaged but repaired beautifully. Still, the kind of damage
it sufferred brought it down to where it was affordable. I basically made
the guy an offer for it and after some deliberation, he accepted. He still
has two 9-string Conklins.
The low F# on this bass isn't that functional. It just doesn't have that
great of a tone when compared to the other strings. That's not true of all
9-strings. The one in the picture sounds fantastic.
- Dave
David J. G.
> Kniazev's latest recording of the Bach Cello Suites is presented
> on 3 CDs instead of the usual two. Some have attributed
> this to Kniazev's choice of tempi, while the more observant
> have noted that Kniazev takes *all the repeats* throughout the
> suite.
I don't think I own a single Cello Suites recording where the performer
doesn't take all of the repeats. Although, when the first part of the
Menuet, Gavotte, and Bourree is returned to after the second part,
performers almost always leave out the repeats there. The choice to put the
Suites on 3 discs instead of 2 is often to maintain the correct order of the
works. Many of the 2-disc recordings I have group suites 1, 2 and 6 on one
disc and the rest on the other. I find that irritating. I prefer to hear
them in order. I don't know if I have any that put them in the right order
on only 2 discs. Although, slower tempi can force the requirement of 3
discs.
- Dave
Leonardo Been
confusion - intentionally, and one might, not entirely without the
appropriate measure of reason, thus surmise, that she does so
maliciously.
Indeed also this "respondent" - quoted below - is
EQUALLING an emotion expressed by music, to the performers
of that music.
Also she, is INTENTIONALLY introducing confusion in order to counter
the un-confusing intended, and brought about in those of good will,
with MY posts.
The "respondent" attempts, with her intentional confusion, to hide her
true nature, but thereby is exposing it - which is, truly enough, part
of her rights, the 'Rights Of Criminal Minds.' (*)
(*) 'Rights of Criminal Minds' {HRI 20040108} (8 January 2004)
http://groups.google.com/groups?selm=3b6f518d.04010...@posting.google.com&output=gplain
Well, maybe for her, the emotion she refers to, IS her own emotion
towards life too.
It is not entirely impossible, that that would be her actual
'message,' in:
_____________________________________________________
Beth Diane Garfinkel <bgar...@steel.ucs.indiana.edu> wrote in message news:<cankbl$s7r$2...@hood.uits.indiana.edu>...
in "response" to
Leonardo Been
Unlike many, now, I like to learn from the past, including from my own
past.
Unlike most, now, I call that 'Living In The Present.' *(1)
A poem I wrote, to answer your questions:
'Fiercely Hated I am, by the very Envious,
mortally Feared I am, by the very Evil,
forcefully Denied and heavily Fought I am, by the very Cowardly, and
scathingly Despised I am, by the very Ugly.
'But Loved and Respected by the billions,
highly Intelligent and Wise in philosophy and governing, and
intensely Loving and Caring as saints are, I am
one of the most Beautiful,
for many the most Beautiful being on Earth in Art and Music.'
Koos Nolst Trenite
in 'A Poem of Love and Adventure' *(2)
Leonardo etc. Been - also known as Koos Nolst Trenite "Cause Trinity"
_________
Footnotes:
(1) 'Living In The Present - Definition' (2 Jan 2003)
http://groups.google.com/groups?selm=3b6f518d.03010...@posting.google.com&output=gplain
(2) 'A Poem of Love and Adventure' (17 July 2002)
http://groups.google.com/groups?selm=3b6f518d.02071...@posting.google.com&output=gplain
___________________________________________
ac...@acow.com (Have A Cow) wrote in message news:<40d02732...@news.prodigy.net>...
Owk28
and we are interested in your comments about performing Bach cello suites. Some
people here find your use of the word "correct" controversial, as it is not a
commonly used criterion for the performance of music. I am curious as to what
you mean by "correct": is a "correct" performance one which we believe Bach
himself would have imagined? If so, how do we know for sure what is correct?
(Please note, these are genuine questions and are not intended to be loaded or
rhetorical).
I am quite sure that no-one in the group hates or fears you!
It would be most interesting if you would explain in more precise detail what
you believe to be the features of a "correct" performance of Bach - perhaps you
could use examples of bowing, phrasing or tempo.
I look forward to your response
regards,
Oliver Webber
Joshua Kaufman
> I don't think I own a single Cello Suites recording where the performer
> doesn't take all of the repeats. Although, when the first part of the
> Menuet, Gavotte, and Bourree is returned to after the second part,
> performers almost always leave out the repeats there. The choice to put the
> Suites on 3 discs instead of 2 is often to maintain the correct order of the
> works. Many of the 2-disc recordings I have group suites 1, 2 and 6 on one
> disc and the rest on the other. I find that irritating. I prefer to hear
> them in order. I don't know if I have any that put them in the right order
> on only 2 discs. Although, slower tempi can force the requirement of 3
> discs.
The one I own, on Naxos (Alexander Rudin), is on two and in order. Plus
it even comes with a transcription of the chaconne. Maybe it doesn't
take all the repeats...
-Joshua
--
AOL-IM: TerraEpon
Victor Eijkhout
> > Can you fit your hands around that
> > neck?
>
> I can play it pretty confortably. I only have to fit my hands over the top
> half. ;-)
You mention the Warr guitar. I used to have a Chapman Stick and that one
has 10 strings, so I guess 9 should be doable. But now I wonder how the
difference in the way the instruments are held affects their
playability. I have relatively large hands but I find 6-string basses
already unconfortable to play the low notes, whereas on the Stick you
reach all the way over with no problem. Must be a difference in the way
your thumb is positioned behind the neck.
V.
Joachim
need a doctor, dude, not a newsgroup.
Carl Witthoft
"David J. G." <s...@signa.ture> wrote:
> I don't think I own a single Cello Suites recording where the performer
> doesn't take all of the repeats. Although, when the first part of the
> Menuet, Gavotte, and Bourree is returned to after the second part,
> performers almost always leave out the repeats there.
It is standard practice not to play repeats in a daCapo, which is
what's really going on in the First Suite Menuets.
FWIW, there's no evidence that the suites were intended to be played on
the same night, let alone any order. It's not a Rock Opera :-)
Joachim
and go see a doctor.
Jerry Kohl
> In article <HBPzc.112240$Ly.33591@attbi_s01>,
> "David J. G." <s...@signa.ture> wrote:
>
> > I don't think I own a single Cello Suites recording where the performer
> > doesn't take all of the repeats. Although, when the first part of the
> > Menuet, Gavotte, and Bourree is returned to after the second part,
> > performers almost always leave out the repeats there.
>
> It is standard practice not to play repeats in a daCapo, which is
> what's really going on in the First Suite Menuets.
Correction: it *was* standard practice, until about 1970. HIP performances
since that time have often if not always included the repeats in a da capo,
which is believed to have been the norm until at least the end of the 18th
century for all such movements. Of course, non-HIP performance practice
may well continue to follow the older 20th-century standard.
David J. G.
> what's really going on in the First Suite Menuets.
Yeah, I've read that. I just didn't know if that was HIP.
> FWIW, there's no evidence that the suites were intended to be played on
> the same night, let alone any order.
Perhaps. I just expect them in a certain order and when it's different. It
bugs me a little. Probably more because the choice of order isn't usually
due to any artistic considerations but a record company trying to squeeze
them onto as few discs as possible. Not a horrible thing but artistic
considerations should come first.
Same thing goes for the Sonatas and Partitas for Solo Violin. Some
recordings have all the sonatas on one disc and the partitas on another.
That drives me up the wall.
> It's not a Rock Opera :-)
Not yet ... ;-)
Sincerely,
Dave
David J. G.
> it even comes with a transcription of the chaconne. Maybe it doesn't
> take all the repeats...
Interesting. Have you heard Vito Paternoster's version of the complete
Sonatas and Partitas for Solo Violin played on Cello? A remarkable feat.
Check out:
http://www.magnatune.com/artists/paternoster
for some audio clips.
- Dave
David J. G.
> has 10 strings, so I guess 9 should be doable. But now I wonder how the
There are also Chapman Sticks with 12 strings and Warr Guitars with 14
strings!
> difference in the way the instruments are held affects their
> playability. I have relatively large hands but I find 6-string basses
> already unconfortable to play the low notes, whereas on the Stick you
> reach all the way over with no problem. Must be a difference in the way
> your thumb is positioned behind the neck.
It's all a matter of technique, I guess. I have relatively small hands but I
don't have any problems playing my 7-string. I even play the Chaconne on it.
The 9-string can be a challenge. That thing will make my hands sore after
about an hour.
- Dave
David J. G.
> since that time have often if not always included the repeats in a da
capo,
That's good to know. I am striving to make my versions on the 7-string
electric bass as HIP as possible. ;-)
- Dave
Leonardo Been
pathological Psychopath, as scientifically described in:
'Further Understanding rabiate Criminal Minds "responding" to you
on Usenet and in life' (14 June 2004)
http://groups.google.com/groups?selm=989886.040614...@posting.google.com&output=gplain
Their "behavior" (their use of concepts) is standard. Regrettably
enough, they are wholly incurable, yet far from innocent, as they are
murderous Psychopaths without any respect for life at all - which they
already show in their "responses."
The 'Rights of Criminal Minds' apply to them:
Roger E. Blumberg
> In rec.music.early Victor Eijkhout <vic...@eijkhout.net> wrote:
> > David J. G. <s...@signa.ture> wrote:
>
> >> score to use for my eventual recordings on the electric bass. Although
my
> >> instrument choice is obviously not one that Bach would expect
>
> > lots of effort I went to a cello player and watched as he barely lifted
> > a finger to play what took me the most awkward jumps imaginable. These
> > works were really written for an instrument tuned in fifths.
>
> Somewhere, there is a recording of Paolo Pandolfi playing them on
> viol, but I believe he had to do a fair bit of re-arranging.
>
> Beth
Paolo Pandolfo's rendition of Bach's six cello suites adaptated for solo
Viola da Gamba.
http://www.glossamusic.com/catalogue/0405.htm
The CD liner notes PDF (CD booklet 2) available from that page is
insightful-- An imagined dialogue between viol and cello.
I have the 2 CD set and think it's fantastic (in it's own right).
Roger
David J. G.
> Viola da Gamba.
> http://www.glossamusic.com/catalogue/0405.htm
>
> The CD liner notes PDF (CD booklet 2) available from that page is
> insightful-- An imagined dialogue between viol and cello.
>
> I have the 2 CD set and think it's fantastic (in it's own right).
I have come to the conclusion that Paolo's version is my favorite recording
of these works. I highly recommend this recording to anybody interested in
the Cello Suites or in Bach in general. I was so moved by them today that I
e-mailed him and begged him to do the solo violin works too. :-)
- Dave
Victor Eijkhout
> I was so moved by them today that I
> e-mailed him and begged him to do the solo violin works too. :-)
That should be easy. Just take a treble viol instead of a bass.
V.
David J. G.
I want him to play it on his bass viol. :-)
I play them two octaves lower on my bass. I play the Cello Suites one octave
lower. I think they sound great transposed down that low.
- Dave
Matthew B. Tepper
to be typed in news:BivAc.61649$eu.36651@attbi_s02:
> So "correct" means YOU like it.
> I can understand that but it pushes the meaning of the word "correct"
Careful of this guy. He got upset after he confused Mozart's Requiem with
the C Minor Mass and Margaret Mikulska called him on it in a post
responding to Peter T. Daniels. He blew up thusly:
"What a repulsively ugly and intentionally unaware, destructively arrogant
respondent!
"Not to mention the "guy" she is responding to.
"Their mutually agreed upon envy and hate is practically dripping from
their keyboards!"
At the risk of repeating myself, "BONGGGGG (coo-coo!)" And for that
matter, again I say, have we finally found a dumber question than "what is
the best recording of..."?
--
Matthew B. Tepper: WWW, science fiction, classical music, ducks!
My personal home page -- http://home.earthlink.net/~oy/index.html
My main music page --- http://home.earthlink.net/~oy/berlioz.html
To write to me, do for my address what Androcles did for the lion
Take THAT, Daniel Lin, Mark Sadek, James Lin & Christopher Chung!
Roger E. Blumberg
"David J. G." <s...@signa.ture> wrote in message
news:vtsAc.61025$eu.24992@attbi_s02...
I'll sign that petition ;') I hope he lives long and continues building
that library of models of the very best of Viol playing -- and continues
shaking that tree, our associations of which instrument(s) _belong_ to the
bow and are capable of exactly what, making us ask again if maybe we're
missing something and maybe our kids are too. I think fretless fifths,
verses fretted fourths, is one of the more questionable tricks we've played
on our kids and for too long already. I mean the relative difficulty of
learning, conceptualizing, and playing fretless 5ths, the likelihood or not
that the child will ever reach the point that their instrument will become a
lifelong companion and nurturer and that making music will become and remain
one of their life long sources of personal and private joy (that little
detail). I'd like to see Paolo do more adaptations of later string works,
examples in musical styles we usually associate only with the violin family
as being possible vehicle for creating, performing, and enjoying such music,
bowed music and bowed instrumental parts.
When the general public learns that viols are guitars (are beget of
vihuelas) and that bowing a guitar is not only possible but _had_ been done
for *centuries*, and that bowed guitars were thus a major foundation of our
"classical" music, and if they could then hear a recording like Paolo's
rendition of the Bach cello suites, hear what bowed guitars are capable of,
then glance at the _guitar_ leaning in the corner of the room and say, hey!
I could do that, I know that neck! both it's melody _and_ harmony (chords),
guitars are easy and fun, viols are _my_ instrument! . . . well, that'll be
the turn of a new page ;')
Roger
Carl Witthoft
"David J. G." <s...@signa.ture> wrote:
> Same thing goes for the Sonatas and Partitas for Solo Violin. Some
> recordings have all the sonatas on one disc and the partitas on another.
> That drives me up the wall.
One word: iTunes
Solves THAT little problem :-)
Matthew B. Tepper
letters to be typed in news:carl-F98445.22240718062004
@comcast.dca.giganews.com:
Are individual known recordings by a named performer findable, with all
movements available? Still not a solution to those of us using Win98.
Leonardo Been
____
From: hepsulph <hep@sulph>
First time here - hello!
I've listened so far over the years to fournier/early, rostropovich,
cassalls, tortellier, maisky, wispelwey, linden, and yes ma... I'd like to
hear that du pre btw :)
how's the naxos recording? and pandolfo recording? not heard these yet
Personally I like cassalls for raw bite, rostropovich for balance of
opposites, tortellier when I want dry wood, maisky when I want velvet,
wispelwey when I want something finesse and whimsical, ma various
recordings for exploring thematics, and linden when I want more movement of
the mind. the rostropovich DVD is wonderful - for me at least :)
I enjoyed reading this thread - good to find you
kab
(headers)
Newsgroups: rec.music.classical.recordings
Subject: Re: Who Plays The Bach Cello Suites Correctly
Date: 19 Jun 2004 23:09:18 GMT
Message-ID: <Xns950E18C7...@129.250.170.92>
NNTP-Posting-Host: p-550.newsdawg.com
________________________________
Ambassador...@hotmail.com (Koos Nolst Trenite) wrote in message news:<3b6f518d.04061...@posting.google.com>...
> Who Plays The Bach Cello Suites Correctly
>
> 13 June 2004
>
> (layout for
> typewriter font)
>
>
> The one who does play the Bach Cello Suites correctly, is
>
> Robert Cohen.
>
> I have here a recording of 1990 in England,
>
> which is licensed from 'Collins Classics,' for inclusion in its
> 'Bach Edition' (Complete Works of Johann Sebastian Bach, on CD),
> to 'Brilliant Classics' - a compilation which I have recommended
> earlier.
>
>
> Someone else who plays the Bach Cello Suites also correctly, gently
> and with equal beauty, is
>
> Pierre Fournier.
>
> I listen to a recording of 1960, in Germany, on Deutsche Grammophon
> Gesellschaft (DGG) or Archiv Produktion.
>
>
> Even if they might not be aware of that themselves, these are, to my
> understanding, caring, loving, sincere, beautiful beings,
>
> the ideal performers of Bach, of course.
>
>
> Koos Nolst Trenite "Cause Trinity"
> human rights philosopher and poet
>
> 'King Solomon was greater
> in riches and wisdom
> than all the other kings
> of the earth.'
>
> 2 Chronicles 9:22
> __________
> References:
>
> - 'In Memory Of My Murdered Friends' (21 Februari 2003)
> http://groups.google.com/groups?selm=3b6f518d.03022...@posting.google.com&output=gplain
>
> - 'My Great Love For Rosalyn Tureck - her philosophy of performing
> Bach, Mozart and other greatest music' (16 September 2003)
> http://groups.google.com/groups?selm=3b6f518d.03091...@posting.google.com&output=gplain
>
> - 'If You Were Alive Now... in response to "If Bach Lived Today ..."'
> (2 May 2003)
> http://groups.google.com/groups?selm=3b6f518d.03050...@posting.google.com&output=gplain
>
> - 'Test for Sanity' {HRI 20040519-2} (19 May 2004)
> http://groups.google.com/groups?selm=3b6f518d.04061...@posting.google.com&output=gplain
>
>
> Copyright 2004 by Koos Nolst Trenite - human rights philosopher
> and poet
> This is 'learnware' - it may not be altered, and it is free for
> anyone who learns from it, and (even if he can not learn from it)
> who passes it on unaltered, and with this message included,
> to others who might be able to learn from it.
> None of my writings may be used, ever, to support any political
> or religious agenda, but only to educate, and to encourage people
> to judge un-dominated and for themselves about any organizations
> or individuals.
> Send free-of-Envy and free-of-Hate, Beautiful e-mails to:
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