Jean-Sébastien Bach Prélude et fugue n° 6 en ré mineur Vidéos
Dernière mise à jour
2024-04-23
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Bach Dmitry Bashkirov Vladimir Krainev Paul Badura Skoda Oleg Maisenberg Bruno Canino Konstantin Lifschitz 2016
In her young career, Olga had received several awards for her interpretation of J.S. Bach, virtuosity in romantic pieces, and a special award for 'eminent style'. She appreciates the piano playing style of first decades of 20th century, which encompasses an artistic freedom and improvisation. She had her first public solo performance at the age of six, and with an orchestra at the age of nine. Since then, she played in various European countries as a soloist and chamber musician. She often forms a duet with her brother violinist Yevgeny Chepovetsky, www.yevgenychepovetsky.com Olga received her early education in Riga Emil Darzins Music School for gifted children, where in addition to piano she studied the art of composition. She continued her education at University of Music and Performing Arts in Vienna. In 2016, she became a student of Prof. Markus Schirmer at the University of Music and Performing Arts in Graz, where she remains now. To further her artistic development, she participated in master classes with Dmitry Bashkirov, Vladimir Krainev, Paul Badura-Skoda, Oleg Maisenberg, Bruno Canino, Konstantin Lifschitz and other renowned pianists of our time. She had won numerous awards in national and international piano competitions, Latvian competition for young composers, and several scholarships in Austria.
1) Prelude 0:00 2) Fugue 2:04 Prelude The Prelude D minor is another piece that focuses on a specific keyboard skill – here to arpeggiate chords of a basso continuo-type chord progression. It finds its parallel in WFB’s clavier-booklet Nr 16 (with only 15bars there). Next to the technical execution of the arpeggios, the key to playing this prelude convincingly is to phrase the bass lines and the “hidden” melodic elements in the arpeggios adequately. The bass lines are clearly leading elements of the prelude and they separate the piece into various sub-sections which are easy to identify. Regarding the right hand, one can derive various melodic elements from within the arpeggios, and it is a matter of taste which one to chose for emphasis. Fugue The fugue in D minor thrives on its interesting and contrast-rich subject, and on its regular form. The subject is used in the fugue both in its original form and in its inversion. It is accompanied by a eight 16th note countersubject, which enters the first time in bar three in the left hand. Bars 27 et seqq show the three elements combined, with various strettos (soprano: inverted subject in bar 27/28 and countersubject in bar 30; middle voice: subject in bar 28/29; bass: countersubject in bar 27 and inverted subject in bar 29/30). #Bach #AndrásSchiff #BWV851
Played by Darija Dražović, a 19-year old student from Belgrade, Serbia. i study musicology at the Music academy of Belgrade. ️ Hope you like this performance! Note. I played the same piece on accordion two years ago. I wonder whether this or that performance is better? Write your opinion in the comments! Here's the link to the performance on the accordion: (http•••)
Glenn Gould Johann Sebastian Bach 1963 2015
Provided to YouTube by Sony Classical Prelude and Fugue No. 6 in D Minor, BWV 851: Fugue · Glenn Gould · Johann Sebastian Bach Bach: The Well-Tempered Clavier, Book I, Preludes & Fugues Nos. 1-8, BWV 846-853 ℗ 1963 Sony Music Entertainment Released on: 2015-09-11 Producer: Joseph Scianni Auto-generated by YouTube.
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