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Francesco Fornasaro
Italy
Приєднався 22 лип 2010
Francesco Fornasaro - J.S. Bach: Prelude and Fugue BWV 847 (The Well-Tempered Clavier, Book 1)
JOHANN SEBASTIAN BACH'S PRELUDE AND FUGUE BWV 847:
The Prelude, 38 bars long, is based for both hands on obstinate semichrome figures with the form of broken chords and assumes - passing through different harmonies and changes of key - the appearance of an impetuous and overwhelming Toccata culminating at bar 28 in a stormy and dramatic Presto, which ends at bar 33. Then, masterfully, the final 'coda' begins, consisting of two initial bars of Adagio where, as in a recitative-cadence, an arpeggiated chord is followed by a rapid succession of biscrome and semibiscrome leading to the final resolution, made of two bars by Allegro consisting of an articulated sequence of semichrome ending with an E♮ (major third), therefore wonderfully closing the piece with a 'picardy' third. The three tempo indications of the Prelude's last part (Presto, Adagio, Allegro, which were not yet included in the first edition of the work contained in the Klavierbüchlein of his eldest son Wilhelm Friedemann) are by Bach himself.
As Alfredo Casella wrote about the Fugue, «the melancholy and transparent grace of this second Fugue [of the "Well-Tempered Clavier" Book 1], one of the few in the two books that really has a dance rhythm, is in strong contrast with the massive and pompous solemnity of the preceding Fugue [in C major]». And indeed the three-voices Fugue in C minor (type B), 31 bars long, owes its great popularity to the plastic beauty of its dancing subject - which is one of Bach's most memorable - with its triple insistence on the initial motif C-B♮-C which expresses a tonic-leading tone-tonic resolution not without torment. The writing is very free and the subject, after the first exposition which consist in the typical baroque period's repetition first by the soprano, on the dominant ('epidiapente'), then by the bass, in the home key, is no longer systematically elaborated but only compared, in whole or in part, to the two countersubjects. It reappears majestically to conclude first on bass then on the upper voice, and lights up on the last note newly with a picardy third, replicating the closing atmosphere of the Prelude.
Instrument: The harpsichord used in the recording - which is not the one that can be seen in the photograph that portrays me - is a French-Style double-manual by Zuckermann, copy after Blanchet/Taskin (second half of 18th century).
Temperament: Werckmeister III (unequal temperament) - Pitch (tuning reference): A = 415 Hz.
Recording: Florence (Italy), July 2014.
Music starts at minute 00:27.
#FrancescoFornasaro #Harpsichord #WellTemperedClavier
The Prelude, 38 bars long, is based for both hands on obstinate semichrome figures with the form of broken chords and assumes - passing through different harmonies and changes of key - the appearance of an impetuous and overwhelming Toccata culminating at bar 28 in a stormy and dramatic Presto, which ends at bar 33. Then, masterfully, the final 'coda' begins, consisting of two initial bars of Adagio where, as in a recitative-cadence, an arpeggiated chord is followed by a rapid succession of biscrome and semibiscrome leading to the final resolution, made of two bars by Allegro consisting of an articulated sequence of semichrome ending with an E♮ (major third), therefore wonderfully closing the piece with a 'picardy' third. The three tempo indications of the Prelude's last part (Presto, Adagio, Allegro, which were not yet included in the first edition of the work contained in the Klavierbüchlein of his eldest son Wilhelm Friedemann) are by Bach himself.
As Alfredo Casella wrote about the Fugue, «the melancholy and transparent grace of this second Fugue [of the "Well-Tempered Clavier" Book 1], one of the few in the two books that really has a dance rhythm, is in strong contrast with the massive and pompous solemnity of the preceding Fugue [in C major]». And indeed the three-voices Fugue in C minor (type B), 31 bars long, owes its great popularity to the plastic beauty of its dancing subject - which is one of Bach's most memorable - with its triple insistence on the initial motif C-B♮-C which expresses a tonic-leading tone-tonic resolution not without torment. The writing is very free and the subject, after the first exposition which consist in the typical baroque period's repetition first by the soprano, on the dominant ('epidiapente'), then by the bass, in the home key, is no longer systematically elaborated but only compared, in whole or in part, to the two countersubjects. It reappears majestically to conclude first on bass then on the upper voice, and lights up on the last note newly with a picardy third, replicating the closing atmosphere of the Prelude.
Instrument: The harpsichord used in the recording - which is not the one that can be seen in the photograph that portrays me - is a French-Style double-manual by Zuckermann, copy after Blanchet/Taskin (second half of 18th century).
Temperament: Werckmeister III (unequal temperament) - Pitch (tuning reference): A = 415 Hz.
Recording: Florence (Italy), July 2014.
Music starts at minute 00:27.
#FrancescoFornasaro #Harpsichord #WellTemperedClavier
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Відео
Francesco Fornasaro - J.S. Bach: Duetto No.4 BWV 805 (Clavier-Übung, Part 3)
Переглядів 8694 роки тому
JOHANN SEBASTIAN BACH'S DUETTI BWV 802-805: Johann Sebastian Bach's four Duets BWV 802-805 belong to the Third Part of the "Clavier-Übung", composed in 1739 and intended for the organ, and were included at a fairly late stage in the engraved plates for the book. Their purpose has remained a source of debate. Like the beginning Prelude and Fugue BWV 552 of "Clavier-Übung III" they are not explic...
Francesco Fornasaro - J.S. Bach: Duetto No.3 BWV 804 (Clavier-Übung, Part 3)
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JOHANN SEBASTIAN BACH'S DUETTI BWV 802-805: Johann Sebastian Bach's four Duets BWV 802-805 belong to the Third Part of the "Clavier-Übung", composed in 1739 and intended for the organ, and were included at a fairly late stage in the engraved plates for the book. Their purpose has remained a source of debate. Like the beginning Prelude and Fugue BWV 552 of "Clavier-Übung III" they are not explic...
Francesco Fornasaro - J.S. Bach: Duetto No.2 BWV 803 (Clavier-Übung, Part 3)
Переглядів 6354 роки тому
JOHANN SEBASTIAN BACH'S DUETTI BWV 802-805: Johann Sebastian Bach's four Duets BWV 802-805 belong to the Third Part of the "Clavier-Übung", composed in 1739 and intended for the organ, and were included at a fairly late stage in the engraved plates for the book. Their purpose has remained a source of debate. Like the beginning Prelude and Fugue BWV 552 of "Clavier-Übung III" they are not explic...
Francesco Fornasaro - J.S. Bach: Duetto No.1 BWV 802 (Clavier-Übung, Part 3)
Переглядів 9154 роки тому
JOHANN SEBASTIAN BACH'S DUETTI BWV 802-805: Johann Sebastian Bach's four Duets BWV 802-805 belong to the Third Part of the "Clavier-Übung", composed in 1739 and intended for the organ, and were included at a fairly late stage in the engraved plates for the book. Their purpose has remained a source of debate. Like the beginning Prelude and Fugue BWV 552 of "Clavier-Übung III" they are not explic...
Francesco Fornasaro - J.S. Bach: Prelude and Fugue BWV 846 (The Well-Tempered Clavier, Book 1)
Переглядів 8754 роки тому
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The great harpsichordist Pierre Hantaï plays Goldberg Variations in G major BWV 988 (published as Clavier-Übung IV, 1741) on an original harpsichord in Villa Medici (Rome), seat of the Accademia di Francia (French Academy). Filmed and recorded in 2000. Hantaï starts playing at minute 6:40.
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Francesco Fornasaro - Domenico Scarlatti: Sonata in B minor K. 87 (L. 33)
Переглядів 3,9 тис.11 років тому
Francesco Fornasaro plays the wonderful and expressive Harpsichord Sonata in B minor K. 87 (L. 33) by Domenico Scarlatti (1685 - 1757). The instrument - which is not the one you can see in the pictures - is a double manual harpsichord made by Alberto Colzani (Milan, 1992) after Goermans-Taskin (Paris, 1783). Tuning: unequal temperament Pitch: A = 415 Hz The recording was made in Florence (Italy...
Carole King - Will You Still Love Me Tomorrow? (1971)
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Gino Paoli - Due poveri amanti (1962)
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Gino Paoli - Due poveri amanti (1962)
it opens on a cold winter night
Un agasajo, simplemente maravilloso
Ahhhh, I haven't listened to this for such a long time -this is nourishment to my soul ✨❤️✨❤️✨❤️
❤❤❤🎉🎉🎉🌾🌾🌾☘️☘️☘️☘️💐💐💐
She is absolutely brilliant. I wish I could have seen her at this time.
Bach para gozo y gloria de los hombres !!
When the Angels play for God of course they play Bach. When the Angels play for themselves they play Mozart. (and God eavesdrop).
E com grande prazer que ouço Cecília Bartoli! É uma cantora e artista excelente!Que o mundo a saiba apreciar e dar-lhe o devido valor! Além de que é alegre e demonstra estar de bem com a vida ❤🇵🇹
Endless Newton
Pie Rats Ahoy! Uni the Unicorn Uni Joins a Team Flat Stanley on Ice Pizza Pig Twinky The Dinky Dog Corduroy’s Hike The Missing Tooth
Dinosaur Babies Treehouse: ABC Classics (2021)
Five Silly Fishermen Netflix: Treehouse Remake 2022
Big Egg Chicks The Poky Little Puppy The Fat Cat Sat on the Mat In a Dark Dark Room and Other Scary Stories One Hundred Shoes A Dollar for Penny
The Poky Little Puppy The Fire Cat Cooking with Sam I Am Chicks Peanut My New Boy Whose Feet
The Berenstain Bears Bears on Wheels Danny and the Dinosaur Little Bear Splat the Cat Sings Flat One Hundred Shoes A Dollar for Penny Zack’s Alligator
Sunshine Moonshine The Berenstain Bears Bears On Wheels The Poky Little Puppy Big Egg Five Silly Fishermen Dinosaur Babies Pie Rats Ahoy!
Ton Koopman Presents Sunshine , Moonshine
........dem orchester und den solisten auch höchstes lob!
..........viva cecilia!
.....und in ihrer musikalität unvergleichlich!
....die beste königin der nacht, die ich in meinem 80 - jährigem leben gehört habe, auch im vergleich mit der callas!
Bach is an eternal and divine beauty
🎉
einzigartig
Браво
16:45
d'autres me font croire en Daft Punk 🤪
la variation sur la sixte me fait presque toujours croire en Dieu
Вообще не очень хорошо играют
Can anybody explain why this recording sounds like B flat minor, not B minor?
Because of baroque tuning, look it up
best Goldberg interpretation out there
Tesouro inestimável da humanidade , magnífico patrimônio da cultura , intangível aos computadores quânticos !
Merveilleuse Cécilia, unique ❤
The ability to simply play hundreds of different interpretations of Bach's GV, and others, on various instruments with a few finger presses is akin to absolute wizardry for 99 per cent of every human that ever lived. What a time to be alive.
Magnifico
The same as the reputation Freiburg!
bach was the goat
1:24
Always a treat to see the German Mortica with her custom Goth instrument!😎
Lot´s of fine instrumentalists: Jaap ter Linden, Ageet Zweistra, Jan Schlapp, Trevor Jones, Ku Ebbinge, Andrew Manze, Pavlo Beznosiuk, Marc Vallon, etc... Headbanging Ton Koopman is the best.
Quite marvelous. Thank you for sharing. Having watched/listened to a lot of performances, one thing that is interesting is how often harpsichordists take more moderate tempi than pianists. It becomes a much less breathless and richer experience. The variety of texture and articulation here (never mind the glorious sound) is stunning.
7:40
Whenever I listen to ua-cam.com/video/4qpYeayqu6U/v-deo.htmlh07m46s , I always cry. Because Ms Bartoli is the best singer in the world
😊
Yes i do
💐💎💎💎💎💎💎💐
Splendide.
A Universal Treasure!
Fantastisch!
Insightful playing. There's something to learn from his analysis here.