Bach Allemande from French Suite BWV 815 in E-flat Major. still needs fixing.

Sorry but....I realized I sent it as a zip. I don't know if it's possible to open it..

With computers...mmmm...I really have nothing to do with them...

It can be done very well, you just need to download the zip file and then unpack it. Beautiful! Start playing again immediately Fabio, I perceive great sensitivity in you

"Romanticized" interpretation, but certainly varied from an expressive point of view. As Giovanni says, I also notice a certain sensitivity, which must be well guided

I can hear it too and I agree with what the others told you.

and it's true, I think you also tend to "romanticize" a little bit... Bach is generally more declamatory (can one say that?) but you still manage yourself well. The phrasing is fluid and correctly paced.

Thank you very much everyone.. I will try to fix it.. ok Nancy, I do look for fluidity in Bach and I am glad that it is noticeable.. but I would like to try to obtain a more timbral sound... perhaps more hammered without losing the substance of the legato sonority..

The instrument with destroyed hammers certainly doesn't help..

I liked it very much, I would use a little bit less pedal. It is actually a tad romantic with this sound that comes and goes. I would also differentiate the voices a little more. The only thing I find romantic is this coming and going of the sound, because the slight rallentandos work. We must try to have the courage to think that this Bach is played on the piano, where there are a series of additional possible nuances compared to the harpsichord that can be used. I found excellent voice management in the version by Murray Perahia, which I am attaching.

The pianist has the courage to implement exactly what I am saying. This is musically the character of this Allemande. I am quite sure Bach would approve.

Open content (youtube)

I somewhat agree with part of the opinions already expressed by others; it reminds me at first of András Schiff's, but then the pedal takes over a bit too much; if you add to this the type of dynamic management, the result deviates a bit from what is exquisitely Bachian in content

TheSimon wrote:

The only romantic thing I find is this ebb and flow of sound, because the slight rallentandos work. We must try to have the courage to think that this Bach is played on the piano, where there are a series of additional possible nuances compared to the harpsichord that can be used. .

Of course, but slight rallentandos can also be achieved on the harpsichord (it's not an exclusive to the pf); I think that the idea of managing phrasing/dynamics according to the romantic (arch-like) model is a bit of a stretch in Bach; I wouldn't want to come across as someone preaching terrace dynamics, but even if Bach's melodic content can take us very far, treating him like Schumann perhaps doesn't pay off (I am speaking in general).

Anyway, it seems to me that Fabio has the ability, and therefore the possibility, to modulate the sound as best fits.

Yes, the discussion was generic. Not obviously linked to the previous sentence.

Thanks ...well well...this is called constructive criticism..in fact I was also talking about it with anthares and he also perceived the piece as two large phrases..

I would perhaps like to try making versions with less pedaling.

The pedal is a nightmare for me...I can't manage to use it any less... I have used more and more of it as the decay of my instrument progressed... perhaps to compensate for the lack of dynamics in the hammers (felt).

I had even reached the point of wanting to disassemble it to start with a Bach that is more legato and less pedaled.

I'm off to study and then we'll see.

Thanks to everyone.