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APPLAUSE Good evening, everybody, a very | :00:49. | :00:56. | |
warm welcome. Tonight at the props, two musical giants go head to head, | :00:56. | :01:00. | |
both sensational violinists, both of them mavericks. One was famed | :01:00. | :01:07. | |
for his addiction for coffee, his preponderous for alcohol, arrested | :01:07. | :01:14. | |
for fighting in the street with a bassoonist. The other has a spikey | :01:15. | :01:19. | |
haircut and uncompromising opinions, one composer, one performer. Ladies | :01:19. | :01:29. | |
:01:29. | :01:44. | ||
and gentlemen, playing the work of Wow. Well, good evening, ladies and | :01:44. | :01:51. | |
gentlemen. Good evening. That's more like it. Listen. It's not late, | :01:51. | :01:55. | |
but we're just letting a few more people get in. Listen. It's | :01:56. | :02:00. | |
wonderful to see all of these cats here in this amazing auditorium. | :02:00. | :02:06. | |
It's a bit of a lonely job, this one, playing Bach in a solitary | :02:07. | :02:12. | |
manner, so I've got the ghosts of a few musicians around me just to, | :02:12. | :02:16. | |
like, make a little placebo effect. So anyway, I'm going to start with | :02:16. | :02:19. | |
this Preludium, which just for anyone who might not have heard it | :02:19. | :02:23. | |
before - I know all of you cats is, like, the most knowledgeable in the | :02:23. | :02:27. | |
world! But, you know, one or two might not have heard this most | :02:27. | :02:33. | |
amazing thing about it - is this line of notes with the complete | :02:33. | :02:43. | |
:02:43. | :02:43. | ||
Apology for the loss of subtitles for 266 seconds | :02:43. | :07:09. | |
Thank you, by the way. LAUGHTER | :07:09. | :07:18. | |
Um, so this next sonata in its entirety is a killer concentration | :07:18. | :07:23. | |
- let's put it that way, and just as much for you as it is for me, so | :07:23. | :07:25. | |
good luck, people. LAUGHTER | :07:25. | :07:35. | |
:07:35. | :07:35. | ||
Apology for the loss of subtitles for 266 seconds | :07:35. | :42:54. | |
Thank you very much indeed. Man, I need a beer! | :42:54. | :43:01. | |
LAUGHTER Been off the alcohol at least a | :43:01. | :43:06. | |
week for this. But I think, you know, I've got a theory about Bach | :43:06. | :43:14. | |
which many other people have had before, which is that Bach can | :43:14. | :43:20. | |
swing, you know - I mean, you know, these D minor artists are pretty | :43:20. | :43:22. | |
serious, and we have just got through that together, and not | :43:22. | :43:27. | |
really trying to swing in that one, but it's nice - some people put a | :43:27. | :43:32. | |
bit of a beat in there, and these instruments are not just for show. | :43:32. | :43:35. | |
There's going to be some noise coming out of these things, and I'd | :43:35. | :43:40. | |
like to introduce to you, like, some amazing musicians who are | :43:40. | :43:42. | |
going to help do a little bit of something to Bach, right? | :43:43. | :43:48. | |
LAUGHTER So this guitar - this beautiful | :43:48. | :43:53. | |
Maccaferri, I think should be played by a great friend of mine | :43:53. | :43:56. | |
from Frankfurt, the beautiful country of Germany, one of my | :43:56. | :43:59. | |
favourite countries, a fantastic place - a shame about the football, | :43:59. | :44:05. | |
but English is even worse, yeah. Rolf Bassald, please. | :44:05. | :44:15. | |
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That's it. Pretty good applause considering | :44:25. | :44:30. | |
you've played nothing yet. LAUGHTER | :44:30. | :44:36. | |
You better be good, mate. Don't be nervous. | :44:36. | :44:42. | |
And on contrabass, someone suitable for the size of the ininstrument | :44:42. | :44:52. | |
and a fantastic musician, from Palestine stroke Israel, a | :44:52. | :45:02. | |
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fantastic player, Yaron Stavi. And then lovely to see you, mate. | :45:15. | :45:18. | |
You are big enough for that instrument, man. | :45:18. | :45:21. | |
LAUGHTER You know, it's fantastic having | :45:21. | :45:29. | |
someone in the dressing room who can actually eat the rider! Anyway, | :45:29. | :45:34. | |
so last but not least one of the social experiments in my band - | :45:34. | :45:41. | |
LAUGHTER As a young kid, when he was going | :45:41. | :45:45. | |
to kindergarten or the equivalent of such in Poland, he started | :45:45. | :45:51. | |
beating the other kids physically, and the authorities, which had some | :45:51. | :46:01. | |
say in people's lives in those days, kind of said, "Listen -" to his | :46:01. | :46:06. | |
mother, this is - they said to the mother, Mrs Dziedzic, please can | :46:06. | :46:11. | |
you buy your kid some drums so he can hit those and not the children? | :46:11. | :46:18. | |
Right? And this has been an amazing success, so I would like to | :46:18. | :46:27. | |
introduce to you Krzysztof "Still Out of Prison2 Dziedzic -- prison" | :46:27. | :46:37. | |
:46:37. | :46:46. | ||
Hey has been rationed to one drum, so I hope this does not lead to a | :46:46. | :46:51. | |
fight in a phone box later, but, like, Krzysztof, how are you | :46:51. | :46:58. | |
feeling? Great, thank you. Thank God for that. So anyway - yeah, | :46:58. | :47:02. | |
let's keep him happy, I mean, whatever it takes, like. So we're | :47:02. | :47:08. | |
going to play a song called Das Pendel, which is German for The | :47:08. | :47:18. | |
:47:18. | :47:18. | ||
Apology for the loss of subtitles for 266 seconds | :47:18. | :55:41. | |
Pendulum because it's based on Bach, Thank you very much indeed, ladies | :55:41. | :55:51. | |
:55:51. | :55:54. | ||
and gentlemen. Rolf Bassald, guitar. APPLAUSE | :55:54. | :55:56. | |
Any Polish people in the audience? APPLAUSE | :55:56. | :56:05. | |
OK. Well, I want to say something to Rolf - masz piekne wlosy. It | :56:05. | :56:14. | |
means he's got lovely hair! He washed it for you guys, you know? | :56:14. | :56:24. | |
:56:24. | :56:34. | ||
Yaron Stavi on contrabass. (Speaking in Polish) | :56:34. | :56:44. | |
:56:44. | :56:47. | ||
APPLAUSE And, of course, Krzysztof "Still | :56:47. | :56:53. | |
Out of Prison" Dziedzic - so man, I'd like to move into another | :56:53. | :57:00. | |
dimension, if that's all right, so, like, same time of merits to the | :57:00. | :57:07. | |
composer we're going to play next, a fantastic harmonic master, a | :57:07. | :57:13. | |
phenomenal melodist and some rhythm in it as well. This guy's called | :57:13. | :57:18. | |
Fats Waller, and we'd like to do one called How Can You Face Me Now?, | :57:18. | :57:22. | |
which basically goes like this - # How can you face me | :57:22. | :57:30. | |
# After what I've gone through # All on account of you | :57:30. | :57:35. | |
# How can you face me now? # That's why I'm not going to do the | :57:35. | :57:39. | |
melody or, like, singing it, OK? LAUGHTER | :57:39. | :57:49. | |
:57:49. | :57:49. | ||
Apology for the loss of subtitles for 266 seconds | :57:49. | :03:36. | |
# Yes # Yes! # | :03:36. | :03:46. | |
:03:46. | :04:08. | ||
One more for the road? AUDIENCE: Yeah! | :04:08. | :04:12. | |
Sorry? Two more? No, that's too much, man. We don't know no more | :04:12. | :04:16. | |
than this, and I've got through the whole night without swearing, and | :04:16. | :04:21. | |
that's, like, taking some! This is a moor well-known song by the same | :04:21. | :04:26. | |
composer. He went out and bought some flowers one time to try and | :04:26. | :04:31. | |
make his girlfriend sweet. This one's called Honeysuckle Rose. | :04:31. | :04:41. | |
:04:41. | :04:41. | ||
Apology for the loss of subtitles for 266 seconds | :04:41. | :09:56. | |
CHEERING AND APPLAUSE Yeah! Yeah, try the intro out, man. | :09:56. | :10:06. | |
:10:06. | :10:06. | ||
Apology for the loss of subtitles for 266 seconds | :10:06. | :15:36. | |
That would be pretty cool. One, A rather unexpected double bill, | :15:36. | :15:40. | |
but then what would you expect of Kennedy but the unexpected Fats | :15:40. | :15:44. | |
Waller paired with the music of JS Bach? Well, this is our last | :15:44. | :15:48. | |
broadcast on BBC Four this season, but wrapping up the whole she bang | :15:48. | :15:55. |