Parabéns!! Foi uma grande apresentação

This is how this Suite was played in the 1950’s, before we read Leopold Mozart and Quantz. Strange that people still play this way, especially in the U.S. 😢

Rebecca, J ❤ you.

wooooooww

Lovely!

The music is so beautiful. Thanks 😂❤

❤

Wow

無伴奏最佳詮釋之一，手法綿密，音樂情感豐富，連貫性非常好。

One of the very best renditions of this suite I’ve ever heard,Bravissimo 👍👏👏

👏🏻👏🏻👏🏻👏🏻👏🏻👏🏻

Maravillosa

Que belleza suscripta de una a tu canal te invito al mio saludos desde Argentina de una cantante de tango y compositora 😊

What a beautiful garden!

Majestuous interpretation. A great talent!

Thank you for this performance I'll rooting for you. expect next performance too

Both compositions are tremendously beautiful and the performance is exquisite - Thanks for sharing and Bravi tutti!!! 👏👏👏

Thank you! This is a truly definitive performance of BWV 2008! Such playing skill, bowing technique, intonation and soulful modulation. I'm loving it!! (from Canada)

this is Amzing! her vibrato is superb! and she is incredibly technically seasoned!

That is really beautiful❤ thank you🙏

♡♡♡♡

J.S. Bach: Suite No. 2 in d- BWV 2008 for Cello solo performed by Rebecca Rust COMPLETE kzfaq.info/get/bejne/d5uEdNuYvt2ZZXk.html 0:00 Prélude, 03:49 Allemande 07:54 Courante 11:09 Sarabande 16:47 Menuet I & II 20:36 Gigue

J.S. Bach: Suite No. 2 in d- BWV 2008 for Cello solo performed by Rebecca Rust COMPLETE kzfaq.info/get/bejne/d5uEdNuYvt2ZZXk.html 0:00 Prélude, 03:49 Allemande 07:54 Courante 11:09 Sarabande 16:47 Menuet I & II 20:36 Gigue

J.S. Bach: Suite No. 2 in d- BWV 2008 for Cello solo performed by Rebecca Rust COMPLETE kzfaq.info/get/bejne/d5uEdNuYvt2ZZXk.html 00:00 Prélude, 03:49 Allemande 07:54 Courante 11:09 Sarabande 16:47 Menuet I & II 20:36 Gigue

J.S. Bach: Suite No. 2 in d- BWV 2008 for Cello solo performed by Rebecca Rust COMPLETE kzfaq.info/get/bejne/d5uEdNuYvt2ZZXk.html 00:00 Prélude, 03:49 Allemande 07:54 Courante 11:09 Sarabande 16:47 Menuet I & II 20:36 Gigue

J.S. Bach: Suite No. 2 in d- BWV 2008 for Cello solo performed by Rebecca Rust COMPLETE kzfaq.info/get/bejne/d5uEdNuYvt2ZZXk.html 0:00 Prélude, 03:49 Allemande 07:54 Courante 11:09 Sarabande 16:47 Menuet I & II 20:36 Gigue

J.S. Bach: Suite No. 2 in d- BWV 2008 for Cello solo performed by Rebecca Rust COMPLETE kzfaq.info/get/bejne/d5uEdNuYvt2ZZXk.html 0:00 Prélude, 03:49 Allemande 07:54 Courante 11:09 Sarabande 16:47 Menuet I & II 20:36 Gigue

Maestra Rust, su interpretación es maravillosa y motivadora. Felicitaciones!!

Bach Suite No. 1 for Cello solo in G Major performed by Rebecca Rust 00:06 Prélude 02:59 Allemande 07:22 Courante 10:22 Sarabande 13:22 Menuet I & II 17:07 Gigue

Felicitaciones, grandes maestros!!! Compositores y obras que no conocía y los conocidos hermosamente interpretados.

Love your white garden so much!

One of the most demanding of his 6 Suites, grandly performed!

I am not sure of her age. I believe that Bach will truly stay alive in her. I hope I am able to play Bach well into my 80’s🙏🎵

❤❤❤

de.wikipedia.org/wiki/Adagio_g-Moll_(Giazotto) This Piece is NOT ALBINONI! It is Remo Giazotto. Please do not ignore history!

You play beautifully

Beautiful

I can imagine being able to experience her interpretation of this first suite in person, in such an amazing location could become emotionally overwhelming. It has moved me and I am just seeing it on my phone. 😂 very beautiful. Thank you for this.

Through my book "Memories of 17 years under the Principal Conductor Maestro Sergiu Celibidache as Principal Bassoonist of the Munich Philharmonic Orchestra" we got to know and become friends with Ramón Navarro Martin from Spain. In a private letter he wrote to us in English, what he wrote in the comment below in Spanish: "For me it is a privilege that you have made me part of this first look at this fantastic interpretation of Bach's Suite No. 1 by Rebecca. I especially loved the menuetto, especially the central part, which corresponds to the trio, with exquisitely refined phrasing. Likewise the giga, in which all the rhythmic/melodic motifs and the dialogues established between them are clearly distinguished. A performance that at no time makes empty virtuosic displays, the musical discourse fills everything. There are no effects, no affectations, there is just a lot of MUSIC. An interpretation based on a deep and mature analysis of the score. We must also highlight the deep technical mastery of the instrument, its beautiful and full sound, with rich resonances, robust, bright and clear. Bravo, bravissimo, Rebecca!!! If we needed to summarize this superb performance with a slogan, it would be: "Musical purity" RAMÓN NAVARRO MARTIN"

Esta fantástica interpretación de la Suite 1 de Bach por parte de Rebecca Rust me ha emocionado hasta el punto de que al acabar la giga final he tenido que respirar muy hondo, serenarme y coger resuello. Me ha encantado especialmente el menuetto, sobre todo la parte central, que correspondería al trio, de un fraseo exquisitamente depurado. Igualmente la giga, en la que se distinguen con total claridad todos los motivos rítmico/melódicos y los diálogos que se establecen entre ellos. Una interpretación que en ningún momento hace alardes virtuosísticos vacíos, el discurso musical lo llena todo. No hay efectismos, ni afectaciones, sólo hay mucha MÚSICA. Una interpretación basada en un profundo y maduro análisis de la partitura. También hay que destacar el profundo dominio técnico del instrumente, su precioso y pleno sonido, de riquísimas resonancias, robusto, brillante y nítido. ¡¡¡Bravo, bravíssimo, Rebecca!!! Si hubiera que resumir esta soberbia interpretación con un eslogan, sería éste : “Pureza musical”.

Vielen Dank, für sieses schone und informative Video!

Sempre bravi!!!

Fantastic....

Moving !

Program: 0:23 Ernest Bloch (1880-1959): “Méditation Hébraique” for Cello & Piano Moderato 6:17 Karl Michael Komma (1913-2012): “Burlesca canonica“ for Cello & Bassoon (composed for Rebecca Rust & Friedrich Edelmann) Three Japanese Songs arr. for Cello & Bassoon 8:20 Karatachi no Hana (Wild Orange Blossom) 10:15 Yogashima no Ame (Rain in Yogashima) 12:50 Sunayama (Sanddunes) 13:45 Robert Schumann (1810-1856): “Adagio & Allegro” for Cello & Piano 22:30 Laurence Sherr (born 1953): “From Another Realm” for Cello & Bassoon (composed 2020) (composed for Rebecca Rust & Friedrich Edelmann) 30:35 Edvard Grieg (1843-1907): Sonata in a minor op. 36 for Cello & Piano 58:00 Encore: George Peter Tingley (born 1950): “The Great Conversation” for cello, bassoon, piano, composed for the performers.

I love how you play the ocarina. 😍

It was so nice to meet you both at the Pacific Java Coffee House !! You two sound fantastic and I really enjoyed your video : Like#8 my friends !! Hope you give a listen to my original jazz composition : Rick Nichols Life Let's Out !! ☮️🎵👍☮️ Hope you both have a great weekend in the Bay Area !! ☮️🎵👍☮️

Wunderbar!

Dear musical friends, here is a NEW and AMAZING version of this Kyrie, together with its Toccata. music.kzfaq.info/get/bejne/l9Sla9ednL_Ll6s.html Notes from the Cd booklet (by Carlo Forlivesi): 8 • Girolamo Frescobaldi (1583-1643): Toccata Avanti la Messa della Madonna, Kyrie-Christe-Kyrie It gives me an immense pleasure to play works by Girolamo Frescobaldi, whose music is filled with grace, ease, variety of measure, and elegance. However, one must pay great attention to his instructions to reach the heights of creativity and extravagance equal to those in the paintings and architecture of the period. One has to play with an exquisite lack of regular tempo and an extraordinary improvisatory feel, combined with melodic, harmonic and contrapuntal intensity. Frescobaldi advises “affetto” (affection) for interpreting each passage, and a variety of tempi in passaggi di bravura. In accordance with Frescobaldi’s “nuova maniera” (new way), the performer must emphasize dissonances, and shape embellishments, phrasing, articulation, and agogic accents. The Nachini-Dacci organ of Savignano sul Rubicone, an instrument with an authentic voice and a marvelous color for renaissance and early baroque music (fortunately passed nearly unscathed in the various wars or aesthetic revolutions of the three centuries since its construction) is used in this recording. This rare instrument ensures flawless yet demanding touch control, which is well-suited to reproducing a colorful and varied style, imbued with “durezze e ligature.” This version guides us on a short journey from the micro-virtuous gravity of the Toccata played with ineffable placidity, to the intimate and calm meditation of the last Kyrie. Precisely in order to accompany this transition, the two Kyrie have been (as some Frescobaldi aficionados will note) deliberately inverted.