Modartt user forum » Recordings featuring Modartt's software » Joseph Bodin de Boismortier: „La Gaverneuse”
This composition comes from the program I prepared for the supplementary entrance exam to the Music Academy in Gdańsk (Poland) yesterday.
I did not pass the exam because I cannot play the harpsichord.
https://youtu.be/KroBgW9yL5A?si=OCDEbmoCbMY-WkeU
The Polish system of academic music education somewhat resembles a clan—akin to the legal or medical professions—where entry requires connections or luck, while the doors remain closed to the ordinary person who simply wishes to acquire knowledge and skills and find joy in making music.
Here is the second composition from the list of eight pieces I presented to the examination board at the Music Academy in Gdańsk.
Well, I can't play the harpsichord. The Polish education system hasn't offered anything in that regard so far, and that’s unlikely to change.
This composition comes from the program I prepared for the supplementary entrance exam to the Music Academy in Gdańsk (Poland) yesterday.
I did not pass the exam because I cannot play the harpsichord.
https://youtu.be/KroBgW9yL5A?si=OCDEbmoCbMY-WkeU
I listened to both. Well played as always. Sorry you didn't pass the exam.
Self-taught? You wouldn't think so; from what I gather, you play very well and tackle difficult pieces. I’m self-taught too, and back when I was young, I was told, "You’ll never be a pianist." That didn't feel good at the time, but I’ve played my whole life for my own enjoyment and that of others—and now I’m nearing 80.
Thank you rumburak for all music you share with us. Keep going!
Best wishes,
Stig
P S I’m uploading music with the new Airteq in Airteq forum. If you have time, listen to some. Interesting ”instrument”
✔️ Pieter Bustijn (also Pierre Bustyn or Pieter Buystijn) was a Dutch composer, organist, harpsichordist and carillon player of the Baroque period.
Bustijn occupies a very minor place in music literature: only one of his works, in fact, has been discovered, the IX Suittes pour le Clavessin. This work, one opus number, was printed in Amsterdam in 1712.
✔️ The IX Suittes pour le Clavessin occupy a unique position in Dutch music history. Little music composed in the Netherlands in the late 17th and the early 18th century was in fact printed and therefore many of these works have been lost in the course of time. Bustijn's suites offer us an amazing look at Dutch musical life during the Baroque period and they are of great importance to the history of keyboard music in the Netherlands. Even Bach had a copy of Bustijn's work.
https://youtu.be/HhTXzoFV_08?si=e28wjDnJWGf41AtK
✔️ Pieter Bustijn (also Pierre Bustyn or Pieter Buystijn) was a Dutch composer, organist, harpsichordist and carillon player of the Baroque period.
Bustijn occupies a very minor place in music literature: only one of his works, in fact, has been discovered, the IX Suittes pour le Clavessin. This work, one opus number, was printed in Amsterdam in 1712.
✔️ The IX Suittes pour le Clavessin occupy a unique position in Dutch music history. Little music composed in the Netherlands in the late 17th and the early 18th century was in fact printed and therefore many of these works have been lost in the course of time. Bustijn's suites offer us an amazing look at Dutch musical life during the Baroque period and they are of great importance to the history of keyboard music in the Netherlands. Even Bach had a copy of Bustijn's work.https://youtu.be/HhTXzoFV_08?si=e28wjDnJWGf41AtK
Greetings to the @PianoteqEnthusiast
Thanks rumburak for the greetings.
When reading this:
”The Polish system of academic music education somewhat resembles a clan—akin to the legal or medical professions—where entry requires connections or luck, while the doors remain closed to the ordinary person who simply wishes to acquire knowledge and skills and find joy in making music”…..
I don’t belong to a clan, so I can honestly say that this track—like all the previous ones—sounds like the work of a pro; you can be pleased with the playing.
Thanks for the descriptions. I got interested and found this:
"The historical manuscript demonstrating that Johann Sebastian Bach and his circle used Pieter Bustijn’s music is preserved at the Staatsbibliothek zu Berlin (Berlin State Library) in Germany.
Historians and music scholars have traced it to a specific collection: a handwritten anthology of keyboard music known as the manuscript volume D-B Mus.ms. Bach P 801.
The copy was written by Johann Tobias Krebs, a student of both J.S. Bach and Bach’s close colleague and relative Johann Gottfried Walther in Weimar. It is through this close circle and the shared manuscript collection that it is known that Bach studied and drew inspiration from Bustijn’s works".
Best wishes,
Stig
This composition comes from the program I prepared for the supplementary entrance exam to the Music Academy in Gdańsk (Poland) yesterday.
I did not pass the exam because I cannot play the harpsichord.
https://youtu.be/KroBgW9yL5A?si=OCDEbmoCbMY-WkeU
Thank you for sharing this beautiful performance Piotr! First of all, your musicality, expression, and touch shine through clearly—you have a wonderful command of the music and real sensitivity for the style.
Auditions and entrance exams can be so tough, and it’s always disappointing when specific instrument mechanics get in the way of showing your full musical potential. But technical skills on the harpsichord can be built with time and practice; the intrinsic musical intuition you already possess is what truly matters most.
Don't let this setback discourage you at all—keep playing, keep refining your craft, and keep sharing your music. You have a great talent! Thank you so much for sharing !
Carmelo
....Thanks for the descriptions. I got interested and found this:
"The historical manuscript demonstrating that Johann Sebastian Bach and his circle used Pieter Bustijn’s music is preserved at the Staatsbibliothek zu Berlin (Berlin State Library) in Germany.
Historians and music scholars have traced it to a specific collection: a handwritten anthology of keyboard music known as the manuscript volume D-B Mus.ms. Bach P 801.
The copy was written by Johann Tobias Krebs, a student of both J.S. Bach and Bach’s close colleague and relative Johann Gottfried Walther in Weimar. It is through this close circle and the shared manuscript collection that it is known that Bach studied and drew inspiration from Bustijn’s works".Best wishes,
Stig
We read on Wikipedia:
The opening of the Prelude to Suite VI (A minor) by Bustijn bears a striking resemblance to the theme of J.S. Bach’s Praeambulum No. 6 (BWV 784).
Meanwhile, the opening of the Prelude to Suite II (D major) by this Dutch composer mirrors the introduction to the Fantasia BWV 787 (from the «Clavier-Büchlein vor Wilhelm Friedemann Bach», better known as the «Inventions and Sinfonias»).
One might therefore hypothesize that Bustijn influenced even the most eminent composers of the Baroque era.
The Polish system of academic music education somewhat resembles a clan—akin to the legal or medical professions—where entry requires connections or luck, while the doors remain closed to the ordinary person who simply wishes to acquire knowledge and skills and find joy in making music.
Here is the second composition from the list of eight pieces I presented to the examination board at the Music Academy in Gdańsk.
Well, I can't play the harpsichord. The Polish education system hasn't offered anything in that regard so far, and that’s unlikely to change.
Your interpretation of Chaumont’s Chaconne grave is wonderful—full of noble dignity, clarity, and deep artistic sensitivity, Piotr.
It is truly frustrating when institutional structures feel closed, overly rigid, or gatekept, especially when access to specialized historical instruments like the harpsichord is so limited outside academic circles. Your criticism of how music education often prioritizes gatekeeping over pure passion and talent is shared by many musicians worldwide.
Please don't let this institutional setback diminish your love for early music or your confidence in your artistry. Your dedication, expressive touch, and intellectual curiosity shine through clearly in your playing. Institutional doors may be narrow, but true musicianship like yours always finds its path and its audience!
Greetings from Italy
Carmelo