I'm more of a classical person and rarely listen to Renaissance pieces, but your commentary and how you point out the structure makes me appreciate this much more. Thank you for expanding my horizons.
Your videos save my life. I cannot find other pleasure in life than exploring these compositions thanks to you! I am not exaggarating. You literally save my life. Thank you!
It's amazing how the sound of the harpsichord resembles that an organ at times especially when countersubject #5 appears around 10:33. What a delightful piece!
Sweelinck is a real treasure I have had his complete organ and harpsichord works for years. For me Mein Junges Leben is is masterwork. Thanks for sharing this.
@@hauthot287 Actually, he was kind of seen as old-fashioned. The gallant style emerged during J. S. Bach's lifetime and was considered the new hot shit. This is also the reason why Frederick II of Prussia (also known as Frederick the Great) invited Bach to his pleasure palace Sanssouci to give him a chance to convince Frederick of the superiority of counterpoint. Although the Prussian king was impressed, he remained convinced that the gallant style was the more beautiful or better. Incidentally, this meeting resulted in the masterpiece "Musical Offering", which J. S. Bach subsequently composed and dedicated to the king after he had felt unable to improvise a six-part fugue on the theme given by Frederick II. It is also interesting to note that it was at Sanssouci Palace that Bach first came into contact with the new invention of the fortepiano, of which Frederick owned several. Before you think that I therefore consider J. S. Bach to be a boring, uninspired, unimaginative and uninventive composer, you are mistaken. On the contrary: I think he brought the Baroque art of composition to a final climax and got everything out of it, which is why many say that Baroque music came to an end with the death of J. S. Bach. Bach sometimes incorporated unprecedented chromaticism into the music, which deviated greatly from the ideals of the time. Chromatic lines had already existed before, the most famous example of which is of course the lament bass, but just listen to J. S. Bach's Chromatic Fantasy and Fugue: simply amazing! The fugue subject of his B minor fugue from the first volume of the Well-Tempered Clavier contains all twelve semitones of the Western tonal system, to name a second example. The man was definitely a badass! Handel, a contemporary, had great success with his non-gallant music, as Baroque music was still fashionable and appreciated in Britain. G. P. Telemann, also a contemporary of Bach, whom he outlived, incorporated more and more aspects of the gallant style into his music as he grew older and moved with the times. He did not adhere to counterpoint as much as Bach, yet he was still too baroque to be considered an early classicist. Another "by the way": many people think that Bach's only six-part fugue is also the only one that has more than six parts, but this is actually not true, because there is also the "Credo" from the Mass in B minor, which is a seven-part fugue with basso continuo. Five voices and two solo violins form the fugue, while the basso continuo forms an eighth part, albeit only an accompanying one.
@@DJKLProductions Your thesis seems to be that Bach was old-fashioned because he composed fugues. Are we to suppose that any use of counterpoint is old-fashioned? Are we to suppose that the town council of Muehlhausen repeatedly hired the young Bach to compose occasional music for them because he was old-fashioned? Are we to suppose that the dukes of Weimar, who could afford to hire anyone, hired Bach (1707-1717) to compose for them because he was old-fashioned? Are we to suppose that the young Prince Leopold of Anhalt-Koethen, who was himself a musician and who could afford to hire anyone, hired Bach (1717-1723) to serve as his Kapellmeister and to provide Sunday concert music and birthday music because Bach was old-fashioned? King Frederick was himself a composer and a learned musician. Surely, he knew about counterpoint. But his musical tastes were influenced by Italian opera. His purpose in inviting Bach was not to be convinced "of the superiority of counterpoint." His purpose was to hear the then already famous Bach improvise. The 3-part fugue that Bach famously improvised on a subject provided by the king contains elements of the modern Berlin school and the musical language of the younger generation. Bach was a master of all styles. BTW, some of Bach's double-chorus motets contains fugato sections in 8 parts. BTW, "gallant" means brave, heroic, chivalrous. The word you were looking for is _galant._ Contrary to what you seem to believe, Bach also composed music in the galant style. He was also quite familiar with the current trends in Italian opera. A sophisticated listener in Bach's time would have recognized his frequent use of modern operatic devices in his church cantatas and passions. BTW, galant music does not preclude the use of counterpoint. You'll find many examples of galant melodies in Bach's music, especially in the arias of his Leipzig church cantatas.
As a singer, I found myself wishing I could sing this with my friends. Then as the piece progressed, I thought to myself there are some challenging parts, but still would be pleasant to sing. Then toward the end, nope that's never going to happen! :-)
I'm amazed by the fantastic annotations and I imagine the immense work behind it, let alone the piece itself which is delightfully intricate and yet so deceptively simple: marvellous! Thank you so much for this, always a pleasure watching your videos and discover such great music and composers. 👍👏👏👏♥️
I stumbled onto Early Music Sources by sheer accident, two days ago; I think it has become my favorite music channel. The combination of the quality of your instruction (for this non-musician music lover, it's like drinking purest water from a fire hose) and the beauty of the chosen pieces and performances are unmatched.
Wow, indeed!!! What a great way to enjoy this piece. The colors help a great deal, especially for someone as "rusty" as me in tracing the subject throughout the music. This was incredibly FUN too!! A marvelous experience!
Kudos to your painstaking work and bringing to your audience an exemplary performance of this brilliant composition replete with visual prompts, training our ears to follow it's complexity. You are like a lonely miner teasing out these musical gems from the bowels of archival material & your efforts are commendable to say the least. A project such as yours needs to be fully funded by the EU-they owe it to European Culture. Thank you Sir for this and all the previous uploads.
W O W ! What a piece ! Towards the end it evolves into a kind of gorgeous frenzy - so great !! The Ruckers is able to deliver the magnificent sound needed for this piece. Pure joy !!!
Hi Elam I’m not sure why I like your channel so much, first for all the information you give to us in an absolutely reasoned, presented, very correct, and clear way, or for all your graphic presentation works that are always incredible and fun to watch. congratulations and please continue! You are doing an excellent job!
Eustache Du Caurroy also has a hexachord fantasia, his fantasia #38. I heard it performed once, but have never found a recorded version. It was a very trippy piece, hope to hear it again some day.
OK, thank you so much for the color coding and notation. It was truly a bit of a revelation for me. So that this post isn't too long: I love music in general, but a lot of baroque/classical etc eludes me because it all just sounds like a flurry of pretty notes. I never know what to pay attention to unless the theme smacks me in the face. Having your notations to guide my attention (and thus my ear) was awesome and really helped me to feel the music and follow the intent and emotions. I've never really had the before with this type of music. Please do this for more pieces.
Wow! What a piece! Exactly. Thank you so much, Elam. This virtuosic piece was a thrill to hear, and your beautiful graphics illuminated the structure and complexity of the counterpoint. I love the way he “sneaks in” the main subject, and it takes over the listener’s consciousness so gradually. There even seems to be a snippet of 16th note subject, disguised as ornament perhaps, at the very end. Loved it. I am so happy to learn about this exciting music.
What a fantastic piece and superlative performance of it! Thank you so much for your very informative introduction and for providing the score in modern notation to follow.🌟🎼🎵
Wow, Thanks guys! That was an absolutely amazing piece of music. So simple in concept but with an almost God-like execution which shows true mastery of his craft. It is an awe inspiring composition! Thank you so much!
Amazing. Sweelinck has such wonderful pieces! La Ricerca or the Tocatta in A minor are absolutely amazing... This coloured analysis is great to visualize the structure.. having the sheet music also helps a lot... Great job!! Thanks a bunch and keep it up!
I was born 400 years too late! There were a few accidentals in the middle two voices, and the chords they made gave me chills. Tiny points of light in a already bright display.
Dear John Donovan: there is a tremendous possibility that if you were born 400 years too early, 390 years ago you would be dead by Plague! The fun fact is you choose where to die: (London, Sevilla, Vienna or the whole Italy)'s streets... Never a palace near the King's favor!
@@eternafuentedeluzdivina3189 In London and the surrounding parishes there was a roughly 10% chance of dying from the plague around 1593. 1665/6 was a real stinker, but I would have been 92 by then and probably dead anyway. Nah, I'll take my chances if I can hear this sort of music in its original time and setting.
It's not enough to have been born in that time: you had to be a very rich nobleman (in time of peace) or a very important clergyman in order to listen to high quality music... or you had to be a good musician or composer, of course (although peasants and bourgeois could listen to some good music at church or religious schools, if they lived in or near a big city).
@@carlosazambujayt you are right! For example, people at Leipzig felt like bees with Johann Schelle music when they went to the services at Schelle's time as Thomaskantor. Even at Bach's time, people requested to hear his music until Bach decided to throw the window (literally) his scores due they were "worn" before "unreadable" state. Oh yeah dear angry Bach! We "believe" you! Also, about noblemen in time of peace and great musician: Farinelli received 3 clavicembalos as gifts due his excellence by Bárbara de Braganza, queen consort of the Spanish king. In other words, for to listen excellent music at those times you had few options: to be gifted living in a big and stable city or build your own destiny "cum" or "sine"...
Probably because of my TV's speakers or some overtones, but the harpsichord almost sounds as if there are horns and trombones playing in the background. Amazing!
Very user friendly approach to early classical music, music of the Renaissance, when humanity began to evolve out from under feudal warlordism and into the democratized world of science and rational observation. Can't thank you enough for the enlightenment you bring to the Internet. This is the music that both propelled and reflected the ascent of the beauty of mind that we all possess, into the modern world.
"wow, what a piece!" Took the words right out of my head. I am so impressed with how much complexity the composer wove into his music. First time I heard of Sweelinck was on a Glenn Gould recording. I am unaware of any other mainstream pianist who included this composer in their repetoire. I suppose that were I to look for harpsichord recordings there would be several performers, none of whom I am familiar with. Such outstanding music deserves a wider audience and I commend you for bringing it out with notation that is easy to follow. Bravo to the performer.
Thanks for another fascinating video and what a great performance of this magical piece! (Also, might I ask where you got your Guidonian hand mug? :-) )
The breadth of this work makes me wonder why it's not as well known as the Chaccone or Goldberg variations. I'm deeply in love with Bach, but this is a piece that seems to be just as ambitious as many Bach works that are critically acclaimed today!
I needed to be reminded of Sweelinck's hexachord fantasia, thank you! I now may continue with the chromatic one, the ricercare and the other fantasias ^^
literally breathtaking. I think I held it from when it started doing triplet eighth notes to the end :O wow! what a piece. I wonder how it'd sound on a piano... not as incredible, I'm sure, but still pretty neat (temperament and tuning aside...) I need more renaissance repertoire to play such as this! haha
Your are my favourite music youtube!! Love this video so much. The music is flowing......fantastic....what is the software to make scores flowing??thank you.
Note: from a idiomatic point of view this masterpiece of Sweelinck is very suitable for performances on the (meantone tuned) organ, while the 'sisterwork' Sweelinck's Fantasia Cromatica is the most suitable for the (also tuned in meantone) harpsichord. See publications of Sweelinck-cholas Dr. Pieter Dirksen
Amazing video, as always. Out of curiosity: is there any particular reason for the harpsichord to be tuned so low? I'm used to one semitone or tone, but almost a fourth I've never seen ou heard before!
Johannes plays the piece on the lower manual of a Ruckers instrument in original disposition, which is tuned in this low pitch (that is, the upper manual is "normal" and the lower is a fourth lower. If you want 8'+4' and 12'+6'). The specific reasons for this setup are somewhat mysterious. Later on such instruments were modified to have the lower manual "normal" like the upper manual.
@@EarlyMusicSources Amazing! Perhaps it has something to do with accompaniment for singers, to avoid the eventual need of real time transposition of the whole harmony/counterpoint (for example: a tune was to be singed by a soprano, but at the last minute she had to be replaced by a countertenor or alto... something like that). Anyway, thanks for the answer, and for your fantastic job with this Early Music Sources channel.
![Score analysis #5 - William Byrd / Hugh Ashton's ground [Tregian’s ground]](/img/1.gif)
always a great day when you upload
True
I'm more of a classical person and rarely listen to Renaissance pieces, but your commentary and how you point out the structure makes me appreciate this much more. Thank you for expanding my horizons.
Your videos save my life. I cannot find other pleasure in life than exploring these compositions thanks to you! I am not exaggarating. You literally save my life. Thank you!
The colour coded breakdown is very very helpful. Thanks for this, love your videos!
It's amazing how the sound of the harpsichord resembles that an organ at times especially when countersubject #5 appears around 10:33. What a delightful piece!
Sweelinck is a real treasure I have had his complete organ and harpsichord works for years. For me Mein Junges Leben is is masterwork. Thanks for sharing this.
What a piece indeed. It's so beautiful and so old at once. Bach seems like a romantic composer in front of this, and I love it!
Tbh, Bach was considered too romantic for his time. One of the criticisms he got back then was that he was too sentimental
@@hauthot287 Citation?
@@hauthot287 Actually, he was kind of seen as old-fashioned. The gallant style emerged during J. S. Bach's lifetime and was considered the new hot shit. This is also the reason why Frederick II of Prussia (also known as Frederick the Great) invited Bach to his pleasure palace Sanssouci to give him a chance to convince Frederick of the superiority of counterpoint. Although the Prussian king was impressed, he remained convinced that the gallant style was the more beautiful or better. Incidentally, this meeting resulted in the masterpiece "Musical Offering", which J. S. Bach subsequently composed and dedicated to the king after he had felt unable to improvise a six-part fugue on the theme given by Frederick II. It is also interesting to note that it was at Sanssouci Palace that Bach first came into contact with the new invention of the fortepiano, of which Frederick owned several.
Before you think that I therefore consider J. S. Bach to be a boring, uninspired, unimaginative and uninventive composer, you are mistaken. On the contrary: I think he brought the Baroque art of composition to a final climax and got everything out of it, which is why many say that Baroque music came to an end with the death of J. S. Bach. Bach sometimes incorporated unprecedented chromaticism into the music, which deviated greatly from the ideals of the time. Chromatic lines had already existed before, the most famous example of which is of course the lament bass, but just listen to J. S. Bach's Chromatic Fantasy and Fugue: simply amazing! The fugue subject of his B minor fugue from the first volume of the Well-Tempered Clavier contains all twelve semitones of the Western tonal system, to name a second example. The man was definitely a badass!
Handel, a contemporary, had great success with his non-gallant music, as Baroque music was still fashionable and appreciated in Britain. G. P. Telemann, also a contemporary of Bach, whom he outlived, incorporated more and more aspects of the gallant style into his music as he grew older and moved with the times. He did not adhere to counterpoint as much as Bach, yet he was still too baroque to be considered an early classicist.
Another "by the way": many people think that Bach's only six-part fugue is also the only one that has more than six parts, but this is actually not true, because there is also the "Credo" from the Mass in B minor, which is a seven-part fugue with basso continuo. Five voices and two solo violins form the fugue, while the basso continuo forms an eighth part, albeit only an accompanying one.
@@hauthot287 Huh?
@@DJKLProductions
Your thesis seems to be that Bach was old-fashioned because he composed fugues. Are we to suppose that any use of counterpoint is old-fashioned? Are we to suppose that the town council of Muehlhausen repeatedly hired the young Bach to compose occasional music for them because he was old-fashioned? Are we to suppose that the dukes of Weimar, who could afford to hire anyone, hired Bach (1707-1717) to compose for them because he was old-fashioned? Are we to suppose that the young Prince Leopold of Anhalt-Koethen, who was himself a musician and who could afford to hire anyone, hired Bach (1717-1723) to serve as his Kapellmeister and to provide Sunday concert music and birthday music because Bach was old-fashioned?
King Frederick was himself a composer and a learned musician. Surely, he knew about counterpoint. But his musical tastes were influenced by Italian opera. His purpose in inviting Bach was not to be convinced "of the superiority of counterpoint." His purpose was to hear the then already famous Bach improvise. The 3-part fugue that Bach famously improvised on a subject provided by the king contains elements of the modern Berlin school and the musical language of the younger generation. Bach was a master of all styles.
BTW, some of Bach's double-chorus motets contains fugato sections in 8 parts.
BTW, "gallant" means brave, heroic, chivalrous. The word you were looking for is _galant._ Contrary to what you seem to believe, Bach also composed music in the galant style. He was also quite familiar with the current trends in Italian opera. A sophisticated listener in Bach's time would have recognized his frequent use of modern operatic devices in his church cantatas and passions.
BTW, galant music does not preclude the use of counterpoint. You'll find many examples of galant melodies in Bach's music, especially in the arias of his Leipzig church cantatas.
As a singer, I found myself wishing I could sing this with my friends. Then as the piece progressed, I thought to myself there are some challenging parts, but still would be pleasant to sing. Then toward the end, nope that's never going to happen! :-)
Every morning is a good morning with videos as such!
Thank you, Elam for publishing your arrangement of this score on IMSLP under the Creative Commons license. I found it most helpful.
I'm amazed by the fantastic annotations and I imagine the immense work behind it, let alone the piece itself which is delightfully intricate and yet so deceptively simple: marvellous!
Thank you so much for this, always a pleasure watching your videos and discover such great music and composers. 👍👏👏👏♥️
Wow, what a piece. That was fantastic. What a beautiful sonority on the harpsichord and what skillful playing. Thank you.
I had the same reaction at the end. Wow!
Passionnant et magnifique ! Bravo Elam Rotem, Bravo Johannes Keller !!
Thank you, I love this piece and heard it several times, but there is still so much to discover.
Love the way the “not so famous”
turn out to be ALSO very meaningful and consequential.
Only “not so famous” due to the prevailing perspective and priorities of people in our time.
Sweelinck was very famous among keyboard players. He influenced many composers, mainly in England and Germany, all the way up to Bach.
If you want to sing Sweelinck, try his four-part psalm settings or his secular songs, e.g. ruclips.net/video/0o2X6jNjYEA/видео.html
I stumbled onto Early Music Sources by sheer accident, two days ago; I think it has become my favorite music channel. The combination of the quality of your instruction (for this non-musician music lover, it's like drinking purest water from a fire hose) and the beauty of the chosen pieces and performances are unmatched.
Wow, indeed!!! What a great way to enjoy this piece. The colors help a great deal, especially for someone as "rusty" as me in tracing the subject throughout the music. This was incredibly FUN too!! A marvelous experience!
Bravissimi!
My favorite channel never disappoints :)
One of the finest uses of the internet. LOVE your channel.
Kudos to your painstaking work and bringing to your audience an exemplary performance of this brilliant composition replete with visual prompts, training our ears to follow it's complexity. You are like a lonely miner teasing out these musical gems from the bowels of archival material & your efforts are commendable to say the least. A project such as yours needs to be fully funded by the EU-they owe it to European Culture. Thank you Sir for this and all the previous uploads.
W O W ! What a piece ! Towards the end it evolves into a kind of gorgeous frenzy - so great !!
The Ruckers is able to deliver the magnificent sound needed for this piece. Pure joy !!!
Hi Elam I’m not sure why I like your channel so much, first for all the information you give to us in an absolutely reasoned, presented, very correct, and clear way, or for all your graphic presentation works that are always incredible and fun to watch. congratulations and please continue! You are doing an excellent job!
GREAT GREAT video, hugs from Brazilian composer.
Brilliant, as always!
Eustache Du Caurroy also has a hexachord fantasia, his fantasia #38. I heard it performed once, but have never found a recorded version. It was a very trippy piece, hope to hear it again some day.
Thank you, I added it to the footnote page!
Sweelinck is a genius and a tutorial like this generates in-depth intelligence and greater understanding of his mastery.
What a gorgeous piece of music! And wonderful performance, of course...
OK, thank you so much for the color coding and notation. It was truly a bit of a revelation for me. So that this post isn't too long: I love music in general, but a lot of baroque/classical etc eludes me because it all just sounds like a flurry of pretty notes. I never know what to pay attention to unless the theme smacks me in the face. Having your notations to guide my attention (and thus my ear) was awesome and really helped me to feel the music and follow the intent and emotions. I've never really had the before with this type of music. Please do this for more pieces.
Terrific video about an extraordinary masterpiece!!
Thank you very much!
Utterly brilliant!!! One of my absolute favourite pieces.
Absolutely beautiful
I'm here for the polyphony. Thanks for providing the goods! :) Keep up the amazing work!!
Genius always turns on a light.
Liked the video, then forgot and tried to like it again.
Damn. This blew me away so hard. Simply amazing, as always! Thank you very much!
Wow! What a piece! Exactly. Thank you so much, Elam. This virtuosic piece was a thrill to hear, and your beautiful graphics illuminated the structure and complexity of the counterpoint. I love the way he “sneaks in” the main subject, and it takes over the listener’s consciousness so gradually. There even seems to be a snippet of 16th note subject, disguised as ornament perhaps, at the very end. Loved it. I am so happy to learn about this exciting music.
Your explanations are outstanding. Thank you.
The middle has a claming almost meditative feel before it ends on a soft happy and lively feel. Very nice.
Thanks! I've always loved pieces like this: pieces that give you something to listen for!
Thank you very much for the analysis of this counterpoint, in an awesome presentation. Totally worthy video!
This is really interesting! I'm trying to learn a bit more about renaissance music, specifically early keyboard music. I'm glad I found your channel!
What a great channel! I look forward to every one of your upcoming videos!
Thank you for your efforts and good taste -- in music and you graphics (which are at such high level and I know how much work it takes, again thanks.)
What a piece indeed!
What a fantastic piece and superlative performance of it! Thank you so much for your very informative introduction and for providing the score in modern notation to follow.🌟🎼🎵
Very nice piece. The clear explanations and illustrations make the music much more enjoyable.
Congratulations, Elam! I've happy that you've quoted spanish composer J. Bta. Cabanilles!
Wow, Thanks guys! That was an absolutely amazing piece of music. So simple in concept but with an almost God-like execution which shows true mastery of his craft. It is an awe inspiring composition! Thank you so much!
Amazing. Sweelinck has such wonderful pieces! La Ricerca or the Tocatta in A minor are absolutely amazing... This coloured analysis is great to visualize the structure.. having the sheet music also helps a lot... Great job!! Thanks a bunch and keep it up!
Makes me proud to be a Dutchman. Thanks for the explanation, annotated score, and great performance!
I was born 400 years too late! There were a few accidentals in the middle two voices, and the chords they made gave me chills. Tiny points of light in a already bright display.
Dear John Donovan: there is a tremendous possibility that if you were born 400 years too early, 390 years ago you would be dead by Plague! The fun fact is you choose where to die: (London, Sevilla, Vienna or the whole Italy)'s streets... Never a palace near the King's favor!
@@eternafuentedeluzdivina3189 In London and the surrounding parishes there was a roughly 10% chance of dying from the plague around 1593. 1665/6 was a real stinker, but I would have been 92 by then and probably dead anyway. Nah, I'll take my chances if I can hear this sort of music in its original time and setting.
It's not enough to have been born in that time: you had to be a very rich nobleman (in time of peace) or a very important clergyman in order to listen to high quality music... or you had to be a good musician or composer, of course (although peasants and bourgeois could listen to some good music at church or religious schools, if they lived in or near a big city).
@@carlosazambujayt you are right! For example, people at Leipzig felt like bees with Johann Schelle music when they went to the services at Schelle's time as Thomaskantor. Even at Bach's time, people requested to hear his music until Bach decided to throw the window (literally) his scores due they were "worn" before "unreadable" state. Oh yeah dear angry Bach! We "believe" you!
Also, about noblemen in time of peace and great musician: Farinelli received 3 clavicembalos as gifts due his excellence by Bárbara de Braganza, queen consort of the Spanish king.
In other words, for to listen excellent music at those times you had few options: to be gifted living in a big and stable city or build your own destiny "cum" or "sine"...
@@carlosazambujayt What makes you think I am not (or might not have been) a rich nobleman?
An amazing composition, and a TERIFFIC performance!
Fantastic video! What a great piece and what a marvelous performance!
I just jumped straight into it 04:23 because I had no idea what a hexachord is. now i get it.. magical!
Probably because of my TV's speakers or some overtones, but the harpsichord almost sounds as if there are horns and trombones playing in the background. Amazing!
I was thinking "Wow, what a piece..." and then you just said it ^^
Amazing video, as always
Thank you a lot !
Merci ! C'est vraiment très pédagogique et très agréable !
Very nice that you showed us a fellow countryman of me in this video! I have only one question: why is that very low pitch used?
Espectacular. Gran trabajo. Enhorabuena.
Another wonderful explantion/interpretation. Thanks.
cheers from foggy Vienna, Scott
Very user friendly approach to early classical music, music of the Renaissance, when humanity began to evolve out from under feudal warlordism and into the democratized world of science and rational observation. Can't thank you enough for the enlightenment you bring to the Internet. This is the music that both propelled and reflected the ascent of the beauty of mind that we all possess, into the modern world.
"wow, what a piece!" Took the words right out of my head. I am so impressed with how much complexity the composer wove into his music. First time I heard of Sweelinck was on a Glenn Gould recording. I am unaware of any other mainstream pianist who included this composer in their repetoire. I suppose that were I to look for harpsichord recordings there would be several performers, none of whom I am familiar with. Such outstanding music deserves a wider audience and I commend you for bringing it out with notation that is easy to follow. Bravo to the performer.
This is a beautiful piece.
Thank you for taking the time to share with us.
New subscriber, my friend.
Oh my... I liked that performance before. And than this... Instand subscription! :-)
An absolute delight! Thank you for quality content.
I really admire the outstanding high quality of your videos. Congrats! I sincerely hope the best for you and your project. Regards!
Great, clear, and nicely edited video! Awesome!
Sim! Uau! que peça! ;) maravilhosa. Obrigado!
Best channel of RUclips by far
Thanks for another fascinating video and what a great performance of this magical piece! (Also, might I ask where you got your Guidonian hand mug? :-) )
Here: teechip.com/campaigns/-/-/stores/earlymusicsources/guidonianhand?retailProductCode=D097A4C513F4E2-617073C62042-MS1-TC1001-WHT
What a superb music! I enjoyed it indeed.
The breadth of this work makes me wonder why it's not as well known as the Chaccone or Goldberg variations. I'm deeply in love with Bach, but this is a piece that seems to be just as ambitious as many Bach works that are critically acclaimed today!
Your channel is wonderful!! I most enjoy medieval, renaissance and baroque music - bth listening and attempting to play.
This makes me happy in so many ways. Thanks!
Thank you for this post. One of your best
Magnificent Masterpiece!!!
Wow!! I’ve sung a few a cappella pieces by Sweelinck..but this was extraordinary!
I needed to be reminded of Sweelinck's hexachord fantasia, thank you! I now may continue with the chromatic one, the ricercare and the other fantasias ^^
gorgeous!
It's always a great idea to start a day with your video
Wow. Like a Bach piece, so many good counterpoint!
This piece is beautiful. It's serial, it have polyrhythms and lyrical too.
YESSSS
Thanks, your work is wonderfull!
Greetings from Brazil.
What a virtuoso piece and performance!
All your work is awesome, thanks
Wow, just wow. Thank you so very much.
literally breathtaking. I think I held it from when it started doing triplet eighth notes to the end :O wow! what a piece. I wonder how it'd sound on a piano... not as incredible, I'm sure, but still pretty neat (temperament and tuning aside...) I need more renaissance repertoire to play such as this! haha
Did Johannes play it as written, from 4 parts? Because that is just insane.
All in all magnificent piece. Thank you for upload!
Your are my favourite music youtube!! Love this video so much. The music is flowing......fantastic....what is the software to make scores flowing??thank you.
Absolutely amazing!!!!!!!
thanks for the explanation and for the interpretation. Very good
There's too much there for a single hearing. I'm going back a few more times...
such an inspirational content
I discovered Sweelinck only a couple days ago. Started by slowly sight reading his Chromatic Fantasia.
Brilliant! Thank you!
Note: from a idiomatic point of view this masterpiece of Sweelinck is very suitable for performances on the (meantone tuned) organ, while the 'sisterwork' Sweelinck's Fantasia Cromatica is the most suitable for the (also tuned in meantone) harpsichord.
See publications of Sweelinck-cholas Dr. Pieter Dirksen
Each time I have procrastinated down to AuthenticSound channel, I come here for purification of soul before reset.
Amazing video, as always. Out of curiosity: is there any particular reason for the harpsichord to be tuned so low? I'm used to one semitone or tone, but almost a fourth I've never seen ou heard before!
Johannes plays the piece on the lower manual of a Ruckers instrument in original disposition, which is tuned in this low pitch (that is, the upper manual is "normal" and the lower is a fourth lower. If you want 8'+4' and 12'+6'). The specific reasons for this setup are somewhat mysterious. Later on such instruments were modified to have the lower manual "normal" like the upper manual.
@@EarlyMusicSources Amazing! Perhaps it has something to do with accompaniment for singers, to avoid the eventual need of real time transposition of the whole harmony/counterpoint (for example: a tune was to be singed by a soprano, but at the last minute she had to be replaced by a countertenor or alto... something like that).
Anyway, thanks for the answer, and for your fantastic job with this Early Music Sources channel.
The low pitch makes it confusing for me to follow the score.