J.S. Bach: Brandenburg Concerto No. 5 in D major, BWV 1050 - 1. Allegro (Synthesized)
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- Опубликовано: 12 сен 2024
- Few musical works are as loved - and as often performed - as the six "Brandenburg" Concertos by Johann Sebastian Bach. These six works (BWV 1046-1051) display a lighter side of Bach's imperishable genius. Yet they came into being as an unexpected gift. That's what happened in 1721 when Bach presented the Margrave of Brandenburg with a bound manuscript containing six lively concertos for chamber orchestra, works based on an Italian Concerto Grosso style. The Margrave never thanked Bach for his work - or paid him! There's no way he could have known that this unnamed gift (later named the Brandenburg Concertos 150 years later when Bach's biographer, Philipp Spitta called them that for the very first time, and the name stuck) would become a benchmark of Baroque music and still have the power to move people almost three centuries later.
Even though he didn't call them the "Brandenburgs," originally, Bach still thought of them as a set. What he did was compile them from short instrumental sinfonias and concerto movements he had already written. Then he re-worked the old music, often re-writing and elaborating where he saw fit. In doing so, Bach created something of a dramatic arc from the brilliant first concerto to the last, which evokes a spirited chase. Bach even later reworked components of the Brandenburgs into other compositions: the 1st movement of Concerto no. 1 can also be found as the Sinfonia to Cantata 52 and its 3rd movement was used as the opening Chorus of Cantata 207. The Sinfonia to Cantata 174 is a reworking of the 1st movement of the 3rd Brandenburg with the addition of three oboes and two horns. The 4th Brandenburg was used as the last of his set of 6 harpsichord concertos, the concerto for harpsichord, two recorders and strings in F major, BWV 1057.
Brandenburg Concerto No. 5 in D major is scored for transverse flute, solo violin, obbligato ("indispensable to the performance") harpsichord, and strings. The harpsichord is given special prominence in this concerto, being elevated from its usual role to serve the supportive capacity, as well as being the unifying timbre throughout the work (the harpsichord is always present).
In the early eighteenth century the harpsichord normally acted as a continuo instrument, and indeed at the start of the opening Allegro (the longest among all the movements of the six concertos) it sounds as if the flute and violin are the soloists, with a harpsichord line that is only slightly more prominent than the usual continuo part. Gradually, though, the harpsichord's role increases, until all the other instruments drop silent for a cadenza of vast proportions (about 4 minutes long). It is likely that Bach himself played this virtuosic part at the premiere, which audaciously carves out one of the first concerted solos for a keyboardist. It remains one of the great virtuoso keyboard passages in all music.
Indeed, some scholars have suggested that the concerto was written for a contest between Bach and a visiting French harpsichordist, Louis Marchand (where Bach uses one of his themes in the 2nd movement). Another theory is that the piece marked the acquisition of a new Mietke harpsichord by the Cöthen court in 1719.
In homage to Wendy Carlos' original realization recorded on her "Switched-On Bach II" of 1973, I scored my version with fairly basic instruments reminiscent of her style. The big challenge here was to breathe life into the harpsichord part. This started as a piece of scanned sheet music remember, so a great deal of effort went into nuances of tempo changes and volume control to give the solo passage the feel of a real performance. The mix-down stage was almost as tedious, to give enough play and balance between the concertino parts in contrast to the tutti (especially during the "lulling effect" of the constant sixteenth-notes and repeated rhythms of the flute and violin beginning around the end of the first 3rd of the piece). As mentioned in my notes to other such videos, I normally prefer to attempt new pieces that she didn't record but again, this movement holds some sentiment so I hope you enjoy it as much as I did in creating it.
As always, the use of headphones will greatly enhance the listening experience.
![J.S. Bach: Brandenburg Concerto No. 5 in D major, BWV 1050 - 1. Allegro [2022 Revisit] (Synthesized)](http://i.ytimg.com/vi/8JqI3m14PhU/mqdefault.jpg)
![J.S. Bach: Brandenburg Concerto No. 5 in D major, BWV 1050 - 1. Allegro [2022 Revisit] (Synthesized)](/img/tr.png)
Please see my updated version: ruclips.net/video/8JqI3m14PhU/видео.html
Bach always somehow with almost all his works takes me to amazing places a kind of eternal and euphoric feeling that only through him i can reach that place and no other composer. something very special that i cant really desribe
I know EXACTLY what you mean. :) Thank you for listening and for taking the time to comment. :)
thank you for the upload and passing this on=]
Bach is the God of music. And u r the angel who played it with such beauty .......Love from India.
WOW, thank you for such a lovely comment. I appreciate you taking the time to listen and let me know you enjoyed it. :)
Sangeet is Sangeet... The holiness is cultivated in the heart of the listener... The music is here to awaken our deepest feelings and thoughts, yet also here to console us from the trauma and drama of being alive... Be it "Baroque", or "Bhakti"... ♥️🤗✌️🕷️🕸️🏰🛕🌅🌄🗺️
You sir would make a great organist. This is because your aesthetic sense is superb. The way you orchestrate the different synth modules according to the mood and timbre of the instrumentation. Well done. Absolute joy.
WOW thanks so much. I have tried playing the organ (at a local church) but I don't have a developed coordination for all 4 limbs at the same time! LOL
The point about orchestration is extremely appreciated as the uniqueness and compatibility of sound (as explained in my reply to your comment on my two-part invention #13) is something that I strive for.
Thank you very kindly for taking the time to explore my channel and for expressing your experiences with my music.
This has always been one of my favorites...ever since the "Switched on Bach" of Wendy Carlos so many years ago now! I LOVE Bach! And celebrate the effort which went into the making of this!
+Suzanne LeBizarre Awh, thank you so much for the lovely comment Suzanne. I've been a fan of hers since I first heard S-OB in 1971. I've got just about everything she's ever done. Although I could never compare my work to the incredible realizations she did, my process is similar in its own way: piece analysis, timbre development, experimentation, editing and mix-down (albeit I've never had to deal with bits of magnetic tape all labeled and waiting to be spliced and re-recorded). In forming my own digital workflow, I can't imagine how tedious it must have been for her and the other pioneers of the genre.
the harpsichord section is truly amazing the stereo mixing on the original album is fantastic when you listen to its amazing just imagine back in 1973 note by note the pitch had to be right and the over dubbing track by track until you get a fuller sound and you just don't realise all of this is played by one person pure genius
Good afternoon from Sunny Thailand. I first heard Bach "mooged" in 1975. I had a double-sided cassette tape of Bach but, alas, those days are long gone. Thank goodness for RUclips and the opportunity to re-live those musical experiences. Until now I had forgotten about it but, Carey, clearly you haven't! What a find for me!! So thank you for this quality upload. Nostalgia is alive and well!!.
Chris Crutchley What a comment Chris! Thank you so much for taking the time to comment. I'm happy to read that this triggered some good memories for you! :)
Chris Crutchley good afternoon, from sunny thailand too where I'm listening to this exquisite piece of music!!
Wonderful homage to Wendy. You have taken her remarkable work a step forward. I know if Bob Moog were still alive he would love this too.
Thanks Thom, sorry for the late reply. I really appreciate your comment; it means a lot. :)
The grandfather of Progressive Rock.
Modern music*
Music to my ears. No pun intended. Really beautiful! Thanx so much!
This musical Perpetuom Mobile shows there is more to Bach we can understand, as humanity not yet developed to the level Bach has elevated music.
he is after all the god of music.
I am always happy to hear the efforts by others to do quality synthesizer renditions (I have quite a bit of knowledge here, since I knew Bob Moog, had my own small battery of his synths, and spend much time over a decade ...early 1980s....laboring to make my own analog synth performances to multi-track tape). But having said that, I do feel that too many such musicians claim to be emulating Wendy Carlos, while actually missing what it is that Wendy did that was so special.
Wendy had many attributes, including a good ear, a composer's knack for clever orchestrations to compensate for the older synthesizer's limitations, a marvelous technical ability, a talent for selecting the perfect timbres, etc. But in my view, her main strength was her suite of 'tricks' used to breath life into her synthesizer performances. With few exceptions, they were not sequenced, but were performed by hand. Her orchestrations included a lot of hocketing to give more bounce to the music, and her use of carefully selected upper harmonic doubling to add lightness where otherwise all the synth layers could quickly make the sound muddy. It all comes down to making the performances sound like they were performed by a person, and not played by a computer.
With all that said, and although I do like this video's performance, it still does lack those 'tricks' that Wendy applied to even her earliest synth efforts on Switched On Bach. It sounds like it is sequenced. I want to encourage you to keep at it and work towards adding those extra refinements, and you will really have something.
Have you heard the efforts of Paul Glover ("Cloudhop" on RUclips)? He is working with a hand built modular Moog, although as I understand it, he is using some combination of sequencing and by-hand performance, and he might also be sampling some Moog sounds and then performing from that. Regardless, one thing Glover has done is he has 'discovered' so many of Wendy's tricks, that many of his RUclips published efforts sound so much as if Wendy had done them, it is uncanny.
Thank you for your thoughtful and detailed message. I want to stress, however, that I am quite familiar with all you wrote about, particularly with respect to "hocketing" and her "tricks." I do employ these techniques to some degree including a lot of layering and binaural cues, etc. in many of my newer pieces. I want to stress that although these works are sequenced, I spend a lot of time adding micro-tempo adjustments to try and give my music a sense of natural performance, albeit, some pieces are more successful than others in the opinion of my audience.
The most important thing I can say is that I am not trying to emulate Carlos. I try to create work that is reminiscent of her early realizations. I want my music to seem familiar yet in my own style - i.e. broader ensemble sounds and stable instruments throughout. That is, I deliberately do not change up my instrument sounds so that the listener can more easily identify with what sound is playing at any given part of the performance.
With my first exposure to Carlos' sound, I got lost. I loved what I was hearing but didn't know what the instrument sounds were supposed to be (perhaps save for the concertino players - her "soloists") and it was all just glorious sound. It wasn't until I started listening to real performances that I was able to learn and understand what she was trying to do. As such, I choose to keep my voicing stable so that a "violin" will have one timbre through most of the work, so that the average and musically uneducated listener can make sense of what they're hearing; keeping things simpler and more to the original.
Some get it, others criticize - cruelly in fact, which is why I'll never complete nor release my Brandenburg #3 for the simple reason that it will always be compared to Carlos' brilliant original. No matter how I've brought it to life, it won't stand on its own. It's one of the reasons I tend to do other compositions than those she realized - to eliminate the constant comparisons. People come to my channel with expectation and often give a "thumbs down" because it doesn't sound like Carlos. That's on them unfortunately and in my defense, I have to explain that I'm not trying to replicate her work. Opposingly, I've even had some accuse me of plagiarizing her work and simply adding my own visualization, claiming her music as my own. I'm sort of damned if I do and damned if I don't. I just want to create something unique and inspiring.
On the other side of the coin, as it were, many are intrigued by my work (probably never hearing Carlos' glorious catalogue) and are commenting that they're hearing classical music in a new... they don't compare. Instead they are motivated to start exploring the natural instrument versions the way I was first inspired when I heard "Switched-On Bach" for the first time back in 1971. I'm just presenting work in a "newish" medium for them. And too, there are some who comment that they enjoy my performances over Carlos', so it all comes down to a matter of sensibilities.
So I thank you again for your encouragement and guidance but I will continue to work as I do. I hope you understand and won't take my response as a dismissal of your recommendations. Some might read this and feel that you have politely "schooled me" on all things Carlos but I appreciate the advice even though I chose not to go forward with it. I believe you too had a "Carlosian" expectation (otherwise you wouldn't have tried to help me to the next level). I do agree that this is not my finest work and it was done some years ago but I hope you find other work on my channel that you can enjoy, now coming to the understanding that I am working in my own style. Best regards, Carey.
@@CareyRMeltz , I appreciate all you wrote in your reply. I certainly understand where you say you are coming from. The primary reason I wrote at all was because in your video description you wrote, "In homage to Wendy Carlos' original realization recorded on her "Switched-On Bach II" of 1973, I scored my version with fairly basic instruments reminiscent of her style", and knowing what I do about Carlos' technique, tricks and 'style', I thought well, I should probably offer some pointers in how to get closer to the Carlos style.
If one is not trying to re-create Carlos, then all things are possible. I never could stand Tomita's sensibilities, but I had struck up something of a friendship with both Bob Moog and Hans Wurman (The Moog Strikes Bach), and Hans in particular was generous with sharing some of his thoughts on synthesis with me, and and sending me tapes of his other synth projects that never made it to commercial distribution. Hans did fine work, but few would compare it with Carlos...just a very different approach. Instead of making the primitive Moog synth sound good by orchestration techniques and hocketing, etc; Hans livened up his realizations by 'jazzing up' the original compositions, adding notes, harmonies, jingly percussive backgrounds, etc; that were not in the originals , whereas Carlos did not normally change the composer's original notes and harmonies (her non-Baroque realizations are another matter).
You mention that you 'got lost' on Carlos' early Moog pieces, because you could not always recognize the instrumental sounds. Carlos, with few exceptions during that period, was not at all trying to synthesize actual acoustic instrument sounds (some of the non-Baroque albums of course did include some very skillful approximations of recognizable acoustic instruments). She just wanted to get sounds that worked in the mix, without making all the layering sound too muddy, while still making the lines recognizable and distinguishable from each other. Also, being a pioneer, she was also somewhat interested in showing off what her synth could do, while remaining tasteful and service the music. So many others, the wannabes of that period, cranked out instantly forgettable stuff that nobody listens to anymore.
I wish I still had my master tapes from when I was doing multi-track synth selections. I had it all in rental storage unit that suffered a disaster, and all those tapes, plus much of my library of my own compositions (sheet music), plus virtually all of my college textbooks and a number of rare musical instruments stored there all perished. That was long enough ago that the pain of the loss has mostly faded away. While my synth style was definitely heavily Carlos influenced, and I did not have a sequencer hence everything was hand performed, I did have some realizations that I liked a lot and was quite proud of. I had composed a series of Joplin-esque rags based on classical piano music, Rachmaninoff, Brahms, Chopin, etc; and I had a ball orchestrating those for synth and then making the realizations. I also did lots of Bach organ pieces for synth, and perhaps 20 or so Vivaldi concertos, Medieval tunes, plus a potpourri of other odds and ends.
As for what I heard of our own work, I very much liked what I heard. I did think it sounded a bit sequenced, but still nice. The textures were very well done. I wish you well in your continued efforts.
@@youtuuba Thanks again for your thoughtful reply. This Allegro was done 6 years ago and I've since learned lots of new techniques and have developed a lot of new sounds to use. I hope that you'll listen to some of my more recent work to hear the improvements as well as more familiar sounds and creative techniques. I think you'll agree that things sound less "sequenced" and there's a lot more layering though perhaps subtle. The one thing that upsets me, I suppose, with respect to people's opinions about sequencing, is that many tend to think that I just program my synths and press the magic button and everything just plays. That is so far removed from the process.
I will often double up every instrument track so that there is a binaural cue to give more life to the piece - giving bounce and enhanced stereo. Then there's the layering. A piece that might have 13 instruments can often become a 20+ track piece with instruments, emphasis (hocketing in places) and extra stereo effects and layering. My "Tomita" work is often triple that. Once I set all the sound and adjust volumes, etc. for specific passages and even individual notes, I export every track and apply additional effects in the editing and mix-down phases. People don't realize the amount of work involved in bringing the music to life. I don't mind if someone doesn't enjoy what I've done but I get uneasy when they disrespect me in the comments. They could at least be appreciative of the process.
I would actually prefer to call my pieces "electronic" as opposed to "synthesized" (as I'm not playing actual synths - although I do own a few) but again, people come to a piece with an expectation... and too often "electronic music" (albeit it the original term for the genre) is mistaken for "Electronica" or "E.D.M." (electronic dance music) and they criticize me heavily because they wanted my work to be something different. Basically, I do this as a hobby and share the results with the world... they either like it or not. Thankfully, I'm able to remove such foul comments when necessary (such is the world we live in where everyone feels entitled to say what they want whether it's hurtful or not) but thankfully, the kind and appreciative comments far outweigh the cruel ones. Everyone thinks they're an expert it would seem so it's rather nice for me to engage in a dialogue with someone who wants to be helpful.
I am appreciative of you.
Carey R. Meltz
Thanks for all your posts, Carey. And your work. Much good work involved here.
I like what you're doing in Bach. It's a speculative stretch to say he'd love it, but still ...
I am not a musician, cannot play a lick, nor can I read music.
But I'm an educated listener and a serious student of my favorite composers and pieces. Brandenburg 5 was the first Bach I needed to listen to intently, in a class taught by the late Alan Curtis. Your rendition is quite fine; #5 is not my favorite of the six, and many renditions are boring, unlike yours. I much prefer #2, and yours is wonderful there as well.
I've loved Wendy Carlos stuff for decades. I love Bach and have many favorite pieces ad performances. What I like about the well-rendered synthesizer versions is how articulated the voices are. Even in some of the best concert performances, things sometimes can blend too much, if not muddy. I learn much about the piece when the voices are well-articulated, as long as they're in balance.
And some of your visuals are really fun.
Thanks so much for sharing all this.
Daisy, I cannot thank you enough for your extremely kind comment. It's this kind of feedback that keeps me going when my fibromyalgia takes me out of a creative mood.I agree whole-heartedly with you (as do so many who enjoy this electronic genre), that the voicing can be superlative to orchestral performances. That's where I really enjoy my production process - to enhance different voices and/or sections of a piece to give more highlight to the melodies and counter-melodies... but I also like to create a listening environment that you can't get in a concert hall - the articulation of the instruments across the "sound-stage," that is, where the instruments seem to be being played - and then there's the spatial effects, to dynamically enhance the stereo environment... why do the voices have to come from the same position throughout a piece? In the 6th Brandenburg Allegro, I did some really subtle stereo balance manipulation between the lead strings - as if the players were responding to each other by turning their bodies to the player of the next phrase. In my "Nutcracker" pieces, I did a lot of stereo effects to give the music more dance-like qualities - the "celeste" in the "Dance of the Sugar Plum Fairy, and the "strings" in the "Russian Dance." My earlier posts were pretty much experimentation/learning but now I really strive to create something interesting to listen to... and also, something visual to be as unique as the music. That's why it often takes me quite some time to post. I have a number of pieces done but the videos are extremely time-consuming.Once again, I'd like to thank you for taking the time to listen to my hobby but for your thoughtful sentiment. Stay tuned for more posts soon... hint: it's a small suite by Handel that was featured on Carlos' "Well-Tempered Synthesizer." ;)
I use your versions to show my math students -children- the beauty and perfection of this gems. Not only is appreciated by them but by me as well! Thank you very much for your valuable contribution to music.
Holy Smokes!!! Yours has to be one of the kindest and most touching comments of all. This is merely my hobby and for someone to consider my work to be valuable to the point of using it educationally, is purely astounding to me. It takes things full-circle to when I was a student and my music teacher played Switched-On Bach for our grade 7 class (1971). It's what inspired me to study music and to express myself as I'm doing today. If anything I have done inspires some of your own students to go forward, as such, it will indeed be both humbling and mind-blowing. This feels so surreal to me! Thank you so much for taking the time to comment and offering such a wonderful blessing.
When I was a kid my aunt and uncle had a quadraphonic stereo when my parents could barely afford a stereo. They had Walter Carlos Switched On Bach in quadraphonic stereo. OMG that was amazing! It got me interested in music and electronics and eventually computers when they came out. The very first thing I did when I started learning about electronics in high school was hook up a speaker and make square waves and other effects. Then when the Commodore Vic-20 came out the first thing I did was program it to play music, Bach's Minuet in G. The same with every computer I owned after that. Of course the music I preferred was Bach. It just goes so well with electronic sounds. On the old Radio Shack Color Computer there was a music program that had some basic effects, but it could only play 4 channels. If you took one channel and copied it to another but phased it slightly it sounded just like a Moog, unfortunately you lost one channel. So I modified the program in an assembler to play 5 channels and when playing 5 channels turn off the video refresh which would double the clock speed of the system so it could play the song in even higher fidelity. I typed in SO many songs I had floppy disks full of Bach.
I love your comment! I remember when I got my first Apple and found a little sequencer program that would allow me to arrange music by inputting one note at a time. OMG that was way back in '87 and of course, I probably chose the most difficult piece to do - Wagner's "Ride of the Valkyries." All those runs!
I've recently found a quad version of S-O B and many of Tomita's original quad versions of his work. I'm in surround-sound Heaven! I don't have a 5.1 audio card in my present laptop but it's something to consider next time, although I don't think I'm imaginative enough to be able to go beyond stereo in the Baroque genre.
Cela s'appelle TETRAPHONIC ! et non quadri ! On ne dit pas un quadriplégique....Mais les ignorants s'en sont emparés et voilà le résultat.....
It must be amazing, awesome!
Luckyyyy
@@alainpelegrin8297 no frog language please
Fantastic performance all around, wonderful! Thanks for sharing this.
Thanks so much, I appreciate you taking the time to comment. :)
Bach would be very pleased with you my friend! He demanded perfection or it was not excepted! We’ll, listening to your performances, you meet more than his demands for perfection. Again you are so blessed Bro. Carey. God richly bless you always now and forever!!
This one tops the cake!! This is the most incredible masterpiece Bach ever composed! It is an honor to hear you perform this awesome work with your incredible talent and anointing!! You have such a massive reward awaiting you in Heaven. God richly bless you my blessed awesome brother in Christ! God loves you so much my friend! I am looking forward to meeting you and shaking your anointed hand! Imagine what you will perform in Heaven before Almighty God Bro. Carey! Awesome opportunity!
Bach is to music as Newton is to physics. And you have done the master proud. Excellent work, Carey!
WOW, such a great comment. Thank you so much! I'm currently working on the 3rd movement but it's slow-going... it's quite the ordeal to break up the harpsichord track into 4 separate channels for all of the stereo effects.
As someone with synesthesia...this is not exactly the way I see it...but in the ball park........bravo!
Thanks for listening/watching.
Do you see it with your eyes opened or closed? Please, tell us more!
closed......yet it seems like open....I never thought this was unique.........I play the piano with my eyes closed ..always have....
no
@@claytonchaney9171 no what?
so full of magic this music of Johann Sebastian Bach
+Henk Emperor INDEED!
when i was a kid my next older bro loved bach and brought this wendy carlos, switched on bach' been hooked on bach ever since and the modernization of it
I discovered her work in 1971 and have too, been hooked on the electronic treatment of classical music - whether it's in the "Carlosian" style (mechanical, unique, minimal) as well as the more orchestral treatments of the late Isao Tomita. Very different approaches to the works but both artists developed and contributed spectacularly to the genre.
i have been looking for a synth version of this concerto for AGES. thank you.
LOL You're welcome. Hope you enjoyed... totally inspired by W. Carlos. Hope I did it justice.
My hat is off to you. There are so many trying to reproduce Walter Carlos yet lack the depth you offer. Thank-you, Brother.
I'll never forget the first time I heard this. Decades ago.
First time I heard the 5th Brandenburg was on Switched-On Bach II way back in 1973… after that Carlos released all six concertos in 1979.
Wonderful and grateful enlightening music in a marvelous transcript.
Thank You!
Thank you so much for you comment. It does my heart good to know that people enjoy my hobby. In a world where people can easily and anonymously give a thumbs-down with no feedback, for someone to actually take the time to share a sentiment is truly gratifying. I hope you will find other pieces on my channel to enjoy. :)
Thank you Carey for this one.
This version of Brandenburg No. 5 uses doesn't try to grip you by the throat with exaggerated electronic-sounding voices, as did some of Wendy's original album work. It is rejoicing in the joy of Bach's musical ideas and not the mere novelty of our electronic age. I like it very much.
Thank you very much for that kind comment Jagan-Nath. It's exactly what I intended... not completely "real" with some obvious timbres but then not "kitschy" either. Cheers. :)
This maybe water under the bridge so to speak,... but of all the people using Synths, early on. W Carlos in the 1st 3 - 5 efforts was propbably one of the most thoughtful in the use of aesthetically pleasing timbres and NOT EXCESSIVE in the use of novelty sensationalistic burps and barfs, style voicings, as were almost all of the other imitations, and early synth users, save Delia Derbyshire who had to struggle mightily to create sounds from test oscillators !
Carey continues in that tradition, with very well considered voicings appropriate to the music !
Smooth and makes the soul sing! Thank you.
Thank YOU! :)
You would have been one of Bach’s favorite students! The enthusiasm in your awesome music would prove to him the potential you have in your brilliant talent! You’re a fine, fine young musician and a bright young man at heart! God loves you very much and thinks very highly of you my friend! Continue to bless Him with your awesome, brilliant versions of Bach’s Masterpieces! God watch over you man, you bless me every time I listen to you perform! Awesome, awesome young man! Take care!
its nice to come back to this again
Wait until I post the 3rd movement... coming soon! I think you'll like it even better.
I can listen to this over and over.
Thanks man. BTW, take a look at the comment below by Matthew Peterson. One of the very few negative comments I've ever received. I suppose some people's fingers type before their minds catch up. :(
Every instrument has such tremendous clarity. I think I might like this more than the organic instruments! :o
Wow, thank you very much for the kind words. It was the clarity and novelty of the synth sound that got me interested in Classical music to begin with.
3:12-4:14 my favorite part love it
Same for me... it's the "lulling moment" as I've heard it called. Thanks for listening and taking the time to comment.
Mine too but how about the Harpsichord cadenza??? WOW!!
That minute is also my new favourite bit of music, blew my mind when I heard it for the first time recently, the music I have been searching my whole life for. Divine, emotional and sophisticated beyond words.
Bravo!
The best version!
Sounds very soft and interesting!
Very nice performance.
Fantastic work. I especially like your interpretation of the final solo.
Carey R. Meltz...Brandenburg is the state around Berlin, I am from Berlin...it suits this area and I love it sooooooo much!!!
Congratulations! A very special performance of Bach!
Many thanks!
Pure joy to listen to this. Greets from Edmonton.
Thanks very kindly! Hope you find other pieces to enjoy on my channel and I truly appreciate you taking the time to listen and comment.
Terso y diáfano!! tanto el audio como el video ! para disfrutar! Thanks for uploading.
Flora, gracias por tomarse el tiempo para comentar. Agradezco sus amables palabras como esta pieza es uno de mis favoritos y me tomó mucho tiempo para encontrar la visualización correcta. El visual no es tan nítida como me hubiera gustado, pero el archivo hubiera sido demasiado grande.
Flora, thank you for taking the time to comment. I appreciate your kind words as this piece is one of my favourites and I took a lot of time to find just the right visualization. The visual is not as crisp as I would have liked but the file would have been too large.
No words can describe this magnifcent heavenly masterpiece! Worthy to perform before Almighty Omnipotent God our Father!! Again, the Blessings of God/Heaven come down and flood your living soul Bro. Carey! God loves you so much my awesome friend. Take cares!!!
Thanks! I love it - the animation is neat too!
Thank you very kindly for taking the time to comment. I hope you enjoy some of the other music I've created.
Congratulations Carey! Wonderful work and awesome electronic recreation! Best Regards!
Carlo, please know that your enjoyment of my work is equally appreciated with my humble thanks. A gracious comment such as yours makes the hours to produce my music all worth it. I hope you find other pieces to enjoy on my channel. :)
Certainly I will! You are a real gentleman! I was thinking of creating an electronic recreation of some of Machaut middle ages music whenever I have some time. Have you tried? Thank you and all the best!
I will have to check out his music. Thanks for the suggestion.
This is done exactly as it should have been done. For me personally it's as good as it gets. Big thanks!
A "Big thanks!" to you for your kind comment. I know that often "classitronic" music can tend to sound mechanical but I felt that I could be a little more obvious with the tempo changes and nuances, especially in the harpsichord cadenza. With some of the other Brandenburgs, the pacing seems to want "regularity" while this movement almost begs for pacing changes as the theme and its permutations are explored. I'm very pleased with the way this one turned out.
Excellent. If I were producing it (in the formal sense) I'd ask for it to be a little slower and more distinct. I like the deliberate, clockwork sound of Baroque in general, and Bach in particular, and the simpler and less percussive (slower attack) voicing you've chosen for the strings and wind (compared to Wendy's: she added a "chiff" to brighten the attack) leads to a more legato feel. As I think of it, this is probably compounded by the use of a keyboard as an input device for wind and string voices. Anyway, that's just my taste, offered for discussion, not a criticism. Thank you for sharing your work with the world. I've subscribed, because I really want to hear more of your work :-)
Thanks for your thoughtful, detailed message. This was done so long ago. I've learned very much about sequencing (especially micro tempo adjusting), sound development, production quality and mix-down techniques. I might revisit this one day but I really want to spend more time realizing pieces that Carlos didn't attempt. I mostly work in my own style attempting to be reminiscent to Carlos but not duplicating her work necessarily.
@@CareyRMeltz Yes indeed, kudos for finding your own identity while not losing the spirit of the piece - even if that spirit is, admittedly, itself an aggregate of a plethora of modern interpretations.
I'm off to listen to more of your work :-)
I love the order in Bach
1. Allegro bwv 1050 is the best there is, the best there was, the best there ever will be
Wonderful. Thanks
Thank you too!
Carey, have you seen this (especially the harpsichord part) played by the Croatian Baroque Ensemble? Vivacious and they approach it like for the first time, wonderful.
Finished listening to the second part of this now--Wow!
This is unbelievable! Great skills man!
Joseph Levine Thank you very much Joseph. LOL My laptop did most of the work. It took a lot of time to get this one to sound more "performed," especially in the harpsichord cadenza. I'm very happy with the way this one came out.
Bravissimo signore Meltz, bravíssimo!
+Silvio Spera Muchas gracias Silvio. :)
+Carey R. Meltz: Ho apprezzato molto la tua versione elettronica per i concerti di Bach e Scarlatti. Troppo più piano di W. Carlos. (I really enjoyed your electronic version for the concerts of Bach and Scarlatti. Very soft than W. Carlos performances)
Hey Mr. Meltz, I have so enjoyed your awesome and magnificent synthesized versions of Bach's and Handel's masterpieces. You are a fine and awesome musican and pray you make more awesome masterpieces with you anointed ability to play. I speak blessings over you and pray you give God glory for the ability He has given you to bless Him with your musical talent. Your a very fine and blessed young man, keep up the good work man. Rev. Glen Horn
Excelente trabajo, se pueden oir con claridad todas las voces de la polifonía. La selección tímbrica ha sido fundamental en esa dirección. Me gustan esos bajos tan claros y casi sinusoidales. Conocí los trabajos de W.Carlos en los años '70 y he logrado disfrutar de la música de Bach desde esos arreglos para sintetizadores, luego conocí las obras originales y admiré la proeza de trasladar aquellas manchas de tinta al sonido electrónico. Es toda una tentación tener a mano una parte de la historia musical humana y también tener a mano la posibilidad de interpretarla con nuestros medios. Gracias !!
What an incredible comment. Thank you so much. It would seem that so many of us have been influenced by the music of W. Carlos - not just to explore more electronic music, but also the original works by their composers. Through her music and the glorious productions done by Isao Tomita, I have been inspired well beyond the expectations of my original piano teacher (who quit on me because I would not practice)... but I never enjoyed the music I had to study back as a child. These electronic realizations led me to explore and learn on my own and now I am arranging music for synthesizer and String orchestra. Recitals and concerts are in the process of being developed and it will be the fulfillment of a life-long dream to perform with other musicians.Qué increíble comentario. Muchas gracias. Parecería que muchos de nosotros hemos sido influenciados por la música de Carlos W. - no sólo para explorar la música más electrónica, sino también las obras originales de sus compositores. A través de su música y las producciones gloriosas hechas por Isao Tomita, se me ha inspirado mucho más allá de las expectativas de mi profesor de piano originales (que renunció en mí porque no practicaría) ... pero nunca he disfrutado de la música que tenía que estudiar de nuevo como un niño. Estas realizaciones electrónicos me llevaron a explorar y aprender por mi cuenta y ahora estoy arreglando la música de sintetizador y orquesta de cuerdas. Recitales y conciertos están en el proceso de desarrollo y será la realización de un sueño de toda la vida para llevar a cabo con otros músicos.
Hola, Milton. Corría el año 1983 y yo conocía muy poca música clásica. Un día,. cambiando estaciones en la radio, tropecé accidentalmente con algo que me dejó fascinado. Era el Branderburgo # 3 de Switched-On Bach. Yo amaba el sonido del moog de Emerson Lake and Palmer y Rick Wakeman y me encantó como sonaba en esa pieza. Me compré el LP y me contagié con la fiebre de JSB y la música barroca, que me dura hasta hoy.
love it. i think i actually like your synth bach better than actual instruments.
Thank you for the historical background on these Concertos and your performance/interpretation.
Thanks Bobcatt22. I spend a lot of time researching the details on every video I post. I think it's interesting for everyone to learn something about the composer and the piece itself in terms of historical context. As far as "performance/interpretation," everything is subjective so I like to explain a little as to what I did and why - though it's impossible to please everyone.
@@CareyRMeltz I did forget to compliment you on the visuals - again great work.
Absolutely loving this. I was looking for the Carlos version and now am hooked on yours. Wonderful. Special props to the transverse flute player (whichever corner of the CPU die she is sitting in.)
Really glad you liked it. I did this one from memory, that is, I developed the piece as I had remembered what it sounded like... until I listened to Carlos' version. I tend to make my music with a broader ensemble sound than the original but they're all experiments ultimately. I tend to keep one sound per instrument for the duration of the piece, instead of changing things up as Carlos did. I had thought her version was fairly straight forward but there are so many variations. I suppose I try to do more with the stereo effects than she did but I've accepted what I do as my own style and I have never been able to recreate things as closely to Carlos as I'd like... but it's all good. You know, I'm working on the 3rd movement of this concerto and again, Carlos did an incredible job of adding more interest to a fairly simple score... the sounds are always changing and the stereo positioning is quite dynamic. I'm getting there. :)
Superb!
Thank you kindly for listening and for taking the time to comment. It's greatly appreciated. :)
You are welcome!
Wow!!!! This is a tour de force ! Here You have surpassed W Carlos ! This is very articulate, and beautifully voiced, and I love the visuals too !
Oh gosh, I'm blushing! (and certainly not worthy of such praise). LOL I know not all of my works are gems but I learn something new or hone a technique with each new piece. This one was a labour of love indeed... although perhaps much of its success (if I may be so bold to say) is due to modern technology. I didn't sequence this by playing it manually - even at half-speed. I scanned the sheet music, tidied up any reading errors and converted it all to MIDI. From there I built my voices and mixed down the tracks. It almost seems like cheating by comparison to Carlos' version, however, I did "conduct" it in a way to avoid the trap that can make synthesized Baroque music seem so mechanical.
The video was so frustrating as I stumbled upon the particular visualization but didn't take note of its name... I used the Milkdrop plug-in pack with Winamp player to do the screen capture. Once I had seen this visual, nothing else felt right so I had to manually preview through about half of the over 46+ thousand pre-sets to find it again!!! It was worth it though. :)
Amazing!!!!
trumpets,volins,harpsicord.flutes fantastic combination
Not sure where you're hearing "trumpets" Andrew but I'd like to know. I do sometimes change up instrumentation for the sake of interest but I tried to keep truer to the original. I'm curious because your response can help me better program something even more reminiscent of a real instrument, but still without it being too close to the original. thanks. :)
Thanks for this version, I love it !
So glad you liked it. Thanks for listening and letting me know. :)
Thank you for keeping the "harpsichord" front and center; it is, essentially, "a concert for the gravicemballo"... The computer actually highlights the "brilliant" and "dazzling" effect inherent in the music; there is no performer that I know of (or instrument made of wood and feathers and glue and leather, for that matter) that could render it in such an extraordinary fashion.... Thank you ×1000! ♥️♥️♥️
Ordered and beautiful
Thank you very very much. Well done.
Much appreciated. I'm happy to know that you enjoyed it. :)
ahhh yes havnt been back here for ages nice to hear it again
The first record I bought on Bach's record was Walter Carlos's Switched on Bach. I knew the famous Bach work from that record.
This concerto was featured on S-OB II. It was the 3rd Brandenburg that appeared on the original, just to clarify, though they were both re-issued on her "Switched-On Brandenburgs."
This is wonderful.
Thank you so much for listening and taking the time to comment. :)
No other composer ever did anything quite with the vibrancy of the Brandenburgs. A sign of higher life which had to influence this. Not hard to see since so many are no longer devout Christians that so few produce work like this, and the ones that were or are like Stravinsky, Messiaen, and Part and others continued to.
Bach was the first composer I was introduced to when learning about Classical music. Later it was Debussy, Ravel, Stravinsky and Prokofiev. When I sketch things out in terms of personal composition, I cannot help but feel their influence.
Beautiful, thank you!
Thank YOU for taking the time to comment. It really pleases me to know that people appreciate my work.
Magnifica y atemporal. Muy buenas las imagenes.
+JOSÉ ANTONIO GARCÍA GAMBÍN Muchas gracias Jose!
Puhzz!! The sound of a solo and expression of a cadenza are wonderful.
I think that the level of music became high compared with before. My friend it is good job！
Thank you my friend. I too agree that my musicianship and mixing abilities have improved since this whole great experiment began. Thank you for your continued support!
あなたに私の友人に感謝。私も、この全体の偉大な実験が始まって以来、私の音楽の才能とミキシング能力が向上していることに同意します。引き続きご支援いただきありがとうございます！
this isnt to copy walters arrangment this is done in carys arrangment a very clever cover version indeed well done
Thanks for clarifying Andrew. I have received some comments that people think I've just uploaded a video to some of Carlos' pieces... and interestingly enough, I chose not to listen to her original version when I covered it. I was surprised afterwards when I did go back for a listen, to find that I'd created a broader soundscape compared to her original work. I mention this many times when replying to comments - my goal was always to recreate WC's sound but try as I may, I rarely achieve her minimalistic style. I've accepted that it is my own style and have been ultimately flattered when people have commented that this is what she might have done with today's equipment. I'm humbled to the core and very thankful that many people don't compare my work to hers and appreciate my music for its own merit, as you've done here. Most appreciated and thank you again for taking the time to listen and comment. :)
@@CareyRMeltz if Wendy did a 50th anniversry version of SOB 11 this would how it sounded interesting The Album wasnt really a big seller in comparison to her debut album but still its a good album to listen to
Absolutely Beautiful. And I love that people are pointing out possible bass note errors. 😆
Simplemente espectacular!
Muchas gracias Tedy. Le agradezco que tome el tiempo para escuchar y publicar sus amables palabras. Thank you very much Tedy. I appreciate you taking the time to listen and post your kind words.
Wonderful -
Thank you kindly for listening and for taking the time to comment. :)
QUE HERMOSURA. QUE INTERPRETACION....!!
+Patricia Moro
Muchas gracias por tus amables palabras. Quiero que el oyente experimentar la música como lo siento en mi alma y la escucho en mi cabeza y corazón - sin tener en cuenta las normas o restricciones musicales.
Thank you very much for your kind words. I want the listener to experience the music as I feel it in my soul and hear it in my head and heart - regardless of musical standards or restrictions.
GREAT DRUGLESS LIGHT SHOW
THIS MUSIC COMPOSITION BORDERS ON THE SUBLIME
BACH'S MUSIC BEING SO PERFECTLY MATHEMATICAL
IS PERFECT FOR THE MOOG SYNTHESIZER
THANKS Puhzz FOR THE UNBELIEVABLY THOROUGH HISTORICAL RESEARCH
LOL I saw the visualization when I was previewing the mp3 in WinAMP. I looked through hundreds but didn't think any of them were as interesting as this one... then I had to literally go through thousands of them to re-find it. I do agree that so many Baroque pieces are rather mechanical/mathematical and therefore perfect choices for synthesis. The trick is to get them to sound a little more fluid and I think I was able to accomplish that with this piece - especially through the "harpsichord" cadenza. Thanks for reading the notes. I always like to put the music into historical perspective and describe my approach in realizing it.
YOU REMIND ME OF A HOUSEMATE I LIVED WITH IN 1974 IN SILVER SPRING MD (REMEMBER WATCHING NIXON'S RESIGNATION ON TV) // HE WAS A JULLIARD GRADUATE (HARPSICORD) // WAS SOMEWHAT SAVANT- LIKE WITH POOR SOCIAL SKILLS BUT A BRILLIANT MUSICIAN // I USE TO CRANK UP BEETHOVEN 9TH (CLOCKWORK ORANGE PERIOD) BUT HE DIDN'T MIND
LOL I think I'm the opposite - great social skills but a poor musician. ;)
I WOULD SELL MY SOUL TO BE ABLE TO READ MUSIC COMPETENTLY AND PLAY THE PIANO SUFFICIENTLY ENOUGH TO ENTERTAIN
I HAVE PLAYED THE SOUSA PHONE // TRUMPET // SNARE & BASS DRUM
AND OF COURSE LIKE EVERY 1960'S GUY // THE GUITAR // BUT BARELY READ
Duane Hanlon I happen to know several of Bush family members, so I could probably get your wish granted.
Magical
Thank you Simona. I appreciate that you enjoyed this enough to comment. :)
JSB wdv __loved__ this \ Thank you, for pro'ly _100's_ of hr.s of work , all told \
So metric ; so translucent ; the architecture of this rejoicing may be traced , & danced along, thru & thru \
For the joy of many , please also so render yet more works by this master-architect of Joy , JSB \
its 40 years this year since SOB 2 was released and if wendy did a remake this is how it would sound
Wow! Thanks. I guess it really has been that long - I remember finding SOB 2 in a record shop in Ottawa on our grade 8 trip to visit the city. I had to borrow change from some of my classmates to purchase it because I was so fond of the original. I still have my old vinyl copies today. I really appreciate your comment as I am very pleased with the way this one came out. I did a lot of tweaking to get this to sound like it was recorded from life performing instead of by scanning the sheet music.
Ms. Carlos, hardest site I've ever tried to get on to. Whatever, I knew you at the first, Switched on Bach is on my top ten list! Loved them all! Then you made an album, I don't know its name. Moonscapes? Whatever, was great!
Not really sure what you mean here... and I'm neither Wendy Carlos, nor is this piece the one that she did. The album you're referring to is "Digital Moonscapes" released in 1984. (Perhaps you mean her web site is difficult to navigate? There's a lot of information on it for sure).
Wendy/ Walter, Pretty sure she is who she is!
i always thought of this as a lullaby with a virtuoso harpsichord surprise
Thanks for the comment Vincent: agreed. It's the passages from 3:38 - 4:09 that totally feels like a lullaby. In fact, I've seen it referred to as the "lulling" section.
I am sure Bach would be impressed, flattered even....thanks for the collectin
+david stabile I would certainly hope so... much better than spinning in his grave. ^_^ David, I saw you commented on my other video. I get a lot of requests for that visualization because you can follow the music without actually having to know how to read music. I've had a number of teachers contact me in regard to that subject. I really liked this visualization for this piece but if you want to see some stunning music videos, check out Smalin's page: ruclips.net/user/smalin. He's the inventor of the Music Animation Machine midi player and he's got a whole new bag of tricks with his 3D videos (which you can very much appreciate in 2D).
thank you for the tip
I love it!! Bravo
Thank you kindly for listening and taking the time to comment. I hope you find other pieces to enjoy on my channel. :)
Beautiful
The visuals create a beautiful storyline that allowed me to live and experience the story of the song. The girl, the island, all of it! Thank you for creating this! This visualization is magical! May I ask what software you used to create these visuals?
Thanks for your wonderful comment. I believe this was one of thousands of "Milkdrop" presets created for WinAMP. Most of the time I use the MAMM (music animation midi machine) - as is most often requested. It's a graphical visualization letting people who don't know how to read music follow along. I've had great feedback from teachers (for this very reason) and apparently it has been successful with students within the autism spectrum.
Awesome tribute to Wendy Carlos.
Beautiful work. Thank you. I'm a big fan of SOB. But how I would like to hear Rachmaninov's piano concerto 2 and 3 performed in Wendy's style!
Well done
Thank you very much. :)
Dear Carey, would like to ask you a question. When individuals present excellent work, as you do, there are those who will admire that person and the quality of their work. Do you find yourself a role model for others and if so, what is your course of action? When individuals have a great influence upon others, they have the opportunity to be a guide - is this true with you?
Oh wow, what a comment! Well, to start off Bobcatt22, thank you very kindly for your high praise. Let me be the first to admit that I don't find my work to be "excellent." (But that's just my opinion). I do consider all of my work to be "experiments" in that there are countless ways to approach a piece and bring it to life. I'm always wanting to revisit pieces and try to do better than what I've presented (and I have numerous such works in progress, as well as a host of projects on the go). I have my "style," I suppose and though I have been influenced by several muses, I can't profess to have attained the level of achievement that artists like Carlos and Tomita pioneered. All I can do is do what I do in my own way and continue to develop.
There are other RUclipsrs' works that I adore and can only dream to emulate but each of us, in our own way, contributes to the genre and to keep it alive - even to help it evolve (stay tuned for a video about an electro-acoustic hybrid ensemble). In a humble response, I know people are interested in what I do and how I do it due to the many messages and email I've received over the years. I answer each and every one of them in great detail, outlining my approach to realizing a piece: the analysis, arranging, sound development and mix-down techniques... but it's ever-evolving as I too learn something new with every piece I choose.
I try to give back, including supplying my midi sequences and presets (to those using my software) and have been rewarded by meeting so many wonderful people from all over the world. I'm also very appreciative of the contributions people have made (and the RUclips ad revenue) to fund new software. I also try to respond to each and every comment left and fortunately only a tiny percentage have had to be removed because I won't permit rude or inappropriate remarks. While I don't expect people to like everything I do, I would appreciate that the effort taken from start to finish would be acknowledged, in a respectful way (is that too much to ask for in this day where certain types hide behind the internet and use forums like social media to boost themselves by belittling others?).
To go further, people have shared their own work with me privately and asked for suggestions and advice. (I've done a number of collaborations and am even realizing work composed by subscribers). I am happy to do so but often feel inadequate because of their level of musical expertise. I do not have a degree in music and am mostly self-taught, however, I have been told that I have an "ear for the genre" and know enough about what I do to be able to do it in a way that others appreciate - even though I mostly do this for myself and share in the hope that others will also enjoy the music. I don't mean to put myself down though I'm modest enough to understand that others look to my work though I don't consider myself to be a mentor... perhaps a slight "influencer" in keeping the sound and memory of some great artists alive for the small group that are interested.
So please forgive me for the lengthy response but I wanted to give my reply a bit of context. Thank you again for such a genuine and meaningful question. I hope my answer met your expectation. :)
Cheers from Canada,
Carey
PS. As I mentioned, I have a great many things in the works but haven't been able to post much in the last year. I suffer from fibromyalgia and its accompanying chronic fatigue and my creative ability (and the amount of time I can spend on it) is greatly affected. My best practice is to always experiment and develop new sounds and then to go back and revisit something I'd started some time ago - thinking it too daunting to finish... but suddenly, things can come together quite quickly. I've also been discovering works that I'd not previously heard by both the Masters and unfamiliar composers.
Hi@@CareyRMeltz- thank you for spending the time and interest to respond. Firstly, people who are modest and unhappy with their work are usually both spiritually advanced and are skilled. Rather you think yourself as an accomplished musician or not, there are those who will admire your work and the person. In this sense, rather you are aware or not, you are a role model, that is, there is something in you that others desire.
You mention you have fibromyalgia - This reminds me of yet another artist who lives in Australia and has a Facebook fan club. He mentioned as you did, that he had an illness and that was slowing him down in responding to Facebook comments. A FB person suggested that he obtain a rife machine, based upon frequencies can both kill pathogens and heal. After using this machine he was cancer free. Are you located in the States if so which one? Here is the link to the YT video: ruclips.net/video/AaWU1yYpqOY/видео.html
Thanks Wendy/Walter
LOL, it's neither (unless you're giving her/him praise for introducing me to the style).
Her name's Wendy. Don't be transphobic
Yes indeed. She was born as "Walter" but was actually transitioning and living as a woman when she released her first recording "Switched-On Bach." She used her birth name originally as she was concerned that she wouldn't be taken seriously developing a new genre of music as a woman.
I don't think the other person commenting was being transphobic as her early albums were released originally under "Walter" and then later reprinted using "Wendy."
@@CareyRMeltz I know all this.. that literally does not change the fact that deadnaming a trans person and using the wrong pronouns is transphobic.
@Mathieu I used the both gender pronouns with respect to the original comment using both of her names. And since she used to use her birth name, I can’t fault The Modern Hermeticist for citing her two registered names in his comment. Perhaps it’s better to say “ignorant” rather than ”transphobic” - ignorant in terms of being insensitive to referring to Carlos under her previous identity. I don’t believe the intent was to be demeaning. I am very aware and extremely saddened by the anti-trans mentality of the current Republican Administration which is why I am responding in defence of the original comment. I appreciate and respect your hyper-sensitivity to the issue (and have also “spoken” to trans individuals who’ve commented on Wendy’s courage to become her true self, and ultimately enabled others to do the same). We must remain vigilant to ensure that our rights to sexual and gender identities are not erased by the "Religious Right " but must also temper our reactions with the understanding that not everything is intended as an affront... and I certainly didn't mean to offend anyone by writing "him" in this case.
Anyway, I take more offence to someone giving a “thumbs down” without taking the time to offer an opinion as to what they didn’t like about the music. I find that to be cowardly and ineffective but I have no control over it. I do this for myself as a hobby and share here on my channel in the hope to keep Ms. Carlos’ (and Mr. Tomita’s) genre(s) alive, to honour them and thank them for the music and inspiration they’ve given to the world.
J S Bach - - the 20th century composer living in the 18th century.
something you would listen in space
Es fácil reconocer el poder de las melodías de Bach, cuando quedan inmersas en el tiempo, que hace grandes obras, como en la vida, junto a mi padre, que me enseñó a reconocer la calidad y el buen gusto por la música universal, que en especial está, me llevaba a inspirarme para estudiar, trabajar, y explorar con las habilidades de mis manos, en mi profesión, cuando aprendí el oficio de odontólogo, mientras escuchaba, por largas horas los conciertos, esperando a mi padre, verlo llegar, o encontrarlo después de llegar de la universidad. Una memoria, para dedicarla a él y a ese genio, que comparten juntos, por su grandeza y dedicación a las artes. En el cielo, junto a DIOS un homenaje a su vida.
my beloved johann and wendy
It's my tribute to them both. Thank you for listening and taking the time to comment.
Seems impossible to find this for sale on CD so thank you very much for posting
I think sometimes synthesized versions of classical music sounds more powerful than original pieces.
Indeed, that that creates a challenge in the instrument sound development from piece to piece. To make everything sound correct together (keeping in mind that the composer wrote for numbers and types of instruments), can be tedious (I have a lot of work in progress because I don't want to put things out that aren't quite ready). The VST instruments (virtual software synthesizers - or even real ones) can't produce every characteristic of its natural counterpart - that is, not without adjusting settings. Sometimes I have to substitute parts of tracks with a "tweaked timbre" or oppositely, find a happy-medium and use the 1 sound throughout the entire piece. There's a balance to achieve with what is required of each note and what each instrument can do. In Carlos' "Switched-On Bach," not only did she give us a new style of sound, she also showcased some of the marvels the mighty Moog could do. She didn't just stick with 1 timbre per instrument in her realization of Bach's "Brandenburg Concerto No. 3," she constantly changed things up to create even more interest in her music. There's a fine balance there for me as well in terms of choosing the right piece with the right sounds and the appropriate effects and/or emphasis.
Hermoso.
Eve Lima Grasias.
Holy cow! It's a better version of the Carlos recording. The solo voices are a bit hidden, though. But the registrations are spectacular!
Thank you so much for your very appreciated comment. :)
wow