J.S. Bach: Brandenburg Concerto No. 3 in G major, BWV 1048 - 1. Allegro (2013 Experiment)
HTML-код
- Опубликовано: 29 сен 2024
- THIS EARLY EXPERIMENT HAS BEEN REPOST BY REQUEST.
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 based on the 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.
Even though he didn't call them the "Brandenburgs," originally, Bach considered 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. Bach even later reworked components of the Brandenburgs into other compositions. For example, 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 Concerto No. 3 in G major seems to make its own guidelines. It strays from the usual Concerto Grosso pattern in that, technically, there is no actual solo; the 9 stringed instruments - 3 violins, 3 violas, 3 cellos (supported by a continuo of bass and harpsichord), function sometimes as three solid units, sometimes simply as nine individual voices, engaging in a variety of combinations. The central theme of the opening movement revolves around a three-note figure that drops to the lower neighbour note and then returns to the starting pitch. This musical cell cascades through the string parts, highlighting the inherent equality among the voices in Bach's score.
In 1968 Wendy Carlos released "Switched-On Bach" which was to become the most influential "electronic" (not to be confused with modern "electronica" or EDM "electronic dance music”) classical recording of all time, winning the 1969 Grammys in three categories. The album was also one of the first "classical" recordings to go Gold. She is considered to be the pioneer in bridging the gap between classical and synthesized music. The album received a mixed reaction at the time of its release, however. Some critics reviled it for trivializing the work of one of the most revered classical composers of all time, but others were excited by the freshness of the sound and the virtuosity that went into its creation.
Regardless of the negative reviews, the album caught public attention and sold better than anyone expected. A publicist for Colombia Masterworks said at the time, "Employing a repertoire of works by Bach for this unique recording, makes sense." "The composer sometimes wrote without specific instruments in mind, being more concerned with the actual musical lines." As a result, the Moog synthesizer may be considered a valid musical instrument. More accurately it might be said to carry the listener beyond the limits of conventional instruments toward a new universe of sounds. Summing the emergence of the Moog synthesizer, Benjamin Folkman (Carlos' associate and musicologist) stated in the liner notes for the album: "Like any musical instrument, it has extraordinary capabilities and maddening limitations. Playing it beautifully requires as much skill, practice, talent and taste as playing any instrument beautifully, plus the need of a composer's ear for new and different sounds." The rest as they say is history!
I first heard "Switched-On Bach" in 1972 when my music teacher played the opening movement of the 3rd Brandenburg and asked us to count and name all the instruments. I was amazed to learn that there was only one “instrument” being played: the Moog Synthesizer - those ear-catching sounds! Later that night I went out to purchase my first classical album and my most favourite recording of all time. This is what inspired me to take piano lessons and to go further (discovering my passion for the artistry of Isao Tomita) and delve into arranging, orchestration and synthesis. In complete homage to Carlos' original realization, I have used all "hand-tuned" digital VST synths to come up with the vintage analog modular sounds. This is in no way intended to be a duplication of her work, but my humble attempt at the re-imagining of her voices and timbres using somewhat limited virtual synthesizers. I wanted to create something sounding familiar.
The use of headphones will greatly enhance your listening experience.
INFORMATION ON THE VISUALIZATION IS DETAILED IN THE FIRST PINNED COMMENT.
![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)
![J.S. Bach: Brandenburg Concerto No. 2 in F major, BWV 1047 [2020 Revisit] (Synthesized)](http://i.ytimg.com/vi/MCQmknIrE-g/mqdefault.jpg)
![[NYCP] Bach - Brandenburg Concerto No. 3 in G major, BWV 1048](/img/1.gif)
I am an old woman of 66 years old, and have loved Bach, and particularly this piece my whole life. I remember "switched on Bach" in the 1970s and I would listen constantly, nearly wearing out my LP of it. Then, life interrupted and I got married, raised 3 children, became a Nurse, and now on the rabbit hole of RUclips I happened on this...I am AMAZED! Having one son who was deaf as a baby and toddler, I think this video would be fantastic to show to a Deaf person with their hands placed on some VERY POWERFUL speakers as it played. God healed my sweet son and did so with music. He became a very accomplished & gifted musician and heard God's music and often played some Bach, and Mozart. I am surprised how this old brain and heart can remember and anticipate the score from memory while I haven't had the occasion to hear it in many years...heavenly sent. Thank you.
Bravo pour cette version au synthétiseur qui respecte le feeling, le tempo, les nuances et l'expressivité de l'Oeuvre de Jean-Sébastien BACH ! Le niveau des paliers sonores des différentes parties, en particulier, est très bien respecté 🎶 ! Chapeau et merci pour cette réalisation.
Merci pour votre très gentil commentaire.
My original presentation was removed by RUclips due to a minor copyright claim by Carlos’ music company for my erroneous use of an image of the SO-B album cover in the monetized video. I decided to upload a fresher version of my 2013 posted experiment (same presets but cleaner audio, more dynamics and a proper tempo) thanks to the many wonderful messages and requests sent in by my subscribers over the years. Though not representative of my best work, this was one of my most popular (over 655K views), yet earliest attempts working with VST instruments - and limited at that.
For those wanting to follow along, the MAMM (Music Animation Machine Midi Player) visualization displays the voicing listed as follows:
Violin I: Orange
Violin II: Yellow
Violin III: Lime Green
Viola I: Green
Viola II: Cyan
Viola III: Light Blue
Cello I: Dark Blue
Cello II: Purple
Cello III: Fuchsia
Bass Continuo: Pink
Thanks for taking the trouble to re-issue this. Although many of the sounds employed by Carlos are impossible on today's digital polyphonic synthesizers, the original work by JSB Is still delightful in any kind of transcription.
·
Thank you for this Mr. Meltz! Always puts in me in a good mood during tough times.
Thank YOU Noel. Ours were the most recent emails requesting the piece and I was inspired to remaster and repost it. I had intended to message you to let you know I had updated the work but you found it first. Enjoy.
So excellent in every way !!!
Great visualization! I would love to see more of this.
Thanks. Lots more on my channel but you could also see other Classical music presentations on Stephen Manilowski’s channel: @smalin.
Not familiar with the term, "VST". I am guessing: Virtual Synthesizer Technology. What applications do you employ/recommend?
Wendy Carlos-esque
He was Walter when he played this in the late 60s
She was transitioning at the time and released work under “Walter Carlos” because there was a concern that this pioneering work wouldn’t be taken seriously coming from a woman. Later on reprints were issued using “Wendy Carlos.” I still have my original LPs of S-OB for both versions.
This is a great synth version - and a feast for the eyes too!
I think J.S. Bach would have enjoyed this animated visualization of his complex and demanding note sequences. Thank you for the beautiful work and your effort!
So glad you enjoyed it. I appreciate your kind words.
la musique du bonheur ! 55 ans plus tard ,je ne m en suis toujours pas lassé Bach est inusable !!!
It was about 1970 or so when my parents gave me this vinyl record of Walter Carlos as a gift with the best interpretations in synthesizer and I got literally hooked. Since then I lost the record and have been looking on RUclips for reproductions 🙂 I'm glad I found this one!
Carey, would you be open for an interview for our radio?
Please write to me in private with details at CRM_d-SIN@rogers.com thanks. 😊
this helps to visualise how much of it is based around numerology, the number 3
Walter Carlos’s 1973 version is differently nuanced, and nothing can quite capture the Moog sound, but this is the 2nd best electronic realization I have ever heard. I listened to the S-OB version hundreds of times and it is ingrained in my head. But when I try to share the experience, I turn to Carey’s version instead of my worn out record. It’s clean and visually exciting. Just perfect for the 21st century.
Do you have the 5th brandenburg concerto 3rd movement?
J.S. Bach: Brandenburg Concerto No. 5 in D major, BWV 1050 - 3. Allegro (Synthesized)
ruclips.net/video/6W9NJBqwd6w/видео.html
Now, as always, very awesome, incredible performance man. Blessings every time I listen to your awesome talent! You are a tremendous blessing to all who listen. God richly bless you my blessed, awesome brother!!!
Very nice work. I share with you the passion for S.O.B. that was as well my most favourite LP at that long time ago (as well as most of all Tomita LPs). I guess it was a hard and pacient work to re-create the vintage sounds of Moog`s used by W.Carlos on modern on VST synths, and is admirable your attemp to re-create that formidable sounds. In my case, I pretend to also play some Bach works on virtual synth, using the excellent Arturia´s VST Modular V, and the Switched On Tribute preset pack, that resembles almost at perfection the original sounds used by W. Carlos. I confess that will be more laudable to create myself the sound patches, but from a practical standpoint I prefer to take the short path. Again, congrats for your nice work. 👏
Beautiful work, the finest I have heard 🖤🖤🖤
This sounds great!
Brilliant!
Excellent!
I first heard Wendy / Walter Carlos in about the same time - 1971/72 and it started a life long love of Bach, classical music, synthesisers and electronic music. I got my MiniMoog Voyager about 7 years ago, one of the last 500 Electric Blue models made and the last synth designed by Bob Moog - (couldn’t afford a Modular 55!) Thanks for posting, I have all of Wendy’s CDs but haven’t listened to them for a little while, and it was nice to do a search and find your channel.
Thanks so much for your comment. Hope you find other pieces to enjoy.
@@CareyRMeltz Thank you Carey for your reply. I particularly enjoyed your Handel’s "Hallelujah Chorus” and I have subscribed to your channel for about a year now. I should also have mentioned in my first post, that I was so impressed with your reimagining of the Allegro from the Third Brandenburg. It was brilliant, both visually and aurally. So what VST’s did you use? The Arturia Moog Modular comes to mind! And what were the tunings you used? Wendy was very clever on that. I wish I had that skill !
@stephenbarrette610 I actually used the free plugins and included instrument sets that came with Mixcraft. I like Arturia’s Moog Modular but it’s pricey. My version is standard tuning (which wouldn’t affect digital instruments but I know Carlos had a difficult time with her tunings on analogue equipment) sort of an averaging out her sounds (instead of changing up instrument timbres throughput) though it still seems to be reminiscent to people’s recollection of the work. Thanks so much for your interest and for subscribing. 🙂
@@CareyRMeltz My pleasure sir!