J.S. Bach - Well-Tempered Clavier Book II - Fugue No. 4 in C
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- Опубликовано: 7 сен 2024
- A deceivingly "simple" one. I liked the idea of experimenting with speed and different textures for the voices. There are many interpretations at a fast tempo, but they tend to lose a bit of precision. This one is fast and exact. Machine like. Does it work?
Another masterclass
Supercooool!!!
This is really good!
Simply precious your work dear OrzoMondo, grazie tante
Thank you so much!!!
I always wanted to hear this one like this. It's either pianists playing it too gentle or harpsichordists taking their sweet time, I always wanted to hear this one coming from a ripping harpsichord, and this is probably the closest ill get. Genius as always 🤘
Thank you!!
brill
It works! Thank you, OrzoMondo.
Thank you!
Sounds like the NES final boss music👍
Thanks!
EXIMIVS!
❤
OMG! Did I create a "monster" by suggesting you use the glissando as a signature? LOL I think the tempo really works in this context. Of course, it's inhumanely fast--or, at least, I've never heard anyone play it this fast. But I must say that the bass line could be a little more equal to the other voice. Jus' sayin'. I also think different colors for each voice is just as viable as one color for all the voices. Anyway, you're really cranking things out, Orzo. Wow!
You did! The note you left me in my last video is the exact reason why, after completing this one, I thought "hmm, I wonder how would it sound with a bit of siren going off at the end" :) As for the bass - while mastering this fugue, at the last minute I lowered the bass 3 db because in my AudioTechnica headphones the bass was too deep and overwhelming. Today I listened to this piece in my car and I wish I hadn't made that correction.
Short note on mastering: I used to have a set of monitors (Yamaha) and two headphones, AT and Sony, plus a truly kick-ass B&W audio system in my car (I'm sure there are better systems, but Volvo's top of the line audio system is incredible). Because I moved to another country, I had to sell the monitors and change car. My current car (BMW) has an audio system that is, ostensibly, "premium". It sucks. Also because now I know how a system could sound like.
So I am reduced to mastering with headphones, which, if you are even a little up to date on the widely unknown and surprisingly impactful stage of "mastering", is a big no-no.
Not too much I can do, because I am travelling a lot on top, so I don't have anymore a base with a studio to which I can come home to every night.
The good thing is that there's always the option to remaster in the future. Also because mastering is honestly unexpectedly difficult, so few more years at it will get my skills honed :)
@@OrzoMondo Thanks for that, Orzo. You have blessed with an open mind not to mention a creative one!
Excellent. There is only one tempo that this can go at and you've got that groove spot on. For me one of the best fugues in Book 2.
I was just comparing the speed of this one to your interpretation, they're fairly similar, perhaps yours is just a touch faster.
And BTW this is the second piece that I arranged because you arranged it first :) I love your version, and I thought about how would I make it, so here we are. The other piece is your BWV 66 splendid work, which I have in the works since the first moment I heard yours - at some point it will see the light.
@@OrzoMondoWow, OrzoMondo I'm seriously flattered. I'm proud of BWV 66 and don't think I've done anything better since. Anyway, I can't understand why this movement isn't really famous, it's amazing, inspired from the first note to the last.
@@grahamcaldecott If I may, although your output is first rate from start to finish, BWV 66 is just one step above everything else.
Definitely the music has a big part of it, but it's also the choices of patches and how you kept some patches from appearing too soon. I also like the picture very much - all in all a beautiful experience.
@@OrzoMondo Thanks so much.