The sonata explained by Bach

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  • Опубликовано: 17 дек 2024

Комментарии • 79

  • @maximilliancamilleri7907
    @maximilliancamilleri7907 9 месяцев назад +6

    I love Haydn’s angry look towards Beethoven as he rages and even when Bach corrects himself in saying Van Beethoven. Haydn is my favorite composer and probably one of the most underrated. He was the first composer who really challenged Bach’s legacy after his death in 1750. At least before Mozart

  • @lennybellafiore1503
    @lennybellafiore1503 9 месяцев назад +9

    Your work is great. Your ability to explain, and throw in some humour, is much appreciated.
    My guess is Sebe did love to laugh.

    • @BachTheAnimatedSeries
      @BachTheAnimatedSeries  9 месяцев назад +2

      Thank you very much! Yes, he was renowned to be a great host and with the beer flowing I'm sure that he was very humorous too, in spite of the many tragedies in his life. 😊

  • @joshuaharper372
    @joshuaharper372 9 месяцев назад +6

    Sonatas weren't an important part of his work "As I agave only written ... 60 or so of them" 😂. Perfect timing on that delivery.

  • @simplycm
    @simplycm 9 месяцев назад +5

    This was explained amazingly and I love the humor in it aswell

  • @SergioValenzuela
    @SergioValenzuela 9 месяцев назад +4

    Ahh, would like to ask so many things to Bach !. This is fantastic and very clever. Thank You again !.

    • @BachTheAnimatedSeries
      @BachTheAnimatedSeries  9 месяцев назад +3

      Well, you can always ask and perhaps he'll respond. After all, this video was made as a response to someone asking him to explain the sonata. 😆

    • @SergioValenzuela
      @SergioValenzuela 9 месяцев назад +2

      Hehe, besides some trascendental matters, like his beer preferences , I would love to ask what is harmony & counterpoint at a deep level, and what was like to improvise a fugue under the stress of Frederick´s request...Cheers!.

    • @BachTheAnimatedSeries
      @BachTheAnimatedSeries  9 месяцев назад +3

      Oh dear... I'm afraid we'll have to travel to Leipzig to exhume Bach himself to answer those questions because there's no-one who understood counterpoint and harmonic possibilities like him. About Frederick though, still a little bit more patience because Bach's visit to Potsdam will be up in a couple of episodes. 😊

    • @SergioValenzuela
      @SergioValenzuela 9 месяцев назад +1

      Dear Peter, so many unanswered questions about him, but so much is divinely spoken through his music. This is so fantastic, can´t wait to watch the Postdam Trip episode.Thanks so much !:

  • @nettles89
    @nettles89 9 месяцев назад +2

    Thank you! Most of Bach’s music is new to me, and I still find most of it too complex for my ear to follow adequately (where have I heard that before 🤔),but I’ve long adored Beethoven, especially his piano sonatas! Imagine my surprise at hearing the tones of old no. 17, where I expected something unfamiliar, from Bach! This was a lovely explanation, helping me to better understand the music I’ve enjoyed for years, and since I’ve focused mostly on Bach’s cantatas and organ works until now, it makes me look forward to hearing his sonatas!

    • @BachTheAnimatedSeries
      @BachTheAnimatedSeries  9 месяцев назад +3

      Thank you very much for your kind words! Well, I had to include some other composers too, otherwise it would always be Bach... Bach... Bach... 😊 I'm sure that you'll love Bach's sonatas though, e.g. the andante of his organ sonata BWV528 or this one... m.ruclips.net/video/JOjIqpQNoJc/видео.html Cheers!

    • @nettles89
      @nettles89 9 месяцев назад +1

      @@BachTheAnimatedSeries Thanks, I really enjoyed both of those! In fact, they highlighted what I think is one of my biggest gripes with Bach's music: I generally just don't like the sound of an organ or harpsichord, compared to a piano. I'm starting to think I should just accept that and start looking for more piano performances, rather than prioritizing period-correct-ish instrumentation.

  • @BlossomedJewelsOfficial
    @BlossomedJewelsOfficial 9 месяцев назад +2

    This was explained amazingly and I love the humor in it aswell ❤❤❤

    • @BachTheAnimatedSeries
      @BachTheAnimatedSeries  9 месяцев назад +3

      Thank you very much! 😊

    • @BlossomedJewelsOfficial
      @BlossomedJewelsOfficial 9 месяцев назад +1

      By the way I’m curious about one thing. How was he able to see everything in this video despite him being blind towards the end of his life from health problems and that Taylor surgeon guy??

  • @johnbrown9588
    @johnbrown9588 9 месяцев назад +2

    Thank you, Peter, wonderfully explained. The first sonata I ever played was Beethoven's Moonlight at the age of nine, and is still one of my favourites. There's something about it that still stirs my soul. I remember it bringing a tear to my eye after I had mastered it at that tender age. 💗😌

    • @BachTheAnimatedSeries
      @BachTheAnimatedSeries  9 месяцев назад +2

      Yes, it truly is a beauty and I thought about using it as an example, but it's not a "typical" sonata and I had already used the 3rd movement of his Tempest sonata. As it turns out however, Mozart's isn't "typical" either... 🤣 My compliments to you though, because if you managed to play the Moonlight already at the age of 9, you must he a formidable pianist. At the age of 9 I was still struggling with Bach's (Petzold's) minuetto in G major... 🤣

    • @johnbrown9588
      @johnbrown9588 9 месяцев назад +2

      @@BachTheAnimatedSeries It all fell apart when I reached my teens and found love. It picked up again in my 20s, when I moved to Vienna and fell in love with a wonderful girl who owned a grand piano and also loved Beethoven, but it was soon over when I returned to the UK and had to earn a living. The only opportunity to play in my middle years was at my local church, and that was on the organ. These days, I tinker on my keyboard in my free time. ❤

    • @BachTheAnimatedSeries
      @BachTheAnimatedSeries  9 месяцев назад +2

      ​@@johnbrown9588Seems like our stories are quite similar, though I had to abandon the piano for my studies. But just like you I keep on tinkering every now and then. 😅

  • @Pratman
    @Pratman 9 месяцев назад +3

    Top explaining as always bud 😀

  • @alexmenassa6604
    @alexmenassa6604 9 месяцев назад +3

    Amazing

  • @thepowerofcello
    @thepowerofcello 6 месяцев назад +1

    The circle of fifths moods was so helpful!

  • @fifibg
    @fifibg 9 месяцев назад +4

    omg thank you so much for this!!!!!!

  • @canadiansoul9401
    @canadiansoul9401 9 месяцев назад +2

    Your job is fantastic. You have no idea how big you are doing what you do. Thanks for your amazing Job
    Hello from Brazil.

    • @BachTheAnimatedSeries
      @BachTheAnimatedSeries  9 месяцев назад

      Obrigado! 😆 Now onto episode 24... 😁 Seriously though, I'm extremely grateful for comments like yours because without them I'd already have stopped a long time ago.

  • @Christopher_Alterhaug
    @Christopher_Alterhaug 9 месяцев назад +2

    Wonderful job as always! In addition to adding some (sorely) needed educational content about Bach, you also started expanding your horizon to make more educational content about music itself. Great channel. Keep up the good work, and also... I am sure Bach would be quite proud of you!

    • @BachTheAnimatedSeries
      @BachTheAnimatedSeries  9 месяцев назад +2

      Thank you very much for your kind words. I'll try to make more videos like this in the future, though making all of these animations is quickly turning into a 24h a day job. 🤣 I'm not sure if Bach would be proud, but if he had a good laugh that would already be more than I could hope for. Thank you once more!

    • @Christopher_Alterhaug
      @Christopher_Alterhaug 9 месяцев назад +1

      Anything positive coming from him, I consider a victory, haha! Looking forward to the next episode!@@BachTheAnimatedSeries

  • @patrickdeng4973
    @patrickdeng4973 9 месяцев назад +2

    thanks for the video :3 love ur work

  • @tedlassagne8785
    @tedlassagne8785 9 месяцев назад +2

    The recapitulation really should be a section in itself, not just a part of the coda.

    • @BachTheAnimatedSeries
      @BachTheAnimatedSeries  9 месяцев назад

      True, in the end the Mozart sonata turned out to be less "standard" than I thought.

    • @tbarrelier
      @tbarrelier 9 месяцев назад +1

      I agree. I was wondering why it wasn't mentioned.

  • @michaelvr8973
    @michaelvr8973 9 месяцев назад +1

    I have always liked classical music and Bach especially... Thanks to you I will now have a better understanding of what I am listening to.

    • @BachTheAnimatedSeries
      @BachTheAnimatedSeries  9 месяцев назад

      Thank you very much for your kind words... you gave me a wonderful compliment. 😊

  • @EndingSimple
    @EndingSimple 4 месяца назад +1

    Now I get it. Contrasting it with the fugue really makes it clear. Spot on personality episode with VAN Beethoven. "No, I'm not a land owner. I'm a brain owner."

  • @inhorama338
    @inhorama338 9 месяцев назад +2

    Always exciting to discover your new videos, great work as usual !

  • @pauljohnston
    @pauljohnston 9 месяцев назад +1

    yes. great video. Many thanks.

  • @jorgeotolio
    @jorgeotolio 9 месяцев назад +1

    There are some interesting points in the video, but also some confusion of terms. "Sonata" and "sonata form" are two different things. While the first movement of a sonata (at least, in the Classical period) is almost exclusively written in sonata form, the sonata form can appear in compositions that are not sonatas, e.g. in some movements in J. Haydn's masses, but also in symphonies or string quartets. There are quite a few differences between the two. While they are often related, they are not equivalent.

    • @BachTheAnimatedSeries
      @BachTheAnimatedSeries  9 месяцев назад +1

      Thank you very much for your clarification. Yes, I didn't differentiate between the two because I didn't want to confuse the audience too much (the video's intended especially for people without any musical background). Though I did specify the several parts, and the standard structure of each part. Perhaps I should have mentioned that even a symphony can be structured like a sonata, as you justly commented. Thank you once again.

  • @emanuelecicchino7256
    @emanuelecicchino7256 4 месяца назад +1

    Of course 😊😊😊😊😊😮❤

    • @BachTheAnimatedSeries
      @BachTheAnimatedSeries  4 месяца назад

      Grazie mille! Ho appena finito l'ultima scena della prossima puntata, quindi... fra qualche giorno sarà pubblicata. 😆

  • @bigpoppa192
    @bigpoppa192 19 дней назад +1

    You're the best

  • @umanathshetty7232
    @umanathshetty7232 9 месяцев назад +2

    It is great🎉 How do you animate so beautifully

    • @BachTheAnimatedSeries
      @BachTheAnimatedSeries  9 месяцев назад +1

      Thank you very much! Well, if you watch the Bach series from ep.1 you'll see that it's been a long and steep learning process and I'm still learning with every new scene. 😊

  • @axellepantanella1522
    @axellepantanella1522 9 месяцев назад +2

    ❤❤❤❤❤❤❤❤❤

  • @justcarcrazy
    @justcarcrazy 9 месяцев назад +1

    Mozart was not a great admirer of Bach's. In fact, he specifically wrote his music to avoid polyphony, which was Bach's forte. It wasn't until the last 5 to 10 years of his life that Mozart began studying the works of Bach - too late to have an influence on his musical style. Beethoven is the principal force for the rediscovery of Bach's works, and he tried to emulate Bach in his own compositions. By contrast, Mozart was more influenced by J.C. Bach

    • @BachTheAnimatedSeries
      @BachTheAnimatedSeries  9 месяцев назад +2

      Well, he was actually. He didn't really know Bach's music until his visit to Leipzig in 1789, where he heard Bach's work performed for the first time and he was totally mesmerised by it. At the end he exclaimed: "Now that is something one can learn from!". The same evening he was seen sitting on the floor surrounded by every Bach score they could find, absorbing the music. After this his music wouldn't be the same anymore. His later works such as his late symphonies and especially his Requiem deeply carry Bach's influence.

    • @tbarrelier
      @tbarrelier 9 месяцев назад

      I believe Mendelssohn was the one who was mostly responsible for the revival of Bach's music.

    • @tahaouhabi3520
      @tahaouhabi3520 8 месяцев назад

      Mozart was a clear admirer of Bach, you can hear some of Bach's themes from the WTC2 in Mozart's 18th sonata which was written after his visit to Leipzig not to forget that he was very impressed with Bach's works that were introduced to him by his friend during his visit such as The Art Of Fugue. To end this discussion, you should accept that Bach was admired by every single great composer that came after him, after all, admiring the best would only prove to make their music even more profound.

  • @harryk4840
    @harryk4840 9 месяцев назад +1

    ❤️

  • @Alexander-oh8ry
    @Alexander-oh8ry 9 месяцев назад +3

    1:38 and later has some really creepy faces

  • @teodorb.p.composer
    @teodorb.p.composer 9 месяцев назад +3

    Great, but the best sonatas are from late romantic era (Mainly Medtner, Feinberg and Scriabin)

    • @BachTheAnimatedSeries
      @BachTheAnimatedSeries  9 месяцев назад +3

      Well, that's a matter of opinion. I wouldn't write the older masters off though. Cheers! 😊

  • @14giorni
    @14giorni 9 месяцев назад +1

    Non vorrei essere scortese ma... l'armonia che viene indicata nella sonata di Mozart contiene degli errori.

    • @BachTheAnimatedSeries
      @BachTheAnimatedSeries  9 месяцев назад +1

      Davvero? Può essere... non sono un vero esperto. Dove mi sono sbagliato?

    • @14giorni
      @14giorni 9 месяцев назад

      @BachTheAnimatedSeries Ciao!
      Nell'esposizione tu indichi un FA minore, quando in realtà tutta quella parte continua ad essere in MI bemolle maggiore. Certo, se ti fermi sul singolo accordo vedrai un FA minore. Ma la tonalità continua ad essere quella di MI bemolle maggiore e il FA minore in quel momento lì sta funzionando come sottodominante.
      Alla fine dell'esposizione tu scrivi SOL minore... attenzione che l'accordo è maggiore! E anche qui, non c'è una vera e propria modulazione verso il SOL. Il SOL qui non sta funzionando come tonica ma come dominante (sia del DO minore se ripete, sia del DO maggiore se continua).
      L'inizio dello sviluppo sull'accordo di DO maggiore è ingannevole, quindi io lo indicherei (per far notare l'ambiguità) come tonalità di DO maggiore e allo stesso tempo come tonalità di FA minore (cioè, l'accordo di DO maggiore con funzione di tonica se lo vedi dalla tonalità di DO, e di dominante se lo vedi dalla tonalità di FA).
      Nella ripresa la sezione che tu indichi come MI bemolle minore è una sezione in DO minore.
      Nella coda, nel momento in cui compare l'accordo sul sesto grado... attenzione che è maggiore, non minore!
      Spero di essere stato d'aiuto ;)

  • @laggeman1396
    @laggeman1396 2 месяца назад +1

    Well... sadly to say, this is wrong altogether! Both the historic part and the talk about sonata form. It's a shame these types of videos are spread, because they teach things that are just not true.

    • @BachTheAnimatedSeries
      @BachTheAnimatedSeries  2 месяца назад

      @@laggeman1396 This is odd because this video has already received so many compliments from music scholars. Would you please care to explain where I went wrong?

    • @laggeman1396
      @laggeman1396 2 месяца назад +1

      @@BachTheAnimatedSeries Well, first I would divide it into two videos, one about sonatas and one about sonata form.
      This will be a long answer, so I return later to talk about sonata form.
      What is called sonata is very different from time to time:
      1) Late renaissance to early baroque (1550-1650) - mostly in Italy. The sonata was only an instrumental piece (canzona da sonar/sonata etc. e.g. by G. Gabrieli) for various ensembles or solo/duo plus basso continuo (B. Marini, W. Lawes...). Often in multiple sections of various tempi and character.
      2) Baroque sonata (1650-1750). Divided into 3-5 movements normally in the same key. Corelli was the master of these forms. They were either...
      a) Church sonatas in normally 4 movements: slow-fast-slow-fast. Each movement in two reprises.
      b) Chamber sonatas in 3-5 movements, of dance character, more or less the same as a suite (but suites could have much more movements).
      They were either for one soloist plus b.c. (or just solo violin/flute/cello/organ/cembalo etc.) or "trio sonatas" for two soloists plus b.c. (Rarely three or four soloists!). Solo instruments were typically violin, viola da gamba, recorder, traverse flute, oboe, trumpet...
      Great composers: Geminiani, Vivaldi, Tartini, Locatelli, Bach, Telemann, Händel...
      3) Classical sonata (1770-1820). Developed mostly in Germany/Austria. Always 3 or 4 movements (fast-slow-fast or fast-slow-minuet-fast).
      The 1st movement (main key): always in "sonata form", which developed out of the two reprises in the earlier sonatas/suites.
      2nd movement (different key): normally in simple ABA or ABABA form. Can also be theme and variations.
      Finale (in main key): rondo form, sonata form or theme and variations. Rarely as a fugue or minuet (early on).
      The Minuet (related or main key) always have the traditional dance form with two reprises, followed by a contrasting "trio" of same form but a different key, and of more relaxed character. Then comes minuet da capo, without reprises.
      This form is also used in all other chamber music: string trio/quartet/quintet etc, piano trio/quartet/quintet, wind+string combinations etc.
      And of course in the Symphony.
      The root of all this (fast-slow-fast) was the Italian "Sinfonia", which was the ouverture to operas, as developed by Alessandro Scarlatti.
      The solo keyboard or piano sonata was developed in early/mid 1700:s by people like D. Scarlatti (what he called Sonata was just single sonata movements with the usual two reprises) and C.P.E. Bach (who was very free and inventive), and the classical piano sonata by Haydn, Mozart, Clementi and finally Beethoven, who experimented much with the form. (Also Schubert.)
      In the classical era the sonatas were normally for violin or cello plus a through-composed piano part of equal importance (in contrast to the baroque sonata, where only the bass and chords were written).
      4) Romantic sonatas (1820-1920). More seldom for piano solo, but more and more for solo instrument plus piano: violin, cello, flute, clarinet, oboe, bassoon, horn etc. Used the in the classical forms of 3-4 movements. Great composers: Mendelssohn, Brahms, Dvořák, Franck, Fauré, Saint-Saëns, Reger...
      5) Modern sonatas. Solo instruments alone, or with piano. Much more free in form, and written for every possible instrument/combination.
      Hindemith is a striking example. Other greats are Poulenc, Milhaud...
      Piano sonatas are being produced again (Prokofiev, Berg, Shostakovich, Boulez...)
      To be continued....

    • @BachTheAnimatedSeries
      @BachTheAnimatedSeries  2 месяца назад

      @@laggeman1396 Well, that's basically what I said in the video, only more exhaustive.

    • @laggeman1396
      @laggeman1396 2 месяца назад +1

      ​@@BachTheAnimatedSeries
      Ok... I will point out some mistakes:
      -sonata originates from the renaissance, not baroque
      -it was a very defined form, but different from time to time, as I wrote. A fugue is on the contrary a very open and undefined form.
      - a baroque s. is totally different from a classical/romantic s., as I described
      -when you say "originally it had three movements" fast-slow-fast, that is wrong, as a baroque (church) sonata had four movements (slow-fast-slow-fast).
      So Bach didn't "add a fourth dance movement". There you are talking completely upside down about what happened in the classical era, when sometimes a minuet was added. You never find a minuet in a Bach sonata.
      -Then you start confusing the structure of the sonata with the "sonata form", which appears later, in the 1760s-1770s, and again, it has nothing to do with a fugue.
      Now: the three main parts of a _sonata form movement_ are exposition-development and RECAPITULATION. The CODA is just the last bars, where you round off the music. And coda is never called "finale". (That's the last movement of a piece.)
      -The baroque sonata movements had not two different themes, but just floated on. The two reprises are of course the root for sonata form, as you normally go from T to D (or from t to tP in minor) in the first reprise, and then from D to T in the second, which often has like a recap. in T after about half the time.
      -You never go from c minor to C major! Always from c minor to the RELATIVE major, that is Eb major.
      So, in your description of Mozart you miss that the side group (in Eb), which in this case has two themes, starts already at 6'32".
      The RECAPITULATION (we are back in c minor!) starts at 8'24".
      The side group (at 8'52") now goes first in Db (!), but finds its way to c minor in the second theme (9'06")
      The CODA is after the reprise (not taken here) at 9'58".
      Hope that you understand my frustration, when so much was incorrect in your video... Just wanted to set things straight.

    • @BachTheAnimatedSeries
      @BachTheAnimatedSeries  2 месяца назад

      @@laggeman1396 Well, I beg to differ.
      The term sonata may come from the Renaissance but the sonata as a musical form originated in the baroque era and originally had 3 movements, similar to the concerto. It wasn't Bach who decided to add a 4th movement, I said: "Personally I prefer 4". Many of Corelli's sonatas even had 5 movements! What I said was that there's no such thing as a fixed sonata structure, neither in the number of movements, neither in the number of themes. I said: "Even though some basic rules were established over the centuries (referring to what you said about the sonata changing from Baroque over Classical to Romantic), very few composers would actually stick to them all the time."
      What you said about the baroque sonata not having 2 themes is wrong. It's exactly the contrast between the themes which is the foundation of a sonata! Listen to Corelli, Scarlatti and Bach...
      You never go from C minor to C major? Bach did it and it became one of Schubert's trademarks!
      What you said about coda/finale is just semantics. I explained very well that the final part is a synthesis of what's been discussed and where the themes are reconciled with each other.
      I also vehemently disagree with your analysis of the Mozart sonata.
      What bothers me most, though, is that you are tearing down my video for such petty reasons whereas I believe, with a 99% like rate, the vast majority of the public appreciates my simple and comprehensive explanation of a complex subject. If I had made a video using your explanation, I'm sure that it wouldn't have appealed to anyone who's not a musical expert and the meaning of the video would have been lost. It's exactly people like you who are turning away ordinary people from classical music, whereas I'm trying to open a new world to them. Maybe my video contains a few small errors here or there, but that's not the point. The point is that now so many people have at least a basic understanding of what a sonata is and they're maybe hungry to discover more about classical music.