The technique with the tremolo chords integrated with the melody used at 0:51 is completely new to me, at least from what I remember. We should look carefully at Bach's various transcriptions and re-labelings of other composers' works. I would like to believe that if Johann Sebastian Bach took the time to transcribe someone else's music, he must have considered it to be as good as his own (we don't need a benchmark for that). Even if that is not the case, these pieces that he selected for transcription were chosen for a reason, and possibly one outside of utilitarian uses such as contracted gigs where a harpsichordist needs to play a concerto. Regardless of the music's function, every one of these transcriptions MUST contain something that caught the eye of the greatest composer to ever live, enough for him to set aside regular work time to write it out and publish it. What is so special about Ernst's violin concerto? I'm sure there is a hidden link somewhere, if not purely an inventive tonal characteristic then possibly a hidden cipher only Bach would recognize. I did my high school senior project/thesis on the mechanics of musical cryptography. I invented my own system that allows entire sentences to be encoded in under 30 measures of nothing more than a melody and a bass line, with the end result being musically uncompromised. I learned that there are many paths to delivering extramusical information through music itself, many more than anyone familiar with the BACH motif might initially realize. I am certain that many, and quite possibly all, of Bach's works contain encoded information not unlike Contrapunctus XIV. Brandenburg 2 hides a statement of the BACH motif, did you know that? I didn't until someone pointed it out. Other systems, like my own, have most likely been developed in secrecy (and so remain), to be used in wartime or otherwise for the transfer of extremely sensitive information. I've heard rumors that the Freemasons could have possibly used such a system, with composers like Mozart providing a musical composition as the vehicle for an important message. If mathematicians in ancient times discovered the laws of geometry, then composers of the Baroque certainly were capable of developing highly advanced methods of encryption. There were no computers back then - other than the minds of contrapuntal composers. Secret messages existed, sure, but the concept of data encryption and code did not exist as we know it today. Any musical ciphers would be nearly impossible to detect. Do you find it strange that the only ciphers, such as the BACH motif and others, are only known because they have been REVEALED? The purpose of encryption is to remain undetected!! These transcriptions may be part of a network of secret information that only Bach and other composers were aware of. Bach's works require a close re-examination... ...especially the transcriptions of other composers.
The technique with the tremolo chords integrated with the melody used at 0:51 is completely new to me, at least from what I remember.
We should look carefully at Bach's various transcriptions and re-labelings of other composers' works. I would like to believe that if Johann Sebastian Bach took the time to transcribe someone else's music, he must have considered it to be as good as his own (we don't need a benchmark for that). Even if that is not the case, these pieces that he selected for transcription were chosen for a reason, and possibly one outside of utilitarian uses such as contracted gigs where a harpsichordist needs to play a concerto. Regardless of the music's function, every one of these transcriptions MUST contain something that caught the eye of the greatest composer to ever live, enough for him to set aside regular work time to write it out and publish it. What is so special about Ernst's violin concerto? I'm sure there is a hidden link somewhere, if not purely an inventive tonal characteristic then possibly a hidden cipher only Bach would recognize.
I did my high school senior project/thesis on the mechanics of musical cryptography. I invented my own system that allows entire sentences to be encoded in under 30 measures of nothing more than a melody and a bass line, with the end result being musically uncompromised. I learned that there are many paths to delivering extramusical information through music itself, many more than anyone familiar with the BACH motif might initially realize. I am certain that many, and quite possibly all, of Bach's works contain encoded information not unlike Contrapunctus XIV. Brandenburg 2 hides a statement of the BACH motif, did you know that? I didn't until someone pointed it out.
Other systems, like my own, have most likely been developed in secrecy (and so remain), to be used in wartime or otherwise for the transfer of extremely sensitive information. I've heard rumors that the Freemasons could have possibly used such a system, with composers like Mozart providing a musical composition as the vehicle for an important message. If mathematicians in ancient times discovered the laws of geometry, then composers of the Baroque certainly were capable of developing highly advanced methods of encryption. There were no computers back then - other than the minds of contrapuntal composers. Secret messages existed, sure, but the concept of data encryption and code did not exist as we know it today. Any musical ciphers would be nearly impossible to detect.
Do you find it strange that the only ciphers, such as the BACH motif and others, are only known because they have been REVEALED? The purpose of encryption is to remain undetected!! These transcriptions may be part of a network of secret information that only Bach and other composers were aware of. Bach's works require a close re-examination...
...especially the transcriptions of other composers.
Never mind I'm a crack-pot idiot
@@roycezaro1998 xDDD this has to be the best comment thread on youtube hahaha
One of the greatest channels on RUclips :)
The prince knew what he was doing!
Damn I need to try this on church organ, thanks!!
Very nice!
Thanks for uploading!
I love this channel 😘
Thanks so so much!
I really like what Bach has done in comparison with the original sheet. Some parts that had awkward transitions really flow well in Bach's iteration.
Fun😂❤😅😊
Here's a B♭ for your title.
What's the background begins this piece?