Another one of Bach's 'private youth exercises'. Really beautifully played! I find it particular interesting, that in the first part, the performer makes significant and masterly additions in the left hand. He changes many 8th notes into quarter and even in half notes, causing a 'pseudo third voice'. This is an example of 'pseudo polyphony'. Something Bach himself, later in his life, became a master in, especially in his Cello solo's. It is really remarkable, gerubach, how precise your timing of the score matches that of the sounding music. Even up to the point in the second part, that the cursor moves along with the chords, disappears when the music stops sounding, and even broadens if one of the notes of the chords 'sticks out'. (I also notice other small additional edits.) You have really an eye for detail, which makes looking at your videos a real pleasure. Again. Well done!!!
Mark Johnson " ME CORRECT, ME HAVE PERFECT OBJECTIVITY OF MUSIC YOU BE DEAF OR STUPEE?" This is how your writing comes across when you begin a comment by insulting someone multiple times over musical tastes. Bach would hate you.
For somebody who has put no videos on RUclips, and therefore somebody who probably does not produce any music himself, you have quite some nerve! Just for the record, let me point out a few things. To begin with, this piece is played on a harpsichord. I do not know whether you know it, but a harpsichord is a plucked instrument. Therefore no dynamics are even possible! Let alone 'baroque dynamics'. A term I have never even heard before! Secondly, in the time of Bach, people were very precise in their notation. This implies, that virtually everything about their playing was made explicit. In, for example, the Romantic period this was not the case. Therefore there was in the romantic period a much greater freedom in how to play the notated music, up to the point, as I recently discovered, that NO ONE now plays Chopin, for example, as he played it. In fact, most interpreters of Chopin violate even that what he had written down! In the first of the 24 preludes of Chopin, for example, (a piece I am now working on, and which I hope to put on youtube very soon) there is a part of 6 16th notes against 5 8th notes. Nobody plays it like that, because it is simply too hard. Nevertheless, Chopin asks it from the pianists. So everybody plays it wrong@ Thirdly, the Baroque is a period that happened in the so-called Enlightenment. Vivaldi lived from 1678 - 1741Bach lived from 1685 - 1750. Händel lived from 1685 -1759. Newton lived from 1642 - 1726, and Leibniz from 1646 - 1716. which made Newton and Leibniz contemporaries of Vivaldi, Händel and Bach. The Baroque therefore coincides with the high point of the Enlightenment. What this means for music, is that Händel, Bach and Vivaldi tried to create music that, on the one hand, expressed exuberance, but, on the other hand, had to be restrained through being caught into very well-defined structures, like, for example, the fugue. This means, that the music of the Baroque was such, that very little change in the tempo was allowed. Especially the fugue is such, that the repeated voices had to be very good interlocked, which made large changes in tempo virtually impossible. In other words, and in the language of 20th century music, the music of the Baroque HAD, and therefore HAS TO BE, what you call 'mechanical'. Otherwise it is not played right! Thirdly, there exists a subject in music theory, called Voice Leading. It teaches how playing has to be done, so that the different voices of a Baroque musical piece have to be connected, so that you can clearly hear them as separate voices. So if you have no dynamics at your disposal, and you also have to play in such a way, that the tempo is strict, how can you then put your feelings into the music? By making variations in the duration of the keys you press. And that is exactly what the performer of this piece does. And THAT is why it is an excellent performance.
Indeed. Once some people pressed Bach to put somebody straight, who thought of himself as a very good musician right. They organized a 'duel'. Before the time came, that other man listened to Bach when Bach played in a church, thinking that he was alone. When that person heard how very good Bach was, he literally ran away, so that when the time came, only Bach was present. That man even stopped to be a musician. When others said that to Bach, he answered that he found that a real shame. And to illustrate that, he played one of the pieces from his 'opponent', just to show that it was really a good composer. Bach expressed his regret, that that other person had stopped his music making, and considered it a real loss. Since then he never entered into any competition. Although Bach was known to be a difficult person, he had such a great love for music, that he put the music himself above himself. I think that this Mark Johnson has not only little understanding about Baroque music, but he also knows not very much about Bach himself.
Geez! Thanks! This text shows how Bach went from an improviser to a composer. This text is helpful, because, at present, people are, in the language of this text, 'finger performers'. They learn to perform by way of literally thousands of hours of practice, spanning over many decades. I try to make that what they do in performances explicit, and then apply this explicit knowledge and insight to midi, making performances out of the imagination alone, and based on insights from science that tells us how good music differs from bad music. So, thanks again!
To begin with, as Bo Qin already explained, Bach reworked a number of violin concertos written by Vivaldi and others, BWV 972-987, for harpsichord. In the process of this rewriting he transformed himself from a 'finger composer' as Bach called it, (we would call such a person an improvisor) into a real composer. That is, somebody who not only makes music out of his feelings, but also applies thought out structures and forms to music. It was the invention of note - writing which made this possible. BTW. Most compositions begin as improvisations, which are then improved upon. Bach then used these 16 keyboard works to train himself in the playing of the harpsichord. He even used four of them to train himself in the playing of the organ. So, to answer your question, these 16 works, BWV 972-987 are Bach's 'youth exercises'. They are pretty touch to play. I know this from experience, because I have practiced some of them. in fact, oficially they have a degree of difficulty equal to 8, which is the same as, for example, many of Beethoven's sonatas.
Nice video! I'm curious as to ask how you tuned the audio performance to concert pitch? The videos I watched of Yate's original performance, I suppose, are in Baroque tuning, and here the audio quality seems undisturbed apart from the change in temperament.
6:48 - 6:54 also appears in the 3rd movement of BWV 1065, another Vivaldi transcription by J.S. Bach
those final chords progressions 1 2 5 5 with 7maj and b7 swings coool
Thanks for uploading!
Another one of Bach's 'private youth exercises'. Really beautifully played!
I find it particular interesting, that in the first part, the performer makes significant and masterly additions in the left hand. He changes many 8th notes into quarter and even in half notes, causing a 'pseudo third voice'. This is an example of 'pseudo polyphony'. Something Bach himself, later in his life, became a master in, especially in his Cello solo's.
It is really remarkable, gerubach, how precise your timing of the score matches that of the sounding music. Even up to the point in the second part, that the cursor moves along with the chords, disappears when the music stops sounding, and even broadens if one of the notes of the chords 'sticks out'. (I also notice other small additional edits.)
You have really an eye for detail, which makes looking at your videos a real pleasure.
Again. Well done!!!
Mark Johnson " ME CORRECT, ME HAVE PERFECT OBJECTIVITY OF MUSIC YOU BE DEAF OR STUPEE?"
This is how your writing comes across when you begin a comment by insulting someone multiple times over musical tastes. Bach would hate you.
For somebody who has put no videos on RUclips, and therefore somebody who probably does not produce any music himself, you have quite some nerve!
Just for the record, let me point out a few things.
To begin with, this piece is played on a harpsichord. I do not know whether you know it, but a harpsichord is a plucked instrument. Therefore no dynamics are even possible! Let alone 'baroque dynamics'. A term I have never even heard before!
Secondly, in the time of Bach, people were very precise in their notation. This implies, that virtually everything about their playing was made explicit. In, for example, the Romantic period this was not the case. Therefore there was in the romantic period a much greater freedom in how to play the notated music, up to the point, as I recently discovered, that NO ONE now plays Chopin, for example, as he played it. In fact, most interpreters of Chopin violate even that what he had written down! In the first of the 24 preludes of Chopin, for example, (a piece I am now working on, and which I hope to put on youtube very soon) there is a part of 6 16th notes against 5 8th notes. Nobody plays it like that, because it is simply too hard. Nevertheless, Chopin asks it from the pianists. So everybody plays it wrong@
Thirdly, the Baroque is a period that happened in the so-called Enlightenment. Vivaldi lived from 1678 - 1741Bach lived from 1685 - 1750. Händel lived from 1685 -1759. Newton lived from 1642 - 1726, and Leibniz from 1646 - 1716. which made Newton and Leibniz contemporaries of Vivaldi, Händel and Bach. The Baroque therefore coincides with the high point of the Enlightenment.
What this means for music, is that Händel, Bach and Vivaldi tried to create music that, on the one hand, expressed exuberance, but, on the other hand, had to be restrained through being caught into very well-defined structures, like, for example, the fugue.
This means, that the music of the Baroque was such, that very little change in the tempo was allowed. Especially the fugue is such, that the repeated voices had to be very good interlocked, which made large changes in tempo virtually impossible. In other words, and in the language of 20th century music, the music of the Baroque HAD, and therefore HAS TO BE, what you call 'mechanical'. Otherwise it is not played right!
Thirdly, there exists a subject in music theory, called Voice Leading. It teaches how playing has to be done, so that the different voices of a Baroque musical piece have to be connected, so that you can clearly hear them as separate voices.
So if you have no dynamics at your disposal, and you also have to play in such a way, that the tempo is strict, how can you then put your feelings into the music?
By making variations in the duration of the keys you press.
And that is exactly what the performer of this piece does.
And THAT is why it is an excellent performance.
Indeed. Once some people pressed Bach to put somebody straight, who thought of himself as a very good musician right. They organized a 'duel'. Before the time came, that other man listened to Bach when Bach played in a church, thinking that he was alone. When that person heard how very good Bach was, he literally ran away, so that when the time came, only Bach was present. That man even stopped to be a musician.
When others said that to Bach, he answered that he found that a real shame. And to illustrate that, he played one of the pieces from his 'opponent', just to show that it was really a good composer. Bach expressed his regret, that that other person had stopped his music making, and considered it a real loss.
Since then he never entered into any competition.
Although Bach was known to be a difficult person, he had such a great love for music, that he put the music himself above himself.
I think that this Mark Johnson has not only little understanding about Baroque music, but he also knows not very much about Bach himself.
Geez! Thanks!
This text shows how Bach went from an improviser to a composer.
This text is helpful, because, at present, people are, in the language of this text, 'finger performers'. They learn to perform by way of literally thousands of hours of practice, spanning over many decades.
I try to make that what they do in performances explicit, and then apply this explicit knowledge and insight to midi, making performances out of the imagination alone, and based on insights from science that tells us how good music differs from bad music.
So, thanks again!
To begin with, as Bo Qin already explained, Bach reworked a number of violin concertos written by Vivaldi and others, BWV 972-987, for harpsichord. In the process of this rewriting he transformed himself from a 'finger composer' as Bach called it, (we would call such a person an improvisor) into a real composer. That is, somebody who not only makes music out of his feelings, but also applies thought out structures and forms to music.
It was the invention of note - writing which made this possible.
BTW. Most compositions begin as improvisations, which are then improved upon.
Bach then used these 16 keyboard works to train himself in the playing of the harpsichord. He even used four of them to train himself in the playing of the organ.
So, to answer your question, these 16 works, BWV 972-987 are Bach's 'youth exercises'. They are pretty touch to play. I know this from experience, because I have practiced some of them. in fact, oficially they have a degree of difficulty equal to 8, which is the same as, for example, many of Beethoven's sonatas.
inspiration par le saint esprit du seigneur JESUS AMEN
Hi Gerubach, I love the videos you create! Would it be possible if you could do a video on "in Dir ist Freude - bwv 615" please, thanks.
Omg yes, I love that, maybe he should do the entire Orgelbuchlein with the chorales too :)
0:22 - circle segment of Baby Newton: All About Shapes (2002).
It's turned over to Christian's songs
Nice video! I'm curious as to ask how you tuned the audio performance to concert pitch? The videos I watched of Yate's original performance, I suppose, are in Baroque tuning, and here the audio quality seems undisturbed apart from the change in temperament.
Holy s***
From Baby Bach 4 and Newton All About Shapes circle song
Remember to the Invention 8
0:48 "lascia o cara la rimembranza amara"
Who is the performer?
8:04
I feel like this is a troll.
nah just doesn't read the description
Victor P. Yes you're right
First?
Second?
Third?
Fourth!
Fifth?
Slightly off topic, but I feel like I've seen one of you at ComposersByNumber's channel.