@@lorganiste8953 Can you list some piece names that you find strange in his youth? I'm exploring all of Bach's repertoire and would like to hear your recommendations.
Starting at 5:55, Bach does something amazing. He suddenly parachutes in an fugal theme composed of just 6 ascending notes of the minor scale. No catchy theme. No dense harmony. Just 6 ascending notes! And it's fabulous! Diminution! Augmentation! Stretto! False entries! Then, like a passing train, it's gone, and at 7:25, he is back to the original theme. Incredible.
@@ob4161 Actually, it's Bach showing his knowledge of musical history. The six note pattern is known as a hexachord, and was used in the first hints of Middle Ages polyphony, an musical technique ancient even in Bach's time.
Wow I love this piece. Never heard anything about it until I played the wind band version with my university. One of the hardest things I had ever played at the time and one of my all time favorite band works. This was what made me really fall in love with bach.
Interesting how Bach composed this unusual fugue about the same time as his fugal paragon BWV 578. Also, gotta love that Gr+6 at the end of the fantasia.
imslp. org/wiki/List_of_works_by_Johann_Sebastian_Bach This source places them @ 15 years apart, so perhaps I was mistaken, but sources vary in their chronology. I remembered the two as being nearer one another. As far as the paragon statement, I just spent quite some time looking through my music textbooks and couldn't find the passage about 578. If I remember correctly it is often cited for its unusually long subject but otherwise masterful organization. Sorry I can't be more specific.
+Sean De Erio I need to assume that you have some knowledge of basic theory to explain. A German Augmented Sixth chord (Gr+6) is a IV chord in first inversion (usually, it is sometimes found in other inversions) with a raised fourth scale degree and lowered 6th scale degree and an added lowered 3rd scale degree. So the IV here is minor, spelled F Ab C, first inversion spells it (from bass up) Ab F C. Since we are in minor the 6th scale degree is already lowered, but we do need to raise the fourth scale degree: Ab F# C. Finally, we add the flatted 3rd scale degree: Ab F# C Eb. This chord pulls towards the dominant harmony; F# and Ab resolve chromatically to G. This chord occurs as a passing harmony on the final eighth note of the piece. (Fun note, notice that you can respell Ab F# C Eb into Ab C Eb Gb, which sounds like a dominant seven in Db.) You can google the concept for a more detailed description.
@@mtv565 I mean Mozart's music is more emotionally "mature" than Bach's in that it doesn't express these absolute feelings towards a deity but more realistic emotions, and sadness doesn't exist in a vacuum but as a counterforce to happiness so it just makes sense to even things out 🤷🏼
@@_Athanos Mozart's music is not mature at all. It's childish/charming mostly! Even his minor key music was just sad for awhile only. And he admitted he seek to entertain and impress the shallow audience than to write profound music. Only towards the end of his life, about to meet death, then he became abit serious.
@@mtv565 This is only true for his more formulaic and secondary pieces, certainly not the part of his output that most people care about, like his piano concertos, operas, chamber music, solo piano works and many more pieces that span his entire creative output and are nothing like simply childish 🤷🏼
@@_Athanos Being childish, or you may call pure or innocent is a great part of Mozart's genius to me. He was extremely open and defenseless like a child, also sensitive and easy to get hurt, and that's why many of his works sound so gentle, trying not to show sadness or harshness directly, but you can hear through, certainly not as a joke, while Bach had total control over showing those emotions in music. That's the way I hear those two geniuses. I won't argue who's more matured or realistic, they are just different. If you listen to some of Bach's cantatas or solo violin suits, emotions are so real and powerful. And yes, Bach could be extremely abstract, too. The universe he created is so deep.
It maybe just my imagination, but I noticed that Bach's church music often ends in a Picardy Third, probably to create a sense of hope and joy, but some of his works such as this Fantasie (wich is a work that represents with most accuracy the thoughts and feeling of the composer), ends unresolved, and the Fugue that comes next to it, ends in a minor chord. Could we see it as a representation of Bach's sadness and feelings of hopelesness and lonelyness? (Sorry for the probably poor english, it isn't my first language).
I cannot answer unfortunately but another possible reason for the common utilisation of the picardy third may be the cleaner major 3rd in comparison to the minor 3rd (since the former appears in the harmonic series itself), which would make the (long?) ending chord more stable especially in an environment with significant reverb such as a church.
That's what I think, maybe the use of the major third in his works may be the product of the pressure and influence of the church over Bach, or even just a harmonic convenience, however in the works unconnected to the church where he might have had more freedom to write and express himself, he often decided to use these dramatic, unresolved or even somewhat sad endings. Again, it could be only my imagination, but I think behind all of this there is a deeper meaning.
No no, the Picardy third was actually very very very often used in the baroque era, he was just living in his time. Try listen to other Baroque composer, you'll find it too
0:20 the doctor beginns to watch yours head tomographys. 4:18 diagnosis... 5:55 you watch your whole life, your parents, your children, your proyects..... 7:07 why God? 7:24 God`s answer
Well, it's because most of Bach's music is contrapuntal, the difference with a fugue is that it the latter has characteristics like the treatment of a particular subject throughout the whole piece
@@pablosorbara2280 not all countrapunctal pieces sound like fugues. He's actually right saying that this sound like a fugue because the fantasia starts with a theme that gets transposed to the subdominant key( c minor to f minor ) and "played" by a second voice (3rd if you count the bass voice playing a pedal on c ) which is actually how (some) fugues starts, and then another voice comes in and restates the first theme in home key ( even if it's slightly altered).
Michaël Wisse Dat vind ik grappig, nog een Nederlander die Gerubach interessant vindt, persoonlijk heb ik geen idee, maar ik denk dat het een orgel is uit Frankrijk. (De uitvoerder is namelijk een Fransman).
Luca De leso, Peter Williams: The Organ Music of J.S. Bach, page 83: "No Autograph MS; source, P 803 (fantasia and 89 bars of fugue copied by J. T. Krebs, the rest by J. L. Krebs) Luca, to write a copy is not the same as composing.
I suspect that it didn't have anything to do with the death of his first wife. If it's true that the most of the manuscript is a copy by Johann Tobias Krebs, he studied with Bach when he was at Weimar before his wife died. Johann Tobias was the church organist in a village near Weimar. His son Johann Ludwig Krebs started out as a choirboy at Leipzig with Bach and later became Bach's favorite organ pupil. J. L. Krebs continued to write in a style similar to Bach for the rest of his life.
Ich weiß der Kommentar ist schon 2 jahre alt. Trotzdem wollte zur Information geben das BWV 903 (Chromatische Fantasie [und Fuge]) in Castlevania II: Belmont's Revenge gespielt wurde :)
Was the organist listening to metronome in earphones while playing?...ok clearly not, it's an exaggeration, but it seems too "a tempo, almost robot-like...seems to go on and on without breath. In addition some passages seem too "legato" not giving much evidence to phrases...not so baroque in few words... Ok, I'm yet no Bach-organ expert, but that's how it sounds to me...
This great man would be the admiration of whole nations, if he had more amenity, and if he did not deprive the natural of his pieces by a pompous and confused nature, and obscure their beauty by too great art.
Nicht so ganz gefällt mir die etwas piepsige Registrierung der Fantasie. Statt dem piepsigen 2' Prinzipal oder was da so rumpiept, könnte eine weich intonierte Zunge oder mehrere Flöten in gleicher Lage mehr Gravität und Leben reinbringen.
This is one of the strangest and most peculiar pieces of music I have ever heard in Bach's repertoire. I loved automatically
honestly, no thats far from strange compared to what he has done in his youth
@@lorganiste8953 Can you list some piece names that you find strange in his youth? I'm exploring all of Bach's repertoire and would like to hear your recommendations.
OMG that ascending bass line.....
This was a favorite fugue for Virgil Fox in his Heavy Organ concerts for teenagers. OMG it's incredible. It's on YT.
Herrlich!Nur der göttliche Bach kann solche mystischen Meisterwerke schreiben.
Oder Kirnberger!
@@manuel.roesler nichts gegen Kirnberger, aber Bach wird für immer der Größte an dem Instrument sein und bleiben.
Starting at 5:55, Bach does something amazing. He suddenly parachutes in an fugal theme composed of just 6 ascending notes of the minor scale. No catchy theme. No dense harmony. Just 6 ascending notes! And it's fabulous! Diminution! Augmentation! Stretto! False entries! Then, like a passing train, it's gone, and at 7:25, he is back to the original theme. Incredible.
*chromatic scale
@@ob4161 Actually, it's Bach showing his knowledge of musical history. The six note pattern is known as a hexachord, and was used in the first hints of Middle Ages polyphony, an musical technique ancient even in Bach's time.
@@PointyTailofSatan Yes, that's right, it's great. Sorry, my comment there was pointlessly nit-picky and pedantic.
Don't tell me the prelude isn't masterpiece
Actually, except for the first 40 bars the rest was composed be bach’s pupil so all of that you described was in fact not bachs work.
Wow I love this piece. Never heard anything about it until I played the wind band version with my university. One of the hardest things I had ever played at the time and one of my all time favorite band works. This was what made me really fall in love with bach.
Damm... this is my favourite organ piece!!!
The fugue the FUGUE MAN !!!!!!!
I know! I LOVE that chromatic rising progression!
do you even realize your photo looks exactly like JS Bach ??
Damn that's a mean bass line bach sure knows how
to arouse your emotions.
This MADE my night!
i love bach
Very nice presentation page! thank you for this amount of work. Great contribution to Bach and its lovers. Wish you all the best.
Very nice. All Bach's and Handel's music are the best classical music.
Interesting how Bach composed this unusual fugue about the same time as his fugal paragon BWV 578. Also, gotta love that Gr+6 at the end of the fantasia.
Sorry for my bad English. .."about the same time as his paragon BWV 578." I will be happy if you can tell me where that information is to be find.
imslp. org/wiki/List_of_works_by_Johann_Sebastian_Bach
This source places them @ 15 years apart, so perhaps I was mistaken, but sources vary in their chronology. I remembered the two as being nearer one another. As far as the paragon statement, I just spent quite some time looking through my music textbooks and couldn't find the passage about 578. If I remember correctly it is often cited for its unusually long subject but otherwise masterful organization. Sorry I can't be more specific.
+Sean De Erio I need to assume that you have some knowledge of basic theory to explain. A German Augmented Sixth chord (Gr+6) is a IV chord in first inversion (usually, it is sometimes found in other inversions) with a raised fourth scale degree and lowered 6th scale degree and an added lowered 3rd scale degree. So the IV here is minor, spelled F Ab C, first inversion spells it (from bass up) Ab F C. Since we are in minor the 6th scale degree is already lowered, but we do need to raise the fourth scale degree: Ab F# C. Finally, we add the flatted 3rd scale degree: Ab F# C Eb. This chord pulls towards the dominant harmony; F# and Ab resolve chromatically to G. This chord occurs as a passing harmony on the final eighth note of the piece. (Fun note, notice that you can respell Ab F# C Eb into Ab C Eb Gb, which sounds like a dominant seven in Db.) You can google the concept for a more detailed description.
Amazing...
Only Bach can make a work filled with this sad feeling.
Other composers like Mozart, the sad feeling only lasts awhile and then it becomes a joke!
@@mtv565
I mean Mozart's music is more emotionally "mature" than Bach's in that it doesn't express these absolute feelings towards a deity but more realistic emotions, and sadness doesn't exist in a vacuum but as a counterforce to happiness so it just makes sense to even things out 🤷🏼
@@_Athanos Mozart's music is not mature at all. It's childish/charming mostly! Even his minor key music was just sad for awhile only. And he admitted he seek to entertain and impress the shallow audience than to write profound music. Only towards the end of his life, about to meet death, then he became abit serious.
@@mtv565
This is only true for his more formulaic and secondary pieces, certainly not the part of his output that most people care about, like his piano concertos, operas, chamber music, solo piano works and many more pieces that span his entire creative output and are nothing like simply childish 🤷🏼
@@_Athanos Being childish, or you may call pure or innocent is a great part of Mozart's genius to me. He was extremely open and defenseless like a child, also sensitive and easy to get hurt, and that's why many of his works sound so gentle, trying not to show sadness or harshness directly, but you can hear through, certainly not as a joke, while Bach had total control over showing those emotions in music. That's the way I hear those two geniuses. I won't argue who's more matured or realistic, they are just different. If you listen to some of Bach's cantatas or solo violin suits, emotions are so real and powerful. And yes, Bach could be extremely abstract, too. The universe he created is so deep.
Non ho parole. Piango.
Sublime 🧡
Magnifico
Incredible!
I definitely find this to be Bach's most passionate Organ work!
It maybe just my imagination, but I noticed that Bach's church music often ends in a Picardy Third, probably to create a sense of hope and joy, but some of his works such as this Fantasie (wich is a work that represents with most accuracy the thoughts and feeling of the composer), ends unresolved, and the Fugue that comes next to it, ends in a minor chord. Could we see it as a representation of Bach's sadness and feelings of hopelesness and lonelyness? (Sorry for the probably poor english, it isn't my first language).
I cannot answer unfortunately but another possible reason for the common utilisation of the picardy third may be the cleaner major 3rd in comparison to the minor 3rd (since the former appears in the harmonic series itself), which would make the (long?) ending chord more stable especially in an environment with significant reverb such as a church.
That's what I think, maybe the use of the major third in his works may be the product of the pressure and influence of the church over Bach, or even just a harmonic convenience, however in the works unconnected to the church where he might have had more freedom to write and express himself, he often decided to use these dramatic, unresolved or even somewhat sad endings. Again, it could be only my imagination, but I think behind all of this there is a deeper meaning.
No no, the Picardy third was actually very very very often used in the baroque era, he was just living in his time. Try listen to other Baroque composer, you'll find it too
Bravo bravo bravo
Can we appreciate the chromatic complete madness that starts on 5:56?
THANK YOU!!!...
Astonishing.
0:20 the doctor beginns to watch yours head tomographys.
4:18 diagnosis...
5:55 you watch your whole life, your parents, your children, your proyects.....
7:07 why God?
7:24 God`s answer
Very very interesting interpretation! Thought-provoking!
DIVIN
4:52 another circle of fifths
The prelude: a very beautiful peace and well registered ! :
More foundational tone is needed
Great work 👏👏👏🎶
this is a strange fantasia. sounds more like a fuge
BenjaminMaurThuen With Bach, basically everything sounds like a fugue.
That's Bach, my friend
Well, it's because most of Bach's music is contrapuntal, the difference with a fugue is that it the latter has characteristics like the treatment of a particular subject throughout the whole piece
@@pablosorbara2280 not all countrapunctal pieces sound like fugues. He's actually right saying that this sound like a fugue because the fantasia starts with a theme that gets transposed to the subdominant key( c minor to f minor ) and "played" by a second voice (3rd if you count the bass voice playing a pedal on c ) which is actually how (some) fugues starts, and then another voice comes in and restates the first theme in home key ( even if it's slightly altered).
I love that this work doesn't have the Picardy third at the end.
Not a dealbreaker to me.
I think the perfect organist would have the tempo consistency of Michel Chapuis and the creative ornamentation of Ton Koopman.
What an excellent observation! I 110% completely agree!
J. S. Bach is the Real Fuga Man of all time! 🎸🎸🎸
olağanüstü...
Dieu
C minor G minor
Listening to the fugue is funny and sad and the same time.
Why???
To have lived
Por favor el nombre del organista.
8:13
wow, it is blood moon dance of star vs forces of evil?
Welk orgel is dit in welke kerk?
Michaël Wisse Dat vind ik grappig, nog een Nederlander die Gerubach interessant vindt, persoonlijk heb ik geen idee, maar ik denk dat het een orgel is uit Frankrijk.
(De uitvoerder is namelijk een Fransman).
J'en ai la chaire de poule ... Fugue de l'au delà
Does this work have a "Nickname"...?
the last 40 bars composed by his pupil Johann Ludwig Krebs
how do you know??????
@@bigstroker1300 the fugue was left unfinished by Bach maybe in his Weimar years and his pupil Krebs composed the last 40 bars in 1751
Luca De leso, Peter Williams: The Organ Music of J.S. Bach, page 83: "No Autograph MS; source, P 803 (fantasia and 89 bars of fugue copied by J. T. Krebs, the rest by J. L. Krebs) Luca, to write a copy is not the same as composing.
that interpretation is bery bad men,
Picardy third where D:
Anyone else hear the creepy Scooby Doo Mystery Incorporated song at the very beginning? (0:23)
No
5:56
Bach wrote this because the death of his wife ?
I suspect that it didn't have anything to do with the death of his first wife. If it's true that the most of the manuscript is a copy by Johann Tobias Krebs, he studied with Bach when he was at Weimar before his wife died. Johann Tobias was the church organist in a village near Weimar. His son Johann Ludwig Krebs started out as a choirboy at Leipzig with Bach and later became Bach's favorite organ pupil. J. L. Krebs continued to write in a style similar to Bach for the rest of his life.
This sounds like something from Castlevania or that song that plays when you get to Neclord's castle in Suikoden.
Bach ripped them off hard. Kappa
Luna DLL Lol totally
Ich weiß der Kommentar ist schon 2 jahre alt. Trotzdem wollte zur Information geben das BWV 903 (Chromatische Fantasie [und Fuge]) in Castlevania II: Belmont's Revenge gespielt wurde :)
I understood by the context and the BMW 903 but please next time in english haha
@@SkyDragonVX he says that BWV 903 is in Castlevania, which might explain your association of the game with Bach
What is ther app
Is it just me or is the opening pedal tone inaudible?
Clearly it is a very low note and I hear it no problem: are you listening through very small speakers, perhaps in-built laptop speakers?
Was the organist listening to metronome in earphones while playing?...ok clearly not, it's an exaggeration, but it seems too "a tempo, almost robot-like...seems to go on and on without breath.
In addition some passages seem too "legato" not giving much evidence to phrases...not so baroque in few words...
Ok, I'm yet no Bach-organ expert, but that's how it sounds to me...
This great man would be the admiration of whole nations, if he had more amenity, and if he did not deprive the natural of his pieces by a pompous and confused nature, and obscure their beauty by too great art.
I take it you mean the composer? I cannot agree with you. What range Bach pieces have you listened to?
Christian Trevisan Celestial tears...Great Bach one who anointed as God’s instrument to carry us to experience the Heavens...
Nicht so ganz gefällt mir die etwas piepsige Registrierung der Fantasie. Statt dem piepsigen 2' Prinzipal oder was da so rumpiept, könnte eine weich intonierte Zunge oder mehrere Flöten in gleicher Lage mehr Gravität und Leben reinbringen.
what a mechanical performance....
This piece always reminded me of perfectly functioning machinery.
Bruh...
Too fast....dont like
:v