Score analysis #3 - Jan Pieterszoon Sweelinck / Ricercar del nono tono
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- เผยแพร่เมื่อ 20 ส.ค. 2021
- For the footnotes and other extra information see the following link:
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0:00:21 Introduction
0:07:27 Full performance
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Created by Elam Rotem, August 2021.
Special thanks to Enrico Coden, Alon Schab and Anne Smith.
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That hand independent rubato at 18:00 is everything I've ever needed
the visualization of the ricercar is just superb!! & without ever upstaging the music... well, once... 15:45 😎
Superbly annotated score - thank you!
Wow, that guy was an unbelievably good composer. Both pieces of his that you have analysed have been fantastically executed pieces of music! I am hunting down more of his work now. And can I say brilliantly played Elam! I love this channel so much!
Marvelous. Great recorded sound on the harpsichord, too.
Where you noted “just a sequence” I would call that a safety valve. He had built the tension so high that an immediate return to the normal speed theme wouldn’t have provided sufficient release. As for “kind of a coda,” dude, as a choral singer I see what he did there - that’s an Amen!
Another superb episode. I knew Dennis Woolley for nearly 40 years and have six of his instruments. He would have been thrilled to hear his Italian instrument so brilliantly played.
Nice to wake up to Sweelinck on a Saturday morning! Great playing, as always.
Wow, what an eye-opener. I've only ever heard this on the organ but there's certainly sustain in the harpsichord to carry the long notes. Your analysis is invaluable. Thank you.
It absolutely makes my day whenever I get a new upload notification from EMS. I was even more excited upon seeing today's analysis is on one of my all-time favorites from Sweelinck. Such tasteful playing, Elam! Keep up the great work. This channel is a gift to us music lovers!
Great to learn more about this beautiful piece by the most famous Dutch composer.
Huge thanks, Elam! This is my favorite piece by Sweelinck, believe it or not. Usually I listen to it played on the organ, and I'm sure the organ suits better to its dark and gloomy nature, especially if you take a Baroque organ and choose a decent dark-sounding stop. However, your outstanding performance on the harpsichord really opened my eyes on the piece, helping me to delve into its intricacies and astounding contrapuntal beauty. Unfortunately I cannot appreciate the score itself as I'm totally blind, but I'm using this opportunity to thank you so much for your great work and especially for your manner of explaining things: by watching your videos, I always learn something new to me, and even if I don't understand 100% of the information because of its visual nature, your great spoken explanations help me to be as close to it as possible. Thank you and all the best to you and your family!
This is the kind of thing that makes me wish I were a harpsichordist. So fantastically wonderful!
The Ricercar and other fantaisies of Sweelinck are absolute masterworks. Even J.S. Bach did not reach a such achievement and perfection. Your performance is splendid! Many thanks.
How about Bruckner's Fifth? I read today how you see that piece...
J.S. Bach is beyond compare. Sweelinck is great in his own right. Let us not compare apples and oranges.
@@danielwaitzman2118 I did not write that Bach was not *great* but that he did not reach such achievement and perfection.
The Ricercar and fantaisies of Sweelinck are contrapuntal works for keyboard exactely like those of Bach, but Sweelinck's works are more organic and more natural, not so self constrained by an inner mechanical logic.
Over a century before Bach, Sweelinck's fantaisies are the quintessence of keyboard music in a form which allies expression, economy - or density of thought - counterpoint and something which reminds of organic growth, as if these works were rare plants developing along recognizable patterns yet never really repeating themselves, each phrase new and unique in its context.
This is music of the rarest kind, crystallized culmination on the keyboard of the centuries old art of polyphony, making the subsequent Baroque and Classical eras appear like a little light music in comparison.
@@JohanHerrenberg Bruckner and Sweelinck are my favourite composers.
@@Tracotel Listen, if you will, to Sebastian Bach’s “Art of the Fugue”, Canonic Variations on “Vom Hummel Hoch”, “Goldberg Variations”, cantatas, concerti, and countless other works, any one of which would be enough to mark him as one of the immortals. Consider his consummate mastery of the learned style, the older free style, the Franco-German style, and the then-emergent galant style. Bach stands categorically supreme; and to recognize this does not detract from one’s estimation of Sweelinck, Schubert, Bach’s sons, or any of the other suns in the sterling universe of Western music. Why must we choose?-let us, rather, study, listen, play, and be moved and transfigured.
Wow! Thank you for such a deep analysis! Sweelink is one of most underestimated Baroque's composers, I think. What a grace in chromaticism and thematic work!
Under played because few have the patience or time (or assignment) really to master. Guilty as charged 😏, and kudos, Elam! I am less scared of Sweelinck now!!
Agreed! This music really deserves to be studied, played, and heard!
Perfecto! Saludos desde Argentina!
Superb piece, superb playing, superb video all the way through, including the clip of Rambo.
Wonderful music, beautifully introduced, played and presented!
Moltissime grazie per questo video ricco di intelligenza musicale, di gusto e di passione! Davvero, mille, mille grazie!
That piece is an epic journey! Many thanks for presenting it so clearly.
Beautiful and brilliant. Thank you very much. 🎶 😊
Bravissimo, maestro! Exquisite music, exquisite performance, exquisite production. Simply exquisite!
The chromatic countersubject is fascinating. I was not aware it happened so early in the common practice baroque transition.
The exposion of the subject on a klavier and the mixture of chromaticisms with modal counterpoints makes it a stunning precursor of the late Bach fugues, which interestingly came back to more modality in the end. like what 200 years in advance ? Amazing.
The answer at the sub-dominant is a bit weird though. We are so used to fugues to the dominant that I find it a bit confusing.
Wonderful performance on harpsichord! I would also highly recommend the performance on organ of this same piece by James David Christie, the professor of early organ at the Oberlin Conservatory.
When I saw the title I thought it meant that the imitation would be at the ninth :p (I just got out of bed..)
Exactly same!
really great job bringing out the form, both in the explanation and the playing
I cannot adequately convey how thankful I am that this channel exists. Thank you!
Obra maravillosa de Sweelinck, con un análisis tan riguroso como divertido, y una versión del mismo nivel: rigurosamente divertida, llena de vitalidad. Muchas gracias por compartir tu trabajo, que personalmente me inspira como un modelo a realizar en mi propia labor educativa en la Universidad de México.
Epic. Love from the Maldives.
Beautiful ricercar and marvelous interpretation!
The Art of the Ricercar! Fabulous Music & Video! Thank you very much
Of course we enjoyed it! Great music, great performance.
I did enjoy it sooo much, thanks Elam !!
Superbe interprétation de ce Ricercare dont la structure devient évidente ! Ça m'a donné envie d' essayer de le travailler en tenant compte de toute l'analyse qui en a été faite...Merci pour cette vidéo magnifique et éclairante.
Ahhhhmennnn/...
Ç'en fait deux maintenant qui allons travailler cette pièce. Une petite vision "nage" dans la tête: un récital d'orgue ou l'on commence par cette oeuvre du maître JPS. Et qui se termine par les Litanies de Jehan Alain. (Son exergue, mon Dieu! Ce dont nous avons tous besoin dana nos pays occidentaux dits civilisés. Et au milieu Praeludium ou bien Prélude et fugue en do majeur (résurrection après maintes épreuves). Cantabile de César Franck. Wir glauben all de Scheidt (élève de JPS d'ailleurs). Choral du veilleur (Wachet auf version "Schübler.") Et Louis Vierne: mais quoi? Sa simple Berceuse me vient à l'esprit, mais/....
Quelles joies fructueuses hein de notre ami italien si génial, si travailleur (justement), si dénudé de toute prétention.
Vive la France! De la part d'un Ricain qui vous suit depuis l'âge de 19 ans.
Mark (Arizona)
@@markbell9973 Beau et éclectique programme virtuel !!! Ma modeste ambition se résume a comprendre comment ce Ricercare est construit et à essayer de le jouer le mieux possible au clavecin...Bon courage à vous (organiste ?)
Sweelinck is just...ahhhh yes!
Pure joy of watching and listening 🎶 thank you Elam
bravo, that was moving, entertaining, educative... everything :-) thank you, Elam and team!
Bravo maestro! The animations in the score and the partitura notation were really pleasing to watch. As a professional hip player/conductor I always learn something from the channel, but I think that adding visual aid to non profesional viewers is what makes this videos so great for a broad range of public. Congratulations again!
Absolutely delightful video. Thanks so much!
15:44 brace yourself for the mighty warrior of early music: Elam "RamBombus" Rotem
So very beautiful 👏👏
I love the combination of old and new in your background. The beautiful harpsichord makes for a striking contrast to the neon pineapple lamp.
The imitative figures in the last three measures so much crown it
Rambo notes! What a blast!
Fabulous performance at the end! Thanks SO much for introducing us to this amazing piece! No way I would have appreciated this piece, even if I somehow FOUND it... I had no idea Sweelinck was such a genius!
I have just written a more modern take on the ricercar genre for six voices which happens to be in la too. Surprised by how many similarities there are between what I came up with and what the equivalent historical version is. And of course most interesting to see the differences.
Kudos!!! Everything is a treasure: your explanations and performance, the composition, etc.
Superlative video. Thank you, for the score, the performance, the analysis and the harpsichord sound. I am going to look up the hexachord video.
That is some level of Renaissance composition. I’ve sung several choral pieces by Sweelinck, but this one is a contrapunctual masterpiece.
Ps. I laughed SO hard when the machine gun appeared.
Sweelinck is a force of nature
He’s Dutch.
huge thanks Elam , I love Recercar but i couldn't information about its structures or how to compose it , btw i'm learning from Frescobaldi recercar now. Hoping you'll work with him too
Thank you so much for sharing this piece and your thoroughly enjoyable insights and playing. Not a piece I knew before. Will have to look at some Sweelinck!
It would be great a video on the astonishing fantasia cromatica by Sweelinck!
I second this! I love that piece!
Motion carried. On a 16' plenum maybe even to end a program. Cheat just a tiny bit and bring in a 32'' at the hmm let's call it "stretto coda." With only manuals coupled into it in order to keep the 'early-music informed' thang as intact as possible. I think JPS might at least smile at the use in 2022 (!) his "Chromatica" got put to. ....an exorcism, ya think?
Thank you for a really good episode!
Thank you. Great job.
Wonderful! Thank you 🙏🏻
beautifully done and great humour, I needed that
Downright wicked humor à l'italienne! Ya gotta be born into it. 😁
Marvelous composition! Thank you
Yay, another video! thanks so much for all the work you do.
Superb, thank you so much!
Bravo! Thanks a lot!
Awesome piece and video❗ Thank you very much!!
Amazing work of a fantastic composer! Thank you! The interpretation on the harpsi was absolutely breathtaking...
I hate the current vulgar use of awesome which ruins an excellent word. THIS is awesome.
Wonderful!
Grazie mille Elam ! Numero uno !
Wonderful performance and analysis!
Maravilhoso! Muito obrigado!
I enjoyed that very much. Thank you!!!
I really enjoyed your rendition. I’ld love to be able to download it and play it more often.
Beautiful piece and beautifully played.
Magnificent!! I enjoyed both the explanation and the playing.
Thank you for your clear explanation and beautiful play.
That was a trip to heaven. Thank you so much.
Beautiful video and performance. Fantastic piece of music
bravo, bravo and bravo
Cool! The expanding circles are so pleasant to look at !! Exceptionally enjoyable video - Thx *
Superb exposition! Fantastic playing!
What a fascinating piece of music! Thank you for your performance :)
I'd love to see a similar analysis (and performance) of some of Gibbons' keyboard music - in particular the fantasia known as "Fantazia of Foure Parts ". As well as being one of the most beautiful pieces which Gibbons wrote, it is also notable for being included in Parthenia, the first virginal music ever printed in England.
The music begins at 7:30 for those who wish to re-listen to the wonderful performance.
Bravo!!!
Please upload a video of this showing your hands and the keyboard!!!!
By far, my favourite youtube channel! Thanks for this and for every video you shared.
The Crome / "Oh Yeah" section indoubtedly can be heard as an influence of what Andre Matos wrote for keyboard in Angra ^^
That is great !! Greatly performed and analysed, thank you so much guys , now I'd like to sing this piece in a quatuor !!
Wow! What a composition. Great playing. Wish I had the music to it.
Thank you for just another very interesting video! I like how it's always the right amount of information at the right time. Also the interpretation is so organic and 'speaking'!
I want to share an additional thought that came to my mind: At 7:47 it seems like the tenor already starts his subject too early (bar 8 3rd crotchet) where it's just alto and tenor combined that sound like the falling forth from the subject's comes beginning. I've heard of the term "Inganno" for the first time but I can imagine that deceptive details like this (that only appear when the piece is being played) also belong to this style.
And just to get things right in my head: Can we say, that it is the Seconda Prattica that allowed Sweelinck to write all of those unprepared dissonances?
This composition is an exceptional beauty, a unique gem in history of european music. And your profound analysis really does help the listener to notice (and to enjoy!) what he might miss out otherwise.
Muy bueno!!!
Love this work. First heard it on the Fisk organ a Wellesley College, later a recording of the Amsterdam Sax quartet. Now this. It seems to always come across well, and somewhat sad
I was not expecting _that._
I know I'm a bit late to the party, but isn't there another inganno-theme in the coda, starting on the second a of the alto part?
Today (October 16, 2021) 400 year anniversary of the passing of Jan Pieterszoon Sweelinck. RIP.
טירוף חושים על כל הראש
Meraviglioso
excelent!!!!
OMG the15:00 bridge! And on and on!
The first notes of the subject reminds me the sultan motive from korsakov's sheherazade, a creepy motive too!
That really is a beautiful piece of music. It has me wondering if there are any common "chord progressions" in Early Modal music that were commonly used (other than Ionian and Aeolian). In contemporary popular music, modal pieces are often very simple, employing very few chord changes, if any. The Sweelinck Ricercar had many chord changes, but they often seemed a serendipitous result of the counterpoint, rather than a designed chord progression. This makes sense given they style of the piece.
Have you made any videos on the use of chord progressions in Early Music? Maybe the composers were thinking along different lines. I'd be interested in your insights regarding this topic. Thanks
bedtime... but i guess not for another 19 minutes...
same here
Yes!!!
My dearest teacher Prof. Larissa Gerver told me about Inganno and applying this technique in Trabacci, Sweelinck, Frescobaldi etc. Do you hear about her book: "Inganno and other secrets of polyphonic techniques of the XVI-XVII centuries"?
15:47 - ratatatatat
(I didn't expect that).