J.S. Bach: Brandenburg Concerto No. 5 in D major, BWV 1050 - 1. Allegro [2022 Revisit] (Synthesized)
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- เผยแพร่เมื่อ 3 พ.ย. 2022
- For information on the visualization, please read the note at the end.
Few musical works are as loved - and as often performed - as the six "Brandenburg" Concertos by Johann Sebastian Bach. These six works (BWV 1046-1051) display a lighter side of Bach's imperishable genius. Yet they came into being as an unexpected gift. That's what happened in 1721 when Bach presented the Margrave of Brandenburg with a bound manuscript containing six lively concertos for chamber orchestra, works based on an Italian Concerto Grosso style. The Margrave never thanked Bach for his work - or paid him! There's no way he could have known that this unnamed gift (later named the Brandenburg Concertos 150 years later when Bach's biographer, Philipp Spitta called them that for the very first time, and the name stuck) would become a benchmark of Baroque music and still have the power to move people almost three centuries later.
Even though he didn't call them the "Brandenburgs," originally, Bach still thought of them as a set. What he did was compile them from short instrumental sinfonias and concerto movements he had already written. Then he re-worked the old music, often re-writing and elaborating where he saw fit. In doing so, Bach created something of a dramatic arc from the brilliant first concerto to the last, which evokes a spirited chase. Bach even later reworked components of the Brandenburgs into other compositions: the 1st movement of Concerto no. 1 can also be found as the Sinfonia to Cantata 52 and its 3rd movement was used as the opening Chorus of Cantata 207. The Sinfonia to Cantata 174 is a reworking of the 1st movement of the 3rd Brandenburg with the addition of three oboes and two horns. The 4th Brandenburg was used as the last of his set of 6 harpsichord concertos, the concerto for harpsichord, two recorders and strings in F major, BWV 1057.
Brandenburg Concerto No. 5 in D major is scored for transverse flute, solo violin, obbligato ("indispensable to the performance") harpsichord, and strings. The harpsichord is given special prominence in this concerto, being elevated from its usual role to serve the supportive capacity, as well as being the unifying timbre throughout the work (the harpsichord is always present).
In the early eighteenth century the harpsichord normally acted as a continuo instrument, and indeed at the start of the opening Allegro (the longest among all the movements of the six concertos) it sounds as if the flute and violin are the soloists, with a harpsichord line that is only slightly more prominent than the usual continuo part. Gradually, though, the harpsichord's role increases, until all the other instruments drop silent for a cadenza of vast proportions (about 4 minutes long). It is likely that Bach himself played this virtuosic part at the premiere, which audaciously carves out one of the first concerted solos for a keyboardist. It remains one of the great virtuoso keyboard passages in all music.
Indeed, some scholars have suggested that the concerto was written for a contest between Bach and a visiting French harpsichordist, Louis Marchand (where Bach uses one of his themes in the 2nd movement). Another theory is that the piece marked the acquisition of a new Mietke harpsichord by the Cöthen court in 1719.
As this is one of my most viewed videos, I decided to revamp it with all new voicing, cleaner mixing and a more accessible visualization. The big challenge here was to breathe life into the harpsichord part. This started as a piece of scanned sheet music remember, so a great deal of effort went into refining the tempo with over two hundred micro adjustments to give the solo passage the nuances and feel of a real performance. The mix-down stage was almost as tedious, to give enough play and balance between the concertino parts in contrast to the tutti (especially during the "lulling effect" of the constant sixteenth-notes and repeated rhythms of the flute and violin around the 3:45 mark in the video).
Using the MAMM (Music Animation Midi Machine player) visualization is it quite fascinating to watch Bach’s brilliance in action, particularly the interplay between the solos instruments and how the harpsichord weaves its way throughout the piece supporting the “soloists” (and then there’s the cadenza!) making this a most incredible trio concerto.
For those wanting to follow along with the MAMM player visualization, the instrumentation is as follows:
Solo Violin: Orange
Transverse Flute: Yellow
Violins: Lime Green
Violas: Cyan
Cellos: Blue
Double Basses: Purple
Harpsichord LH: Pink
Harpsichord RH: Crimson
As always, the use of headphones will greatly enhance the listening experience. - เพลง
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Love the revision!
Flutes and harpsichord are much brighter and contrast bass so well
Thank you so much. I’m glad you noticed the differences.
One of my fav pieces of all time! I love the voicing sounds you chose.. Modern yet not too "synthy" .. true to the original instruments, yet with more clarity.. VERY well done!!!
Thank you Dan. I used semi-imitative timbres to give a more natural feel to the whole thing but I didn’t want it to sound too real. This new version does indeed have more clarity in part to the stereo positioning of the instruments across the audio panorama. I’m pleased with the clearer interplay of the 3 leads. I appreciate that you were able to experience what I was intending to do. Thanks so much for listening and taking the time to comment.
Fabulous! Good tune from JSB, excellent syth version, wonderful visualization. Bravo!
So glad to hear this version! Brilliant as always.... I didn't think You would be able to stay away. THANKS for ALL You do!
Thanks Geo. I’m working with hearing aids and headphones now so at least for the moment, I’m able to keep working. Just need some new inspiration… discovering new works (such as Osanna in excelsis - my previous upload) to keep me going.
@@CareyRMeltz very happy to know, You are able to continue with your passion, and I am sure also, to the great appreciation of Your audience . I will check out Your other new uploads. Thanks so much for sharing so many great videos, in the many Years I have been following Your work. Namaste.
Isn't it funny how everyone (me included) thinks this is just a harpsichord concerto, and then when you work on it you realise it is as much a violin and flute concerto as an harpsichord? Really if it wasn't for the long cadence it would be a triple concerto.
the revamped version well done
Glad you enjoyed. Thanks for taking the time to listen and comment.
Gorgeously rich, and yet subtle, in the beautifully wrought slightly contrasting textures of timbre. Kudos !
Absolutely a supernatural masterpiece. You don’t have to make anything you perform any better. You already top the cake as the best skilled performer on Bach’s masterpieces! God richly bless you my awesome anointed magnificent brother! God is very pleased with you my precious friend! He loves you so much my friend! Let Him shower you with blessings from on High! Awesome, awesome blessed young man!!!
Mesmerising! I love the visualisation.
And that solo gets me every time!
Thanks so much. It’s really satisfying to “see” the notes, especially in that solo.
Excellent version! Thank you :)
I appreciate you taking the time to comment. Thank You.
Bravo, magnificent.
Thanks so much.
Beautiful, as always! And I hear you when you say you spent a lot of time in micro adjustments. Been there. :) EDIT: listening to your version and my version side to side I now wish I did not use as much reverb.
Thanks so much for your comment. I love your work and can definitely understand the work you put in shaping the “performance” of a piece. I very much like the timbres you created in your version… familiar though without changing up at every new phrase… let’s you hear the melodies and counterpoint without it all becoming gimmicky.
Of course we always wish we would have done something differently but that’s what a new version is for (some TH-cam users have done multiple versions of the same piece)… but as far as your concern over reverb, I only paired mine back a bit (on the soloists) to give more clarity. With every new project I learn something for the next time. Your version is sensational! I chose to keep my voicing quite imitative to let Bach’s brilliance shine through in a specific stereo experience. Your work brings all the interest of an electronic presentation with bright an complimentary timbres. It’s mixed and mastered with perfection… and your use of reverb is absolutely spot on; it enhances things over all. I look forward to your next upload.
@@CareyRMeltz well, this means a lot coming from you, thank you!!
@@CareyRMeltz Thank you so much! It means a lot coming from you... I only learned from the masters :) You're right that one always would like to revise their work and publish new versions, it's an irresistible urge. You seem to go towards being slightly more true to the original, in terms of choices of sound, although in my mind the "original" (the one with real violins) and Wendy Carlos' version are now blurred into one. It's incredible how a synthesizer version 50+ years old has become a classic. Either way your version is full of joy, it's a true testament of the solar nature of this piece, which to me screams happiness.
I can't thank you enough for being the inspiration of this form of creation, that has become highly satisfying for me, especially because, as I'm sure you've experienced yourself, it is literally limitless, both in scope and in the opportunity to learn new things. I thought I would need to be an instrumentist, I realised I also needed to be a sound designer, a composer, a mixing engineer, an orchestrator, a mastering engineer, a video maker, a producer. I love this.
@@OrzoMondo And You have already mastered all of those disciplines. Your content, including text, and voice over is as good or better than anything I have seen on TV. Even though I love and cherish some of those early Canadian broadcasts by Glenn Gould,.. they are almost funny in their erudite remoteness. I enjoyed Your video's on Bach and Synthesis, for their very earnestly, and honestly reported internal dialogue, that many of us who are found on these pages of synth - Bach uploads have also had in our heads , (or similar) and had not put them into words or at least had almost no one to discuss them with. Carey ALWAYS amazes me with the historical facts related to his content. He is a fabulous researcher!
@@Geopholus My wife always says the content I make is, (her affectionate words), "very niche". It's true, we'll never have millions of subscribers, but I'm glad we have very appreciative ones :)
Beautiful performance! Instrumental timbres are excellent! Visualization clear and intuitive. Likely I'm wrong, but I heard something odd @4.34.
Thanks for your kind words. I listened and reviewed the visuals at the point you referenced and it all seems fine. Perhaps it’s a note in the “Double bass” line (purple) that’s catching your ear?
Perhaps is only the an effect of "trillo" on the penultimate bar before "Tutti", flute A/violin B, that my ears perceive slightly below pitch; but it's only a personal feeling, surely wrong, your interpretation is really great! Bravissimo!
@@TristanUndTantris Yeah, rapid trill and one hears something between pitches, but it's perfect.