I've listened to most of the pieces you've posted to youtube hundreds of times over the last 40 years. Despite knowing them extremely well, I find that listening to the synth rendition reveals aspects of certain voices that I was not aware of, and as a result the piece often sounds new to me - almost like discovering a new Bach composition, at times. Fascinating and very enjoyable.
Thank you for noting this, I am completely in agreement. In fact I believe that this is the reason to be of re-interpretations in general and synth re-interpretation in particular. There is no way you can make voices stand out as much when you are using violins and violas Vs when you can use a sawtooth oscillator or a square wave. So you really start hearing melodic lines that sometimes get buried. I am sure that a conductor can hear all the lines, because to them the score speaks, but for us common mortals this medium does a great amount of ear training. Lastly, doing this work I end up listening to one particular piece *thousands* of times, because between the digitalization and the editing I must have listened this one in particular for days on end. And you really start knowing the ins and outs, and listening to the most subtle lines. It does a lot of good for my own enjoyment of these pieces :)
@@OrzoMondo I arrived at the same conclusion. This result is one of the reasons I make a point of listening to synth renditions of especially Bach, Handel, and even Beethoven. Just one additional comment (obvious to you I am very sure). The choice of sound / timbre is very important to me. I learn from experience which synthesists use sound forms that I can relate to and which bring out counterpoint, and those which don't - yours are, to my ear, in harmony with Bach, and enhance my enjoyment, as opposed to some other choices which I find jarring or disconcerting.
@@OrzoMondo I just want to piggyback off of clive's comments. Personally, I never liked hearing organ renditions of Bach. I just... can't hear the differences in each voice. It just sounds muddy to my ear, like a wall of sound. Maybe if there were a massive pipe organ somewhere local I would be able to notice more in person, but these synth versions that you've uploaded have become some of my favorites recently.
@@OrzoMondo Yes it's very difficult, you are right. But I still consider this fugue, written by a Bach in his early twenties at the height of his exploration of the possibilities of this form, to be unique.
@@giannottister I love this fugue, but because it is paired to an incredible Passacaglia, it lives a bit in the shadow - the protagonist of this composition, to me, is the first part, which is just stunning. And, since we are talking about fugues, in my opinion the most incredible (in terms of technical counterpoint and exploration) is probably the fugue in Ebm (or D#m) BWV 853 no. 8 of the first book of the WTC. I have been working on it for ages, and still isn't ready :)
@@giannottister Ugh, I've (re) listened to it, the XI is incredible, just incredible - now you make me want to start yet another project :) PS: At this time I have 97 projects somewhat active, I just counted them. I am actively working on 14 of them. It has become so complicated to keep track that I make notes on each one, where I am, what I did and what it needs. But working on multiple projects at the same time is necessary, it gives me balance, so I am not making always the same choices of patches, timings, etc.
Thank you, OrzoMondo, for the completion of this wonderful project! I listened to the movements one after the other and found the clarity and detail so rewarding. While, for me, nothing will trump the organ in realising this daunting piece of baroque drama, your personal vision is honest, valid and hugely enjoyable. Thanks.
Thank you so much Karl! I am now working on joining the two parts together, but I found that the fugue is too fast when juxtaposed to the passacaglia, so I need to revise it :)
@@OrzoMondo Hi again, friend. Pace is also about perception, isn't it? I just listened to both pieces, one after the other, and found no jarring inconsistency in the pacing. Of course, how it sounds to you is important - you have to live with it! Could be me, I guess. I'll wait to hear what you do with it, OrzoMondo.
Excellent, it is a pleasure to listen in your synthesizer voice and graphics. Your hard work is greatly appreciated by your your audience, much obliged!!
Thanks you, Orzo Mondo! I have been waiting so much for the fugue... Since Gerubach has gone, you're my favourite Bach music creator content. Great work!
I"ve played this so many times full blast which envelops you such heavenly sound - superb realisation - don't agree with Karl, this does trump organ versions. BRAVO!
Nothing much to say but that I have been listening non stop to this for 2 days. Thank you. Also, I don't enjoy too much the piece played at the organ, the "main theme" (or is it the countersubject? I dunno, anyhow, E B B C C) gets somewhat covered by all the other lines. This is perfect.
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I've listened to most of the pieces you've posted to youtube hundreds of times over the last 40 years.
Despite knowing them extremely well, I find that listening to the synth rendition reveals aspects of certain voices that I was not aware of, and as a result the piece often sounds new to me - almost like discovering a new Bach composition, at times.
Fascinating and very enjoyable.
Thank you for noting this, I am completely in agreement. In fact I believe that this is the reason to be of re-interpretations in general and synth re-interpretation in particular. There is no way you can make voices stand out as much when you are using violins and violas Vs when you can use a sawtooth oscillator or a square wave.
So you really start hearing melodic lines that sometimes get buried. I am sure that a conductor can hear all the lines, because to them the score speaks, but for us common mortals this medium does a great amount of ear training.
Lastly, doing this work I end up listening to one particular piece *thousands* of times, because between the digitalization and the editing I must have listened this one in particular for days on end. And you really start knowing the ins and outs, and listening to the most subtle lines. It does a lot of good for my own enjoyment of these pieces :)
@@OrzoMondo I arrived at the same conclusion. This result is one of the reasons I make a point of listening to synth renditions of especially Bach, Handel, and even Beethoven.
Just one additional comment (obvious to you I am very sure). The choice of sound / timbre is very important to me. I learn from experience which synthesists use sound forms that I can relate to and which bring out counterpoint, and those which don't - yours are, to my ear, in harmony with Bach, and enhance my enjoyment, as opposed to some other choices which I find jarring or disconcerting.
@@OrzoMondo I just want to piggyback off of clive's comments.
Personally, I never liked hearing organ renditions of Bach. I just... can't hear the differences in each voice. It just sounds muddy to my ear, like a wall of sound.
Maybe if there were a massive pipe organ somewhere local I would be able to notice more in person, but these synth versions that you've uploaded have become some of my favorites recently.
This extraordinary fugue is unique even for Bach!
It's really difficult to decide which one is the best, isn't it?
@@OrzoMondo Yes it's very difficult, you are right. But I still consider this fugue, written by a Bach in his early twenties at the height of his exploration of the possibilities of this form, to be unique.
@@giannottister I love this fugue, but because it is paired to an incredible Passacaglia, it lives a bit in the shadow - the protagonist of this composition, to me, is the first part, which is just stunning.
And, since we are talking about fugues, in my opinion the most incredible (in terms of technical counterpoint and exploration) is probably the fugue in Ebm (or D#m) BWV 853 no. 8 of the first book of the WTC.
I have been working on it for ages, and still isn't ready :)
@OrzoMondo Can't wait to listen to it! I have a special fondness for another incredible example: Contrapunctus XI from the Art of Fugue :)
@@giannottister Ugh, I've (re) listened to it, the XI is incredible, just incredible - now you make me want to start yet another project :)
PS: At this time I have 97 projects somewhat active, I just counted them. I am actively working on 14 of them. It has become so complicated to keep track that I make notes on each one, where I am, what I did and what it needs. But working on multiple projects at the same time is necessary, it gives me balance, so I am not making always the same choices of patches, timings, etc.
Thank you, OrzoMondo, for the completion of this wonderful project! I listened to the movements one after the other and found the clarity and detail so rewarding. While, for me, nothing will trump the organ in realising this daunting piece of baroque drama, your personal vision is honest, valid and hugely enjoyable. Thanks.
Thank you so much Karl! I am now working on joining the two parts together, but I found that the fugue is too fast when juxtaposed to the passacaglia, so I need to revise it :)
@@OrzoMondo Hi again, friend. Pace is also about perception, isn't it? I just listened to both pieces, one after the other, and found no jarring inconsistency in the pacing. Of course, how it sounds to you is important - you have to live with it! Could be me, I guess. I'll wait to hear what you do with it, OrzoMondo.
Excellent, it is a pleasure to listen in your synthesizer voice and graphics. Your hard work is greatly appreciated by your your audience, much obliged!!
Thanks you, Orzo Mondo! I have been waiting so much for the fugue... Since Gerubach has gone, you're my favourite Bach music creator content. Great work!
Thank you!!
This is one of my absolute favorite pieces that Bach ever composed!
And you’ve done a simply marvelous job at arranging it for the synthesizer.❤
Thank you so much sir!!
So very gooooooooood job! Thank you for this great bachian contribution, you always keep alive the spirit of Bach!!!
Thank you!!
What a satisfying presentation of a monument of western music! Your growth in this medium is also satisfying. Congratulations, Orzo Mondo!
Thank you Dennis! I have been really busy recently with other stuff, so it's really nice to be able to get back and do the thing I love :)
Nicely done! Thank you for introducing me to yet another (unfamiliar for me) piece by Bach.
This one is one of the good ones :)
Meraviglioso Maestro
Grazie!!
I"ve played this so many times full blast which envelops you such heavenly sound - superb realisation - don't agree with Karl, this does trump organ versions. BRAVO!
Thank you!!!
Excellent! This is an exquisite tapestry of sound
Glad you like it!
Thank you!!! This is so well done and will get so many listens from me.
Thank you so much for listening!!
Great ❤
Thank you big S!
Nothing much to say but that I have been listening non stop to this for 2 days.
Thank you.
Also, I don't enjoy too much the piece played at the organ, the "main theme" (or is it the countersubject? I dunno, anyhow, E B B C C) gets somewhat covered by all the other lines. This is perfect.
Thank you so much! Yes, I think the motif you refer to technically is the countersubject :)
A great rendition. What is the visualizer program?
Thank you! I am using the Music Animation Machine by Stephen Malinowski.
Magnifique contrepoint !!!
Le Maestro aurait sûrement utilisé des synthétiseurs !!
Le son convient très bien !
Je suis tout à fait d'accord - je pense que ce qui se rapprochait le plus d'un synthétiseur à l'époque était l'orgue.
So is there going to be a full version now that both halves are done?
Absolutely! I like to wait a little because usually I revise the two halves before putting them together, but yes, it will be there!
Honey! Come Quick! OrzoMondo made a new video!
So nice to hear your enthusiasm :) Thank you very much for listening!!
Love your edition, and the portret.
Thank you!