J.S. Bach: Brandenburg Concerto No. 6 in B flat major, BWV 1051 - 3. Allegro (Synthesized)
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- เผยแพร่เมื่อ 19 ก.พ. 2015
- For those who enjoy the Music Animation Machine MIDI Player visualization, this version of the video is alternately presented so you are able to follow the music.
The voicing is listed as follows:
Viola da braccio I - Orange
Viola da braccio II - Yellow
Viola da gamba I - Green
Viola da gamba - Teal
Cello - Blue
Violone - Pink
Harpsichord - Mauve
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’s 6th Brandenburg is the least known and least performed of the six concertos - not because it is not a masterwork, but because of the instruments used in it. Bach's sonic imagination was seemingly boundless, and for this final concerto he chose to limit the work's scoring to strings and continuo, meaning that the only non-bowed instrument heard is the harpsichord. Every other concerto in the set made extensive use of contrasting timbres, balancing the strings with the winds, often in unprecedented ways. This limitation of timbre is also extended to register; there are no violins, just two “normal” violas (violas da braccio), two violas da gamba, a cello, and the violone, which is near the cello range and is from the gamba family.
When the work was written in 1721, the viola da gamba was regarded as a Chamber instrument and thusly received more difficult lines. The strong supposition that one viola da gamba part was taken by Bach’s employer, Prince Leopold (which points to a likely reason for the concerto's composition), as Leopold wished to join his Kapellmeister playing music. Other theories suggest that, since the viola da braccio (considered an Orchestral instrument, and usually given comparatively easy “supporting roles”) and typically played by a lower socioeconomic class (e.g., servants), the work sought to upend the musical status quo by reversing the level of difficulty, giving an important role to a "lesser" instrument. This is supported by knowledge that Bach wished to end his tenure under Prince Leopold. By upsetting the balance of the musical roles, he would be released from his servitude as Kapellmeister and allowed to seek employment elsewhere.
The final Allegro movement of the concerto assumes the character of a fugal gigue, but reveals itself to be a set of variations based on the initial ritornello, which is a much freer demonstration than the traditional spinning-out of the initial material. Initially the two violas play together in a lively dancing rhythm. Then the writing becomes faster, with the two violas chasing each other, giving and taking fragments of scales and parts of the initial theme, soon joined by the cello taking the same musical ideas in this quite virtuosic run. Then, after the repetition of the initial phrase, there is a new virtuosic episode between the two violas accompanied only by cello and bass (no gambas) followed by the cello showing off again its fast passage played earlier while the violas have a more melodic, sweet dialogue. Eventually the whole orchestra plays a ritornello, a complete repetition of the first 45 bars, thus completing the A-B-A structure of this beautifully joyful movement.
Overall, this last concerto is in many ways, the most various and striking among the six and is the perfect conclusion to a set of concertos that have justly become Bach's most popular compositions - thanks to the variety of musical imagination shown by his scoring and musical ideas as well.
This piece is scored with basic timbres reminiscent of Wendy Carlos’ style as found in her “Switched-On Brandenburgs” of 1979.
AS ALWAYS, THE USE OF HEADPHONES WILL GREATLY ENHANCE THE LISTENING EXPERIENCE. - เพลง
![J.S. Bach: Brandenburg Concerto No. 2 in F major, BWV 1047 [2020 Revisit] (Synthesized)](http://i.ytimg.com/vi/MCQmknIrE-g/mqdefault.jpg)
![J.S. Bach: Brandenburg Concerto No. 2 in F major, BWV 1047 [2020 Revisit] (Synthesized)](/img/tr.png)
For those who enjoy the Music Animation Machine MIDI Player visualization, this version of the video is alternately presented so you are able to follow the music.
The voicing is listed as follows:
Viola da braccio 1 - Orange
Viola da braccio 2 - Yellow
Viola da gamba 1 - Green
Viola da gamba - Teal
Cello - Blue
Violone - Pink
Harpsichord - Mauve
Where would the world be without Bach?
This is really special! BRAVO. Those resonant basses underpinning those rich chords is irresistible because they've finally got some sustain. This and the timbre you've chosen are perfect for the piece.
That's a whole new take on number 6. I like it. Nice job.
Thanks! Hope you find more work on my channel to enjoy. I appreciate you taking the time to listen and comment.
Absolutely stunning.
the countermelody is mesmerizing
Agreed. The 6th was the least preferred of my Brandenburg favourites but when I concentrated more on the backing, I found myself really enjoying the interplay. The counter-melody really enhances the soloists, turning what could seem less complex, at first listen, to subtle brilliance.
Impressive. Amazing. Superb. Magnificent. What else can I say? Perhaps... GREAT!! Keep up the good work!!
Wow, thank you for such a great comment. It's really nice to get such positive feedback.
Like other Bach works that Wendy got her hands on, I've know this piece intimately for decades, but the new experience of watching that playful argument between VdBs I & II brought tears of joy to my eyes. Thank you so much for doing all this, Carey!
Many thanks! an enjoyable and convincing realiziaton.Amazing what can be done with 'fiddly bits', if you're J. S.Bach!
This is lovely. thank you
And thank you for taking the time to comment. I hope you find other work on my channel that you'll enjoy. :)
I've been watching these alot especially first thing in the morning with a coffee+pipe, great work!
+Nick E Thank you for taking the time to comment. I hope you continue to enjoy my offerings. Lots more in the works!
Love your work!
Wow! Thank you so much. It brings me great joy to know that people appreciate my efforts.
Puhzz
It's great work mate! I can let it play in the background too while I do other things. Greets from Australia
+Alexander Ryan So sorry for the delayed reply. I don't know why I didn't see the notification. I appreciate you taking the time to listen and especially to comment.... all the way from the land "down under." :)
So cool. Amazing recordings.
Thank you for listening and taking the time to comment. :)
brilliant presentation
Thank you. It seems to be popular so I did this 2nd video with the visualization.
OMG this is brilliant!
Thanks so much. It's always great to know that people enjoy what I do. :)
Love Bach !!!
Me too! (obviously). ^_^
Inspiration for Tony Banks and his playing.
this is great! I will be seeing you around.
+elektroqtus Thank you sir. Hope you find some other pieces that you also enjoy. :)
Well done! Like seeing Bach on the Molecular Level.
Thanks! That's a clever way to describe the visualization, but it's wonderful in that it lets one follow along without having the need to read music.
just love the animation, incredibly expressive, well done.........h6uk
Thank you sir. I appreciate you taking the time to comment. (You're not "Russty Howard" are you???) BTW, I did reply back to you on your "Wachet Auf (Alternate)" remark. Cheers. :)
great
Thanks so much. :)
ive got this on vinyl :)
virtuoso synthesizer performances by wendy carlos
Still have my vinyl too - 1979's "Switched-On Brandenburgs."
didnt you used to have a video like this of concerto no. 3 ?
I did indeed - an experiment that became very popular - so much so that it caught the eye of the company that owns the rights to all of Wendy Carlos' music. I used an image of the original "S-OB" album cover (one that is readily found all over the internet), however, they claimed a copyright infringement and TH-cam was forced to remove the video. It caused some issues with my account (would have been nice if they'd just come to me so I would take it down myself) and so I had to wait 6 months before I could risk anything problematic.I am actively reworking the piece and have finalized a 2nd movement and am also close to finishing the 3rd. When ready, I will upload a modified version of the original video and then the new one (the full concerto) as a comparison between my old work and newer, refined audio techniques.Thanks for your interest. :)
@@CareyRMeltz man, your work is awesome.
@@CareyRMeltz I assume "the company" was the rather notorious Serendip.
Well done Carey R. Meltz! favorite interpretation of my favorite brandenburg concerto! What synthesizer are you using? Do you design the patches as well?
Delicious!
Thank you very kindly Louis. I appreciate the comment and that you enjoyed the piece enough to do so. I hope you find others that you like on my channel. :)
Brandenburg concerto no 4 in g major but its synced with harpsichord concerto no 6 in F Major.
me he qñuedado extasiada mirando las notas....
+LALILEON SUTIL :)
necesito un sintetizador !!!!!...jajajajaj....fascinante
+LALILEON SUTIL ^_^
Well done. Rachmaninov's concertos 2 and 3 please!
This kind of musical reproduction is certainly not to everyone's taste, but in order to see through the content of a composition, this analytical reproduction is ideally suited.
carey.This is your name, right? I'm favorite arrangement. I like this low voice . When I listen to this song, I become fine.
tenkon1 はい、キャリーは私の名前です。コメント私の友人をありがとうございました。私はしばらくの間であなたを見ていません。物事はあなたと良いですね！:)
Yes, Carey is my name. Thank you for the comment my friend. I haven't seen you in a while. Hope things are good with you! :)
estoy pegá
Doesn't sound very 'switched on' to me. 'Midi'd on' is more apt. There are no dynamics.
Jacob Dobner Sorry, can’t please everyone. Please give a listen to my newer work.
Midi doesn't preclude dynamics, but harpsichords tend to do....