J.S. Bach: “Great” Fugue in G minor, BWV 542 (Synthesized)
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- เผยแพร่เมื่อ 29 ส.ค. 2013
- Johann Sebastian Bach's "Great" Fugue in G minor (BWV 542) for organ, acquired its name to distinguish it from the earlier shorter piece, the "Little" Fugue in G minor. This work is also not to be confused with the organ Fugue in A minor, which is also sometimes called the "Great."
It is known that Bach improvised the fugue for an audition for an organist job at St. Jakobkirche in Hamburg in 1720. Bach bases the fugue on the Dutch folk tune "Ik ben gegroet" and ornaments the general shape of the melody while keeping its contour readily heard. It is widely thought that Bach used this folk tune to honor the Dutch organist Reineke, who was present at the audition. The fugue is thought to have been composed separately from its opening fantasia (assigned to Bach's time in Cöthen, 1717-1723) to his Weimar years (1708-1717, but, if the audition theory is correct, not later than 1720). Independent of the compositions' speculative origins, the work was published in Leipzig in 1833.
Bach didn't get the job, but, happily enough, posterity did get the piece; generations of organists since then have considered it one of their repertoire's crown jewels. More than one worthy mind has deemed the fugue to be Bach's ultimate accomplishment in the field of organ counterpoint. The task of selecting a king from that noble crowd, however, is not an enviable one. Though it provides the sense of a stable answer to the fantasia in its predominantly even sixteenth-note rhythms, it is similarly ambitious harmonically: Bach makes two revolutions through the entire circle of fifths. The fugue makes a fine contrast with the later music of the fantasia while nevertheless seeming to belong to it.
I orchestrated this piece using calliope-like flutes and horns, with a "strummed" bass. I wanted the piece to have the "analog" feel reminiscent of Wendy Carlos' performances of the Brandenburg Concertos.
As always, the use of headphones will greatly enhance the listening experience. - เพลง
Fuck... Only if Bach could alive today... I can't imagine what he could create with such infinite amount of sounds... Luckily we have such talented souls "reincarnated" into being and studied his path. Thank you.
EVER SINCE I STARTED IN BAND IN JR. HIGH SCHOOL , THIS KIND OF MUSIC BROUGHT TRANQUILITY IN MY INNER PEACE ...
th-cam.com/video/p2l5RkeEkBs/w-d-xo.html
wonderful!
This melody was beautiful.
Thank you for listening and taking the time to comment. :)
Me gustó!! muy claras las líneas melódicas y muy hermosos los timbres elegidos,así como el diseño y colorido del video. Para disfrutarlo! Thanks for uploading!
Muchas gracias por tomarse el tiempo para ver / escuchar mi música. Agradezco sus comentarios mucho. Esta pieza sólo parecía fluir suavemente a través de todo el proceso de realización / grabación de las pistas midi a través de la mezcla final. Yo tenía una idea de lo que quería todo para sonar como los timbres y se programaron sin ajustar mucho. La visualización fue una elección obvia para adaptarse al estado de ánimo y los tonos de la música. Espero que disfruten más de mi trabajo. :)
Thanks so much for taking the time to watch/listen to my music. I appreciate your comments very much. This piece just seemed to flow smoothly through the entire process from performing/recording the midi tracks through to the mix-down. I had an idea of what I wanted everything to sound like and the timbres were programmed without much tweaking. The visualization was an obvious choice to suit the mood and tones of the music. I hope you enjoy more of my work. :)
Touch that consciousness was drawn into this music acted as me.
Sound of bass sound says very much.
Good voicing with your selected patches. - thumbs up!
Thanks Bobcatt22. That's one of the things that takes me a lot of time to finalize a piece - the experimentation to create and utilize the right presets that work with each other. (Part of that is combining the most appropriate waveforms that don't end up getting "muddy" in the mix-down due to too many conflicting overtones or harmonics). I have so many more pieces on the go but just haven't been able to get them finalized.
Brilliant transmission! I heard lot's of details that I 've never discovered in those organ versions.
+凍結半径 Thank you for the kind comment. I know exactly what you mean... I didn't stray too far from the original organ transcription but tried to bring more variety and life to the voicing. Cheers.
Like Virgil Fox said, “not enough fingers.”
Felicitaciones. Un saludo desde Buenos Aires
+flora gutierrez (maribayres) Muchas gracias! :)
I would upload this again and increase the volume. This is for posterity.
Thank you my friend. Even though Google translate isn't accurate, I truly understand your meaning. :-)
私の友人、ありがとうございます。Googleが翻訳が正確ではないにもかかわらず、私は本当にあなたの意味を理解しています。:-)
This is absolutely beautiful ! How do you program it ?
Thanks for your comment and interest. It depends on which VST synth I'm using... then I can virtually (with my mouse) patch modules if required and then turn knobs to tweak filtering and envelope controls, etc. Think of it like a drawbar organ, one builds the sound by adding extra layers of harmonic overtones... making it sound fluty or nasal, for example. Programing a synthesizer starts with a waveform which is shaped to sound a certain way - like a "bowed piano" or a "hammered violin" Depending on how "real" I want an instrument to sound I will use additive synthesis. That is, create layers to build all the components of a particular sound... the acoustic jazz bass - there's the "pluck" element, the "string slap," the tone of the note being played.
Sometimes I'll get an idea of how I want the leading melodic instrument to sound. Once I develop it, there's so much more experimenting to come up with complimentary timbres. To give you an idea of the complexity in approaching a piece, think about Bach composing for a string ensemble. He knows the limitations of the instruments and how they will sound together. Realizing music electronically doesn't have the same constricts and so it's up to my whim, creative mood, luck and determination to create a piece where the sound has no limits.
@@CareyRMeltz This is fascinating. But you obviously have to understand the music in the first place and Bach is complicated to say the least. It's obvious to me that you do. Brilliant work.
You can try Haupwerk for have a organ-like sound. it's very close of a real organ.
+CQF4 Thanks for the info. I'll have to try it out, although my intent was for this not to sound like organ work. :)
@@CareyRMeltz Actually, not trying to make it sound like an organ made the melodic lines and modulations easier to follow. You probably know this, but when playing this on an organ. quite often the 8', 4', 2' and a Mixture is used. This means that when the organist plays C4 (middle C), the organ is sounding C5 (one octave above), C6, G5, G6 and maybe an E? to boot, and those are not going to be equally tempered. While this makes the organ's tone appear to sparkle (IMO), it does make the fugue harder to follow.
(Of course, that might be why they called it a fugue, or flight.)
Your moderate volume was helpful, revealing an aspect of the fugue that louder recordings do not quite capture...there's a lot going on in that fugue.
Hey can you synthesized Bach chromatic fantasia? Really appreciate it :)