It's been more than a month since I started this channel and it was originally about instrumental accompaniments and music analysis. I just want to announce to all my viewers that since the charity I'm working with has a new project which aims to make music education accessible even to financially challenged people, I've decided to include the milestones we'll make as a charity group in the videos that I'll be uploading. Along with that are music analyses, and some slices of my life as a musician, talking about the things I do outside music. Thank you for your support!
Is it just me, or does it seem like he took the motives from the Allemande of his French Suite no. 2 and use them again in his Fugue in C minor WTC I? I hear a lot of those half step motions analogous to the start of the Fugue in C minor subject. I hear it on multiple levels too, from the fast main melody to the slow melodic bass. Similar things apply to the motives of the countersubject of Fugue in C minor, though in this Allemande, they are often at the sixteenth note level instead of the eighth note level like in the fugue. Even the ending of the Allemande with this motive: G, F, E, F, G, C again resembles the Fugue in C minor WTC I.
I never observed about this until now that you mentioned it. I understand and hear how you're describing its resemblance, although it doesn't seem intentional, as for Bach, in this case.
@@TheClassicalNetwork Okay, I was just wondering, because in the cases in which I have heard shared motives in multiple pieces by the same composer, it is often on purpose, sometimes even foreshadowing the motive's peak usage, with just one example being Beethoven and the Fate Motive. From the time that he wrote his first sonata to the time he wrote his last sonata, Beethoven used the Fate Motive a lot, especially in minor key pieces. And this use of the Fate Motive seems intentional(I mean, why else would I hear it in so much of Beethoven's works, piano and otherwise) and foreshadows the peak of said motive, Beethoven's Fifth Symphony, where it is the backbone of the entire symphony, with every movement having variants upon this motive. So I was wondering if maybe the resemblances between this Allemande and Bach's Fugue in C minor WTC I were intentional.
You might be right though! I agree with you too. It's just so unfortunate that we don't have too much scholars dwelling on Bach's Well Tempered Clavier right now. These things are interesting imo and is very underrated.
It's been more than a month since I started this channel and it was originally about instrumental accompaniments and music analysis. I just want to announce to all my viewers that since the charity I'm working with has a new project which aims to make music education accessible even to financially challenged people, I've decided to include the milestones we'll make as a charity group in the videos that I'll be uploading. Along with that are music analyses, and some slices of my life as a musician, talking about the things I do outside music. Thank you for your support!
This is great. Thank you!
Thanks a lot!
So beautiful! you are very talented ☺
Do you have the gigue’s analysis? Movement VII
Is it just me, or does it seem like he took the motives from the Allemande of his French Suite no. 2 and use them again in his Fugue in C minor WTC I? I hear a lot of those half step motions analogous to the start of the Fugue in C minor subject. I hear it on multiple levels too, from the fast main melody to the slow melodic bass. Similar things apply to the motives of the countersubject of Fugue in C minor, though in this Allemande, they are often at the sixteenth note level instead of the eighth note level like in the fugue. Even the ending of the Allemande with this motive:
G, F, E, F, G, C
again resembles the Fugue in C minor WTC I.
I never observed about this until now that you mentioned it. I understand and hear how you're describing its resemblance, although it doesn't seem intentional, as for Bach, in this case.
@@TheClassicalNetwork Okay, I was just wondering, because in the cases in which I have heard shared motives in multiple pieces by the same composer, it is often on purpose, sometimes even foreshadowing the motive's peak usage, with just one example being Beethoven and the Fate Motive.
From the time that he wrote his first sonata to the time he wrote his last sonata, Beethoven used the Fate Motive a lot, especially in minor key pieces. And this use of the Fate Motive seems intentional(I mean, why else would I hear it in so much of Beethoven's works, piano and otherwise) and foreshadows the peak of said motive, Beethoven's Fifth Symphony, where it is the backbone of the entire symphony, with every movement having variants upon this motive.
So I was wondering if maybe the resemblances between this Allemande and Bach's Fugue in C minor WTC I were intentional.
You might be right though! I agree with you too. It's just so unfortunate that we don't have too much scholars dwelling on Bach's Well Tempered Clavier right now. These things are interesting imo and is very underrated.