@@dansaber4427 Es gibt so viel schöne Musik da draußen, dass es schwierig ist, sich für etwas zu entscheiden :) Ich möchte viel mehr Händel und Vivaldi machen, aber auch Telemann!
Your comment wasn't posted that long after the upload and the channel doesn't have much subs yet, so it will grow with time. In any case the views and subs deserves a high count, I'm also one of them.
The first time I listened to this piece, my heart almost stoped. Listening to this version, my heart is just in fire. Please, don't stop making this synthesized versions of erudit musics. I, for now, just can say thanks and subscribe your chanel. I hope one day I would help with more.
Mr. Orzo Mondo, I've listened to this (I think) about 30 times now and I've never tired of it. As I've commented elsewhere in your uploads, the thing I like most about your work is the control you have to bring our clarity of all the parts. It's very difficult to do this in a live performance (and one of the reasons to use small forces in those contexts, IMHO). But of particular interest in this movement is the bass line. Oddly enough it often gets buried and for having such a prominent part I find that really odd, yet, there it is. The insistence of the ostinato in your realization is, for me, a revelation. It's like fate: it just doesn't go away. The drumming away, the brief trip through the circle of fifths (or the "turning motive" transferred to the bass) , then the return of the relentless drumming on one note comes off so dramatically and stunningly in your realization. It's almost as if the whole piece is about the ostinato. Instruments alone are relatively clear as to their parts. Same with singers a cappella. But when the two forces are combined there's an inherent acoustic problem, especially in Bach, IMHO.. Bach's textures are so complex at times with so much layering and counterpoint that I wonder if Bach himself ever really heard all the notes he wrote because of acoustics of the churches, ability of his performers and the amount of rehearsal time, etc.. We'll never know. But we are lucky to have someone like you who can bring it all off with clarity. We all know the words, but we all may have never heard all the notes.
> it's like fate: it just doesn't go away Can't agree more with you, there is something incredibly compelling, no, more, bone chilling, about the openings of St Matthews and St John. This is a story everyone knows, a story that is not going to end well, yet it has to happen, and it has to happen with all the amount of suffering that is prescribed. In both the openings Bach prepares the audience for what is to come, but while St Matthew's is somber yet compassionate, St John's is just cruel. Both intros are in a minor tonality, both are quite dramatic, but St Matthew's has that beautiful "O Lamm Gottes, unschuldig" chorale embedded smack in the middle, which sort of helps releasing the tension. St John's is just relentless, and at the end, when you want it so bad to end it with a Picardy third, please, please, end in major, give us some light... No. St Matthew's, after all the drama, ends in major :)
If he didn't hear it all with his own ears he heard it in his head at least. He may have positioned his performers in a way in which he did hear them all. He was a true genius after all. I put nothing past him. His shadow is long.
Enjoyed this very much. Thank you! The thing that attracts me to electronic realizations of acoustic music, especially the music of Bach which can get so complex --as in the current example--is that in acoustic performances details are easily lost and can actually almost defeat the very medium it was written for. Bach pushes the limits of music in all aspects at one time or another in his life's work. He pushes tonality to its limits, he pushes counterpoint to its limits, and so on...I was trained as an organist and even though one has four voices to deal with most of the time, the instrument can present them with clarity (which I suspect is ne of the reasons Bach loved the instrument--clarity because every note counts. There's no "filler notes"). But then one has the room the instrument is in which can turn the whole matter muddy. This is solved by electronic media. But then electronic media has to somehow account for the human heart. So that's where, IMHO, one has a challenge. As final observation, I might add that a lot that, however, is written into the notes. Bach said, "I play the notes, but it is God that writes the music."
So true - not only you can make each note stand out by using well separate waveforms, you can also double up ideas or themes that you like, especially if they are in the background.
@@OrzoMondo BTW, I especially like that you brought out the bass line. It's a heartbeat and gives the essential gravitas to the movement. And, oddly enough, that effect so often is not really heard in acoustic performance. Don't understand why. Anyway, thanks for that!
This is superb, you've created pillars of sound and bass line that perfectly underpins, rock bass guitarists would love this. First time I heard this made think of Koyaniskatsi (time out of joint) A film maker looking for something depicting our troubled times would find it hard to find something better. Ominous indeed.
Well, thank you! This piece has always been deeply unsettling for me. The more I worked on it the more I realised that a lot of the unease comes from the pedal bass. I think I might have gone a bit overboard with the predominant bass, but I'm glad you liked it.
Beautiful work, thank you ! This is the synthesized gem I was looking for, that allows our minds to better grasp the details of Bach's genius. This is also the best graphic rendition of music I have seen so far. Merci !
Your arrangement not already is truly "igniting" and sparkling with life, it also reminds me again that this piece is one of J. S. Bach's most spectacular compositions. Again, this is music I consider highly suited for dancing, in a disco of my kind. I am inclined to say: if you really love J.S. Bach, you love him in all forms and shapes - as long as it's well done and with good musical taste. Which is the case here. Ah, one thing I almost fergot: there is one piece of music I consider related on a deeper level and I suppose this might come as a surprise for many: "Bitches brew" by Miles Davis. There is the same huge constant fertile metamorphosis of life in the making, the same powerful pulsation. That's what I am hearing here: not death or sadness but the overwhelming power of life. And all this springs to my mind while I am listening to your version. I guess you fulfilled your task! 🙂
Thank you @andreas, interesting you mention bitches brew. Miles is another master I consider of the highest order. When I bought that album I must have been about 14-15. Everyone was raving about it, and I just could not make myself like it. It took several years of listening to Miles' own musical journey, starting from when he was playing with Charlie Parker, through the Birth of the Cool and to Kind of Blue to finally understand where he was going with that. Miles is quite inaccessible at times, but once you start unraveling it the depth of his musical genius is awe striking. Funny thing about Bach is that he manages to do all that without ever being inaccessible.
@@OrzoMondo Nice to know you also have a diversified musical taste. I fergot to mention which specific piece on "Bitches brew" I was talking about: "Pharao's dance". That's the one.
I've listened to this now many times and my appreciation has turned to a love for it--your realization of it, that is. I think you've accomplished some real "drive" to the piece, especially in the later aection(s). That's an accomplishment! I have never heard all the parts so clearly in a live performance as I can hear in yours. Sometimes I think Bach was writing just for God because it so often seems too much for humans to perform and grasp at once, especially when there are so many parts. There are indications (hints) here and there in research about Bach that this is likely his intention.
Thank you so much sir! And I agree, using synthesizers you can really bring up melodic lines that are rarely heard in recordings, unless you know exactly what to listen for.
Bach on synth has been doing wonders for my guitar playing. I've always been a fan on classical with traditional instrumentation but the voicings of synth transcriptions translates to my guitar wired brain in a crystallized way. Thank you again. Music is my life and soul. This means a lot to me.
Thank you so much for your beautiful comment. I would say that even though I am not a musician and my major professional interests are elsewhere, music is my life and soul too.
@@OrzoMondoYour personal and professional life move to a rhythm regardless of your ability to perform music. That you have such an appreciation for the power of music makes us brothers in this life. Thanks again. Keep up the stellar work on this hobby.
This really sounds incredible, good luck on those projects of yours. Your commitment always helps to inspire me to keep working on some projects of my own. Hope you are well, and as always, Have a nice day!
Thank you sir! Much appreciated! Do keep working, there's a special satisfaction in finishing projects, and this from someone who regularly abandons things he starts :)
Sublime. Bach's music is truly eternal.
Thank you!!
@@OrzoMondodu aber Daniel teleman?
@@dansaber4427 Es gibt so viel schöne Musik da draußen, dass es schwierig ist, sich für etwas zu entscheiden :) Ich möchte viel mehr Händel und Vivaldi machen, aber auch Telemann!
The physical representation really adds to the cosmic wonder of Bach's music
Agree!
This was 8 minutes and 35 seconds of pure eargasm.
Thank you very much!!!
I don't understand why there aren't more views of this incredible synthesized realization.
Thank you! Perhaps half the views are mine - I like to listen to it when I'm driving. And I find plenty of defects :/
@@OrzoMondo you’ve got a new subscriber with me! I agree with this comment: an incredible realization.
@@JcFiscus42 Thank you so much!
@@OrzoMondo it must be difficult to design a synthesized transcription, there’s just so many dynamics to consider for each note…
Your comment wasn't posted that long after the upload and the channel doesn't have much subs yet, so it will grow with time. In any case the views and subs deserves a high count, I'm also one of them.
The first time I listened to this piece, my heart almost stoped. Listening to this version, my heart is just in fire. Please, don't stop making this synthesized versions of erudit musics. I, for now, just can say thanks and subscribe your chanel. I hope one day I would help with more.
Thank you so very much! Your appreciation is enough!
Mr. Orzo Mondo, I've listened to this (I think) about 30 times now and I've never tired of it. As I've commented elsewhere in your uploads, the thing I like most about your work is the control you have to bring our clarity of all the parts. It's very difficult to do this in a live performance (and one of the reasons to use small forces in those contexts, IMHO). But of particular interest in this movement is the bass line. Oddly enough it often gets buried and for having such a prominent part I find that really odd, yet, there it is. The insistence of the ostinato in your realization is, for me, a revelation. It's like fate: it just doesn't go away. The drumming away, the brief trip through the circle of fifths (or the "turning motive" transferred to the bass) , then the return of the relentless drumming on one note comes off so dramatically and stunningly in your realization. It's almost as if the whole piece is about the ostinato.
Instruments alone are relatively clear as to their parts. Same with singers a cappella. But when the two forces are combined there's an inherent acoustic problem, especially in Bach, IMHO.. Bach's textures are so complex at times with so much layering and counterpoint that I wonder if Bach himself ever really heard all the notes he wrote because of acoustics of the churches, ability of his performers and the amount of rehearsal time, etc.. We'll never know. But we are lucky to have someone like you who can bring it all off with clarity. We all know the words, but we all may have never heard all the notes.
> it's like fate: it just doesn't go away
Can't agree more with you, there is something incredibly compelling, no, more, bone chilling, about the openings of St Matthews and St John. This is a story everyone knows, a story that is not going to end well, yet it has to happen, and it has to happen with all the amount of suffering that is prescribed.
In both the openings Bach prepares the audience for what is to come, but while St Matthew's is somber yet compassionate, St John's is just cruel.
Both intros are in a minor tonality, both are quite dramatic, but St Matthew's has that beautiful "O Lamm Gottes, unschuldig" chorale embedded smack in the middle, which sort of helps releasing the tension.
St John's is just relentless, and at the end, when you want it so bad to end it with a Picardy third, please, please, end in major, give us some light... No.
St Matthew's, after all the drama, ends in major :)
If he didn't hear it all with his own ears he heard it in his head at least. He may have positioned his performers in a way in which he did hear them all. He was a true genius after all. I put nothing past him. His shadow is long.
Ominous superboss theme
:)
Enjoyed this very much. Thank you! The thing that attracts me to electronic realizations of acoustic music, especially the music of Bach which can get so complex --as in the current example--is that in acoustic performances details are easily lost and can actually almost defeat the very medium it was written for. Bach pushes the limits of music in all aspects at one time or another in his life's work. He pushes tonality to its limits, he pushes counterpoint to its limits, and so on...I was trained as an organist and even though one has four voices to deal with most of the time, the instrument can present them with clarity (which I suspect is ne of the reasons Bach loved the instrument--clarity because every note counts. There's no "filler notes"). But then one has the room the instrument is in which can turn the whole matter muddy. This is solved by electronic media. But then electronic media has to somehow account for the human heart. So that's where, IMHO, one has a challenge. As final observation, I might add that a lot that, however, is written into the notes. Bach said, "I play the notes, but it is God that writes the music."
So true - not only you can make each note stand out by using well separate waveforms, you can also double up ideas or themes that you like, especially if they are in the background.
@@OrzoMondo BTW, I especially like that you brought out the bass line. It's a heartbeat and gives the essential gravitas to the movement. And, oddly enough, that effect so often is not really heard in acoustic performance. Don't understand why. Anyway, thanks for that!
Great arrangement of an eternal masterpiece! It's kind of comfortably haunting, like CyberBaroque.
CyberBaroque indeed!
This is superb, you've created pillars of sound and bass line that perfectly underpins, rock bass guitarists would love this. First time I heard this made think of Koyaniskatsi (time out of joint) A film maker looking for something depicting our troubled times would find it hard to find something better. Ominous indeed.
Well, thank you! This piece has always been deeply unsettling for me. The more I worked on it the more I realised that a lot of the unease comes from the pedal bass. I think I might have gone a bit overboard with the predominant bass, but I'm glad you liked it.
Beautiful work, thank you ! This is the synthesized gem I was looking for, that allows our minds to better grasp the details of Bach's genius. This is also the best graphic rendition of music I have seen so far. Merci !
Thank you so much for listening!
Excellent !
Your arrangement not already is truly "igniting" and sparkling with life, it also reminds me again that this piece is one of J. S. Bach's most spectacular compositions. Again, this is music I consider highly suited for dancing, in a disco of my kind. I am inclined to say: if you really love J.S. Bach, you love him in all forms and shapes - as long as it's well done and with good musical taste. Which is the case here. Ah, one thing I almost fergot: there is one piece of music I consider related on a deeper level and I suppose this might come as a surprise for many: "Bitches brew" by Miles Davis. There is the same huge constant fertile metamorphosis of life in the making, the same powerful pulsation. That's what I am hearing here: not death or sadness but the overwhelming power of life. And all this springs to my mind while I am listening to your version. I guess you fulfilled your task! 🙂
Thank you @andreas, interesting you mention bitches brew. Miles is another master I consider of the highest order. When I bought that album I must have been about 14-15. Everyone was raving about it, and I just could not make myself like it. It took several years of listening to Miles' own musical journey, starting from when he was playing with Charlie Parker, through the Birth of the Cool and to Kind of Blue to finally understand where he was going with that. Miles is quite inaccessible at times, but once you start unraveling it the depth of his musical genius is awe striking. Funny thing about Bach is that he manages to do all that without ever being inaccessible.
@@OrzoMondo Nice to know you also have a diversified musical taste. I fergot to mention which specific piece on "Bitches brew" I was talking about: "Pharao's dance". That's the one.
I've listened to this now many times and my appreciation has turned to a love for it--your realization of it, that is. I think you've accomplished some real "drive" to the piece, especially in the later aection(s). That's an accomplishment! I have never heard all the parts so clearly in a live performance as I can hear in yours. Sometimes I think Bach was writing just for God because it so often seems too much for humans to perform and grasp at once, especially when there are so many parts. There are indications (hints) here and there in research about Bach that this is likely his intention.
Thank you so much sir! And I agree, using synthesizers you can really bring up melodic lines that are rarely heard in recordings, unless you know exactly what to listen for.
Bach on synth has been doing wonders for my guitar playing. I've always been a fan on classical with traditional instrumentation but the voicings of synth transcriptions translates to my guitar wired brain in a crystallized way. Thank you again. Music is my life and soul. This means a lot to me.
Thank you so much for your beautiful comment. I would say that even though I am not a musician and my major professional interests are elsewhere, music is my life and soul too.
@@OrzoMondoYour personal and professional life move to a rhythm regardless of your ability to perform music. That you have such an appreciation for the power of music makes us brothers in this life. Thanks again. Keep up the stellar work on this hobby.
This really sounds incredible, good luck on those projects of yours. Your commitment always helps to inspire me to keep working on some projects of my own.
Hope you are well, and as always,
Have a nice day!
Thank you sir! Much appreciated! Do keep working, there's a special satisfaction in finishing projects, and this from someone who regularly abandons things he starts :)
love love love love
Thank you!!
Thank you!
Thank you for listening!
I liked it very much. Thanks you!
Thank you too!
Superb! Better than the choral version.
JSB approves.
Thank you! :)
Amazing work and beautiful visuals !
Thank you so much!
Very well done!
Thank you!
Very nicee
Thank you!