J.S. Bach: English Suite No. 3 in G minor, BWV 808 - 1. Prelude (Synthesized)

For information on the visualization, please read the note at the end.
The English Suites, BWV 806-811, are a set of six suites written by the German composer Johann Sebastian Bach (1685-1750) for harpsichord (or clavichord) and generally thought to be the earliest of his 19 suites for keyboard (the others being the six French Suites, BWV 812-817, the six Partitas, BWV 825-830 and the Overture in the French style, BWV 831).
These six suites for keyboard are thought to be the earliest set that Bach composed aside from several miscellaneous suites written when he was much younger. Originally, their date of composition was thought to have been between 1718 and 1720, but more recent research suggests that the composition was likely earlier, around 1715, while the composer was living in Weimar.
Bach's English Suites display less affinity with Baroque English keyboard style than do the French Suites to French Baroque keyboard style; the name "English" is thought to date back to a claim made by the 19th-century Bach biographer, Johann Nikolaus Forkel, that these works might have been composed for an English nobleman, but no evidence has emerged to substantiate this claim. It has also been suggested that the name is a tribute to Charles Dieupart, whose fame was greatest in England, and on whose "Six Suittes de clavessin" Bach's English Suites were in part based.
Surface characteristics of the English Suites strongly resemble those of Bach's French Suites and Partitas, particularly in the sequential dance-movement structural organization and treatment of ornamentation. These suites also resemble the Baroque French keyboard suite typified by the generation of composers including Jean-Henri d'Anglebert, and the dance-suite tradition of French lutenists that preceded it.
In the English Suites especially, Bach's affinity with French lute music is demonstrated by his inclusion of a prelude for each suite, departing from an earlier tradition of German derivations of French suite (those of Johann Jakob Froberger and Georg Boehm are examples), which saw a relatively strict progression of the dance movements (Allemande, Courante, Sarabande and Gigue) and which did not typically feature a Prelude. Unlike the unmeasured preludes of French lute or keyboard style, however, Bach's preludes in the English Suites are composed in strict meter.
The Prelude of the English Suite No 3 in G minor, BWV808 is a perfect example of how Bach could construct a solo keyboard piece using a Vivaldi-like concerto grosso as a model with the typical ritornellos (a recurring tutti section in a concerto). Bach opens with a simple motif pecking away in the treble, soon finding itself propelled by a roiling bass line. This more fluid left-hand material frequently influences the right hand, although the pecking motif continues to reassert itself. It is followed by a more soloist passage, in which two solo instruments (violins, for example, says harpsichordist Pierre Hantaï) flutter around one another. The alternation between these two timbres - solo and orchestra - determines the clear structure of this sizeable opening section. Throughout, Bach maintains a sense of unstoppable forward motion that gradually moves over the whole keyboard and swells to an orchestral crescendo.
In bringing this piece of mucic to life, I followed the music's concertino and ritornello-like structure in breaking it up from keyboard to "orchestra" using mostly non-imitative synthesis - more familiar in style to Wendy Carlos' classic explorations. There are little groupings of "strings," "woodwinds" and "brass," all positioned in various positions on the sound stage. What started as a two-hand piece culminated in 18 instruments with an additional 7 tracks of emphasis and effects. Also, due to the fairly mechanical nature of the piece and my voicings, I felt it more suitable to remove all of the modulations/trills/etc.
For those wanting to follow along, the MAMM (Music Animation Midi Machine) visualization displays the following instruments:
Solo Violins (1 & 2): Sea Green & Teal
Violins: Turquoise
Viola: Grey Blue
Cello: Light Purple
Double Bass: Light Pink
Oboe I: Dark Orange
Oboe II: Orange
Bassoon: Yellow-Orange
Trumpets (I & II): Lime & Green
Trumpet III: Olive
French Horn: Neon Green
Flutes: (I & II): Yellow
Trombone: Light Turquoise
Harpsichord: Purple
The use of headphones will greatly enhance the listening experience.

[@Geopholus]

I really like that these voicings are very similar to W Carlos's early work. Very rich, and love the switching up of timbres with different phrases.

[@Jalapablo]

I've been fascinated with this prelude since the mid-80's. This opens up a whole new perspective into the genius of its architecture. Thank you!

[@CareyRMeltz]

Glad you enjoyed it! A miniature concerto movement unto itself.

[@MannyMez442]

Thank you!!

[@Wutangplaylist]

This is amazing. Truly a masterpiece. Thank you so much for sharing this :) !

[@CareyRMeltz]

Thank you very much! Glad you enjoyed.

[@UHFOnline]

Once again, a fervent Thank You for your wonderful realizations of this wonderful music. The Old Big Wig would nodding with approval.

[@CareyRMeltz]

Thanks so much for the really great comment. It's truly appreciated and keeps me going. Cheers from Canada!

[@fellow7091]

Thank you very much! I have always thought if this prelude would be beginning of some concerto of Bach and you proved it would work as such also! There is so much of your own arrangement in this piece that surely Bach would approve! 🙏
Would like to hear you would synthesize Bach´s wohl temperierte Klavier "concertos" (preludes) of BWV 887 and BWV 891. (For those the versions of Glenn Gould are especially concerto reminding).

[@aaronmann9442]

Really like how you arranged the orchestration. Well done

[@CareyRMeltz]

Thanks for listening and taking the time to comment. :)

[@erreytony]

Me encanta! Felicidades Carey, gracias por compartir

[@CareyRMeltz]

I'm so happy you enjoyed. Thank you for taking the time to comment. :) Cheers from Canada.
Estoy tan feliz de que hayas disfrutado. Gracias por tomarse el tiempo para comentar. :) Saludos desde Canadá.

[@simoncrocket2040]

Absolutely beautiful. Well recorded. Great choice of instrumentation voices. Stereo balance. Can I purchase this ?

[@CareyRMeltz]

Thank you for your very kind comment Simon. Feel free to download for personal use. If you'd prefer a .wav or .mp3, email me and I'll send you a download link.

[@simoncrocket2040]

Carey R. Meltz Thank you ! I would be very grateful to get a WAV download link if possible, if you can give me an email address

[@CareyRMeltz]

@@simoncrocket2040 [e-mail]

[@chun-iyeh7794]

I love it so much！
Is it possible to make the whole WTB as this？
That would be a great work to this world ^^

[@CareyRMeltz]

WTC would be way too ambitious for this simple hobbyist. :) I have done a couple (not so great though): th-cam.com/video/GKHwyfYk_7I/w-d-xo.html and th-cam.com/video/YNzmN_v6SjY/w-d-xo.html