J.S. Bach: Brandenburg Concerto No. 1 in F major, BWV 1046 (Synthesized)
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- เผยแพร่เมื่อ 20 ส.ค. 2019
- Few musical works are as loved and as often performed as the six "Brandenburg" Concertos by Johann Sebastian Bach. These 6 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 Christian Ludwig, the Margrave of Brandenburg-Schwedt, with a bound manuscript containing six lively concertos for chamber orchestra. The Margrave never thanked Bach for his work - or hired him but Bach could never have known that this unnamed gift (later called the “Brandenburg Concertos” 150 years later when Bach's biographer, Philipp Spitta coined their title) would become a benchmark of Baroque music and still have the power to move people almost three centuries later.
Even though he didn't name 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’d already written, then re-work the former, 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 even later re-worked components of the Brandenburgs into other compositions: the Polacca from the final movement, appears to have been intended as the opening of the cantata “Was mir behagt, ist nur die muntre Jagd,” BWV 208. The 1st movement can also be found as the Sinfonia of a later Cantata “Falsche Welt, dir trau ich nicht,” BWV 52, but in a version without the piccolo violin. The 3rd movement was used as the opening chorus of the Cantata “Vereinigte Zwietracht der wechselnden Saiten,” BWV 207, where the horns are replaced by trumpets.
Like all of Bach's concertos, the style is indebted to the methods of the Italians. Vivaldi was particularly attractive to the German composer, who eagerly copied out Vivaldi's scores in order to understand his use of contrast, rhythmic propulsion, and orchestration. The Brandenburg Concertos were not as unusual as was once thought; Italian composers created concertos for widely varying combinations of instruments, and Bach's shifting textures have their parallels in works by other composers. But the handling of the Italian concerto material went unmatched throughout the Baroque era. One unique, perhaps non-Italian idea in Concerto No. 1 is Bach's use of hunting horns. The concerto also calls for three oboes and a bassoon, as well as continuo strings and the violino piccolo. The sound of the horns stands out, but the composer manages to make them blend into the ensemble through the use of multiple winds.
BWV 1046 is rich in tonal colour and the most elaborate of the 6 concertos in respect of layout. Its juxtaposed elements of concerto and dance suite suggest that it may have been one of the earliest to have been composed. Yet, despite its immediate appeal to conservative ears, each movement has a remarkable feature typical of Bach's irrepressible sense of invention.
The 1st movement is jaunty & infectious, yet there's a subtext of discomfort. The two horns appear to be making their first solo appearance in a concerto. Yet, their raucous sound (more strident than our mellower modern valved horns) disturbs the otherwise carefully-balanced texture and their insistent bellowing hunting calls disrupt the overall rhythm.
The mournful melody of the 2nd is not only traded in canon between the oboe and violino piccolo but descends all the way down into the bass to augment its standard role as pure accompaniment. The most astounding touch is saved for the very end as each note of a conventional descending bass is first supported by the oboes but then cancelled by unexpected chords in the strings.
The 3rd is the closest approach to a standard concerto format, although the violino piccolo, amid its florid solos, is given many emphatic slashing triple-stopped figures, perhaps struggling to assert itself. As if to avoid fatigue, the insistent 6/8 rhythm is broken by a two-bar adagio at measure 82 (of 120) and then resumes to the rollicking end.
Although the concerto proper appears to conclude at that point, Bach adds a set of four international dances in which all members of the ensemble are displayed - a (French) minuet for the full band is heard four times, enfolding a trio for oboes and bassoon, a (Polish) polacca for strings (absent from the original 1713 sinfonia version: BWV 1046a composed during Bach's years at Weimar) and a second trio for horns and oboes. The overall structure, alternating the full minuet with the softer interludes, evokes the ritornello form, yet there are a few surprises here, too - in the first trio the bassoon emerges from its role buried in the continuo, the polka erupts into a jaunty triplet sprint and the second trio (German hunting style) is in 2/4 time, although the shift is barely apparent as the horns and oboes preserve the overall rustic mood. - เพลง
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![J.S. Bach: Brandenburg Concerto No. 2 in F major, BWV 1047 [2020 Revisit] (Synthesized)](/img/n.gif)
* The use of headphones will greatly enhance your listening experience. *
For those wanting to follow the music presented with the Music Animation Machine visualization, the instruments are as follows:
Horn I - Yellow-Beige
Horn II - Light Brown
Oboes - Green & Olive
Bassoon - (intersected with BC) - Teal
Piccolo Violin - Turquoise
Violins - Blue
Viola - Purple
Cello - (intersected with BC) - Pink (2nd line up from bottom)
Bass Continuo (Double Bass & Harpsichord) - Pink (bottom lines)
(Colours intersect when two or more instruments play the same note(s) at the same time).
Zio Johann sarà sempre il migliore per sempre. La sua musica si trova in ogni stile. Grazie Johann Sebastian Bach.
I heard the Wendy Carlos Switched on Brandenburgs first in my teens in the 1980's. just as I was also discovering early Genesis, Kansas, Jethro Tull and Yes. This music has always been the logical consequence of my prog favorites.
I'm completely in love!!
Wow! That's amazing! I especially loved how each voice was tracked with lines. I never realized that the same part alternates between voices in several places. Modern composers can never reach the level of intricacy of Johann Sebastian Bach!
I'm glad you enjoyed and took the time to comment. Really appreciated.
Thank you for the detailed description and history.
Excellent recording
I love the digital sounds
Used to mess around with MIDI alot when I was in high school.
Well done! Really appreciate the time and effort you've put in to creating these realizations. Many thanks!
Ah, thanks so much for your very kind words. I truly appreciate you taking the time to listen and comment.
WONDERFUL! I have always loved this concerto!
Thanks Joe, I appreciate your support and your comment. :)
Good job!I love it!
Just bought an original lp of switched on bach 2 to relive my childhood memory of this amazing sound! So I looked up switched on bach on youtube and discovered your amazing music! You have managed to maintain that lovely deep sound from the original moog but with improvements! The videos are mesmerising too! Well done.
Thank you very kindly for your much appreciated comment. I don't know about "improvements" but I do try and make my work reminiscent of Carlos' original style but focus more on the music than the constant changing up of instrument timbres for the novelty demonstrating the Moog's capabilities and kitschy sounds. I suppose, as you've perhaps encountered it's a different experience listening to music where a "violin" remains a "violin" throughout the piece. Cheers from Canada.
Between Bach's work and your presentation, it has uplifted my life and for that a big thank you and thumbs up and subscribed.
Thanks so much for your kind comment and the sub. :)
Great job. Thanks for doing the work.
Much appreciated!
Ooooh - nice visuals and of course, the musicianship involved with the selection of instruments. Thumbs up and subscribed.
Creating the voicing is most of the work (next to actually sequencing the score into my laptop)... but it's the most fun part.
Brilliant.
Thank you for taking the time to listen and comment.
WOW THIS IS THE FUTURE. me bopping around the house in 2020. also this is everything i've wanted in a visual thank you.
LOL Glad you enjoyed. If you want to see more such visuals, please check out the creator of the visualizations page: th-cam.com/channels/K9dZ-rz7gW3QXW1UN_nFNw.html and his other two channels: th-cam.com/users/smalin and th-cam.com/users/musanim.
Section III (Allegro) of this Brandenburg is one of my favorite Wendy Carlos' Bach realizations. You, too, have done a wonderful job.
Thank you for taking the time to listen and comment.
@@CareyRMeltz Happy to do so.
Awesome, awesome performance! You continue, Carey, to be a fine, fine composer and magnificent musician! You bless me ever time I listen to you awesome anointed performances! You’re a very blessed, very talent young man my friend! God loves you so much Carey; always remember that. He is also very blessed with your magnificent performances, due to the fact that after ever composition Bach ever wrote, he signed after them, “Sola Deo Gloria!” Which means, “To the Glory of God Alone!” You’re praising and blessing Almighty God ever time you perform these masterpieces! I will say again, you’re a fine, fine talented musician and a fine, fine young man brother! God richly bless you my talented friend!!
What is missing in the community of synths is an artist, on your level, which can demonstrate synths. This would be a great contribution to the synth world. May I ask what instruments are you playing for this work?
I've been thinking about doing some demo videos breaking things down from sound development to stereo layering and other techniques but to be honest, it's a lot of work just to approach a piece - I have dozens of projects on the back-burner for years because I was never happy with the presets I created at the time. This is why I went back to some old favourites to redo them. I've since developed quite an arsenal of sounds and it's a matter of figuring out which sounds will work best with others based on the piece, style, tempo, etc.
When Bach composed, he knew the characteristics of his instruments. Myself, as with Carlos, have a blank canvas to work with... it's tedious but exciting to do the sound experiments as I'm trying to realize a piece. I have manually sequenced using a midi controller keyboard but for the most part, I enter the music note by note into my software or sometimes scan music pdfs into other software but that often entails a lot of work to fix up incorrect notes and/or durations. It's all part of the fun.
Thanks again for your interest and support.
@@CareyRMeltz The instrument selection is essential part of the process. From your description you are using VSTs for the instruments. I desire real tactile feel and machines and not much on VSTs. I do enjoy your commentaries with respect to Bach.
Glenn Gould has to one of the most interesting characters in which I find similarities within myself. I would like to see you performing on YT on any synth. I maintain that music rules and secondly is the instrument. There are many who have a case of serious GAS (Gear Acquisition Syndrome) and continue to acquire more keyboards and (stuff) and their repertoire consist of music with no melody (ambient). Another truth is that many of the visiting audience utilizes these videos as a means of qualifying synths to purchase.
Thank you, I love your works :-)
May I ask you to create a synth version of "Vivaldi Concerto per 4 Violini in Si minore RV 580" or Bach transcription "Bach Concerto for 4 Harpsichords in A minor BWV 1065"?
I hope you'll consider my request,
All the best
OMG you did it yet, I just found it XD I'm really happy hehehe
@@UponTheDullEarth I was just about to type the link but saw your newest reply. I'm very thankful that you've listened and taken the time to comment... and making a request just shows me how must you appreciate what I do. Cheers from Canada. :)
Now is that Yahoo
Hello Carey, did you compose the information on Bach within your comment?
Hey there... yes, I always add historical notes to each piece... details about the composer or the piece and its historical context. Also, how I approached creating the music and a guide to the visualization.
@@CareyRMeltz May I state, you are on the level of a professor at the university level. With great admiration. bc
@@bobcatt2294 LOL actually, once upon a time, I was an English major at uni., so I'm just good and looking up info and summarizing things. Believe me, I'm no musicologist. :)
No credit on the title slide or in the description for the artist Wendy Carlos who performed this iconic recording?
Really?
REALLY!?
#shameful
Dave Martin this isn’t his performance it’s a direct audio copy he just did the graphics.
@Dave Martin Thank you for recognizing the truth to this post as well as your kind comments. I still cite my muse for inspiration's sake but although I may have broader sounding "ensembles" or more stereo effects, I don't feel I could ever outdo the originals. Your sentiment is most humbling and appreciated.
BTW, BB#3 was on "S-OB," part of BB#2 was on "By Request," BB#4 was on "TW-TS," BB#5 was on "S-OB II" and so BB#1, BB#2 (in full) and BB#6 were on a disc in the "Switched-On Box" set but the full Brandenburgs were released in 1979 as a double album set and then later sold as a 2 disc CD set. I still have them all. :)
@@lohphat Seriously? It is my own performance as is everything else on my channel With all the work I've done to date why would I suddenly plagiarize her music as my own (though I have discovered others doing what you claim I have done). If you still doubt that this realization is my own, go find the original (from "Switched-On Brandenburgs") and compare. One such noticeable difference will be in the "harpsichord" line in the Adagio. In my version, I have stayed true to Bach's original score - the Bass Continuo line is made of individual notes played by the Double Bass and the Harpsichord (no chords, just single notes). In Carlos' version, she wrote and played arpeggiated chords throughout.
I suppose I should be flattered that you think this is good enough to be the original but I assure you it is not the case. I would appreciate that you refrain posting hurtful and erroneous comments on my channel and respectfully request that you remove the obvious "thumbs down" you gave me.
Lohphat, You misinform Yourself...Your ears are not finely tuned enough to overcome Your tendency too condemn without justification. I used to really enjoy classical music postings because they were mostly a snark free zone...That's how I met Carey, couldn't be a more humble and helpful guy. Carey On Brilliantly !
@@Geopholus Thank you Geo. I appreciate you coming to my defense and appreciate your friendship. I don't usually respond to trolls but there's a back-handed compliment here in that lophat believes this to be Carlos' original work... but I will not tolerate rudeness on my channel and so he's been muted.