I love this piece, - perhaps my absolute favorite piece of JSB's - and as such I was almost afraid to listen to your treatment, but I wasn't disappointed. The pedal voicing was somewhat brutal in the opening bars - quite shocking - but once the manuals came in the power in the piece showed without it being vulgar. Being a shameless synth-Bach geek, I loved the voicing everywhere else: you really captured the "baton race", how the melody is passed off across the voices, and it was a lot of fun to follow it all the way through; I rarely lost the "path" I'm accustomed to. There seem to be two camps over having a break before the fugue; I prefer the way Biggs played it - with a pause - but that's a matter of taste. I know Bach is known for being clockwork, and it is said that with Bach's music the passion is in the notes, but whole climax to the passacaglia was a no show, with not even a ral. I wish you'd tightened up the attack and release of the envelope for the trills - e.g. 9:05 and 12:25, to give it the clarity it deserves. I really liked your mastering mix-down: the relative levels of the voices, being the equivalent of registration in the organ version, was about the best I've ever experienced. Again, you could have used bit of the traditional ral toward the end of the coda to the fugue to preserve the dignity of the piece. All that aside, really nice work; I've subscribed so I can listen to more of your work :-)
Thanks for your really nice and interesting comment, I’m glad you like it. You seem to be a connoisseur. What you mention about the trills is correct. They should have been more plucked. Unfortunately what happened was, only after publishing the piece I noticed I had forgotten to alter the specific notes. At the time I did not bother to correct them and republish it but decided to leave it be. Since then it keeps haunting me now and then, although it happened five years ago. :-) In general I always strive for perfection and therefore consider the trill-failure as a huge mistake. On the other hand, taken into account the circumstance that creating the fractal animations consumes a lot of time and effort too, I consider myself partly absolved. Sometimes I feel like I have to rewire my brain when I switch from music to fractals and vice versa.
@@AlexanderWeski Thank you for responding:-) I'm not sure I deserve the "connoisseur" title, but I have certainly been passionate about electronic transcription of classical music for close to fifty years; it is an important part of my musical diet. I understand about the mindset change between your (excellent) fractal work and music. We see visual images, what is in front of us, "in parallel" - i.e. all at once (ignoring the animation, because for the purpose of this discussion it's a different aspect of the sensory experience that is not relevant to my comparison) , while music plays out sequentially: we only "hear" one "sound snapshot" I'll call it, at a time, and the work plays out sequentially over time (note, by the way, that there isn't even a word for what I'm trying to convey, because it has little value, experientially). The way we think of them both in composition and in experiencing them is different. A picture doesn't "progress", while music does. We could look at an image (a painting, for example) for hours, but a single sound - even a complex one - would quickly become uninteresting - the only word I can think of is "drone" which has negative connotations; so it is the way music evolves that makes it interesting. Crating that must be a different mental process altogether. Let's not talk about "mistakes" - that is unnecessary and destructive punishment - let's just say that you didn't realize, at the time, the musical impact of the choice to not adjust the envelope for that section of the work :-) A visual artist is certainly permitted to paint over his/her brush strokes until it is what (s)he wants; and that fact that it is all immediately visible makes that easier. You are the artist, Alexander (excellent name - it's my middle name and my first son's name) but my invitation to you is to not "short-change" your music for your graphical exploration. Maybe you might publish them separately, using much simpler "mood music" behind your fractal animations, and static "slide show" imagery to support your music, so that you and we can focus on one thing at a time. Just an idea. Please keep up this excellent work (both subjects), I look forward to seeing more!
The music is absolutely gorgeous. The graphics... I don't know, they're well done, and at the same time... it's a little... organic, for my tastes... kinda makes my skin crawl, and I can't quite put my finger on why... but minimizing the window, I loved listening!!
You may be right. But that is a matter of taste. What I don't like are the trills. They are too soft. I knew that then but apparently I was not in the mood to correct that. Probably because of the enormous amount of effort I had already spent on the fractal. Lots of things in life you would do differently when you do them again, right?
@@AlexanderWeski - Alexander… thank you for your timely reply… and for not taking any offense from my feedback. Your talent is without question… and quite remarkable.
Treatment is disappointingly casual and uneven. Key melodic lines are lost toward the end. Voice leading is sacrificed to superficial effects. Supporting and mid-range harmonies are treated carelessly. Ornamentation is intermittently lost. The artist needs to study both Baroque melodic lines, their use in polyphonic composition and especially their ornamentation much more thoroughly.
@@good-hj7wm As to that I think you're right. It went straight from his head to the paper. Bach called musicians who did that condescendingly "Klavierhusaren" (Riders of the Keyboard Cavalry). All Jimania does is ridicule present times of green sickness.
@@AlexanderWeski Yup, as it comes from someone listening to Bach, I have to assume that Jimania was satirical. Nonetheless, I wouldn't be surprised to hear such a thing being said seriously by those green-loons. I've seen much much more idiotic comments on that topic...
One of my favorites Bach's music on a way and with a video that will be very good to see and hear when I'm drunk
Oh yeah it is indeed gut
I love this piece, - perhaps my absolute favorite piece of JSB's - and as such I was almost afraid to listen to your treatment, but I wasn't disappointed. The pedal voicing was somewhat brutal in the opening bars - quite shocking - but once the manuals came in the power in the piece showed without it being vulgar. Being a shameless synth-Bach geek, I loved the voicing everywhere else: you really captured the "baton race", how the melody is passed off across the voices, and it was a lot of fun to follow it all the way through; I rarely lost the "path" I'm accustomed to.
There seem to be two camps over having a break before the fugue; I prefer the way Biggs played it - with a pause - but that's a matter of taste. I know Bach is known for being clockwork, and it is said that with Bach's music the passion is in the notes, but whole climax to the passacaglia was a no show, with not even a ral.
I wish you'd tightened up the attack and release of the envelope for the trills - e.g. 9:05 and 12:25, to give it the clarity it deserves.
I really liked your mastering mix-down: the relative levels of the voices, being the equivalent of registration in the organ version, was about the best I've ever experienced.
Again, you could have used bit of the traditional ral toward the end of the coda to the fugue to preserve the dignity of the piece.
All that aside, really nice work; I've subscribed so I can listen to more of your work :-)
Thanks for your really nice and interesting comment, I’m glad you like it. You seem to be a connoisseur.
What you mention about the trills is correct. They should have been more plucked.
Unfortunately what happened was, only after publishing the piece I noticed I had forgotten to alter the specific notes. At the time I did not bother to correct them and republish it but decided to leave it be. Since then it keeps haunting me now and then, although it happened five years ago. :-)
In general I always strive for perfection and therefore consider the trill-failure as a huge mistake. On the other hand, taken into account the circumstance that creating the fractal animations consumes a lot of time and effort too, I consider myself partly absolved. Sometimes I feel like I have to rewire my brain when I switch from music to fractals and vice versa.
@@AlexanderWeski Thank you for responding:-) I'm not sure I deserve the "connoisseur" title, but I have certainly been passionate about electronic transcription of classical music for close to fifty years; it is an important part of my musical diet.
I understand about the mindset change between your (excellent) fractal work and music. We see visual images, what is in front of us, "in parallel" - i.e. all at once (ignoring the animation, because for the purpose of this discussion it's a different aspect of the sensory experience that is not relevant to my comparison) , while music plays out sequentially: we only "hear" one "sound snapshot" I'll call it, at a time, and the work plays out sequentially over time (note, by the way, that there isn't even a word for what I'm trying to convey, because it has little value, experientially). The way we think of them both in composition and in experiencing them is different. A picture doesn't "progress", while music does. We could look at an image (a painting, for example) for hours, but a single sound - even a complex one - would quickly become uninteresting - the only word I can think of is "drone" which has negative connotations; so it is the way music evolves that makes it interesting. Crating that must be a different mental process altogether.
Let's not talk about "mistakes" - that is unnecessary and destructive punishment - let's just say that you didn't realize, at the time, the musical impact of the choice to not adjust the envelope for that section of the work :-) A visual artist is certainly permitted to paint over his/her brush strokes until it is what (s)he wants; and that fact that it is all immediately visible makes that easier.
You are the artist, Alexander (excellent name - it's my middle name and my first son's name) but my invitation to you is to not "short-change" your music for your graphical exploration. Maybe you might publish them separately, using much simpler "mood music" behind your fractal animations, and static "slide show" imagery to support your music, so that you and we can focus on one thing at a time. Just an idea.
Please keep up this excellent work (both subjects), I look forward to seeing more!
The music is absolutely gorgeous. The graphics... I don't know, they're well done, and at the same time... it's a little... organic, for my tastes... kinda makes my skin crawl, and I can't quite put my finger on why... but minimizing the window, I loved listening!!
Looks too much like morphing brains
AWESOME!
very nice . keep up the great work!
Excellent video !
nice!
Sweet!
A style of Wendy Carlos! :-D
Wendy was a god(ess)
IS a goddess! Wendy is still alive! Long live Wendy and Bach!
I would go to your concert
Explains those recent UFO sightings!
Hello, i have a question, in a future more or less near, i want to make a movie, and i would use your music in principal theme
Do you agree or no ?
Yes, I agree. Feel free to use it in any creative way you like.
I feel like I watched a 3d simulation clip from the 90s
it was good in order to check that I can hear only 9 min. of this sound
Bach if he was a cat
Is that a Roland Jupiter 6?
I used the Access Virus C
Oh. Cool.
I would have accentuated and exaggerated the bass line… as well as isolated the topmost line
You may be right. But that is a matter of taste. What I don't like are the trills. They are too soft. I knew that then but apparently I was not in the mood to correct that. Probably because of the enormous amount of effort I had already spent on the fractal. Lots of things in life you would do differently when you do them again, right?
@@AlexanderWeski - Alexander… thank you for your timely reply… and for not taking any offense from my feedback. Your talent is without question… and quite remarkable.
Treatment is disappointingly casual and uneven. Key melodic lines are lost toward the end. Voice leading is sacrificed to superficial effects. Supporting and mid-range harmonies are treated carelessly. Ornamentation is intermittently lost. The artist needs to study both Baroque melodic lines, their use in polyphonic composition and especially their ornamentation much more thoroughly.
What’s this!! Not green!! Many.trees destroyed to build organs for Bach to compose this work.
It was worth it.
Вы плохо осведомлены. Бах не писал свои произведения, сидя за инструментом, как это делают современные недокомпозиторы.
@@good-hj7wm As to that I think you're right. It went straight from his head to the paper. Bach called musicians who did that condescendingly "Klavierhusaren" (Riders of the Keyboard Cavalry). All Jimania does is ridicule present times of green sickness.
@@AlexanderWeski Yup, as it comes from someone listening to Bach, I have to assume that Jimania was satirical. Nonetheless, I wouldn't be surprised to hear such a thing being said seriously by those green-loons. I've seen much much more idiotic comments on that topic...
So Clockwork Orangesque !!
Thanks!