Your favourite rock & metal podcast bringing you all the latest news, opinions, honest reviews and laughs every Friday. 100% passion, 100% honesty, 100% of the time. Join us. @notmetalpod on Twitter & Instagram. Come join the discussion with a likeminded community of music fans on the That's Not Metal Facebook Focus Group www.facebook.com/groups/TNMFocus/.
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Player FM - Internet Radio Done Right
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Contenu fourni par Evan Shinners. Tout le contenu du podcast, y compris les épisodes, les graphiques et les descriptions de podcast, est téléchargé et fourni directement par Evan Shinners ou son partenaire de plateforme de podcast. Si vous pensez que quelqu'un utilise votre œuvre protégée sans votre autorisation, vous pouvez suivre le processus décrit ici https://fr.player.fm/legal.
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The weekly RA Exchange is a series of conversations with artists, labels and promoters shaping the electronic music landscape.
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Barry first found music when he borrowed his sister's record collection when he was about eight and was hooked. When Caroline started it was a new beginning, and he listened to all the stations, but Caroline was his favourite by far. Later he became a singer in a band, then started doing discos when he was 18. He joined Caroline in 1977, touring the country with the Caroline Roadshow for 10 years, having great fun. Barry helped with tender trips and worked on the Ross Revenge in '84 and '85. ...
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Your source for Metal news, views, tunes and interviews!
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Soul and Jazz (www.soulandjazz.com) launched its unique, legal and commercial free podcasting service on the 18th May, 2009, and features music across the spectrum of soul and jazz from the last 50 years.
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1 #657: Augmenting front-line employees with AI for better experiences, with Fabrice Martin, Medallia 22:42
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AiméWe are here recording live at Medallia Experience at the Wynn in Las Vegas, and have been seeing and hearing some amazing things about how AI can enhance the customer experience as well as enable teams at organizations to create more meaningful connections with customers. Today we’re going to talk about how AI can help to create better experiences for customers before, during, and after their interactions. To help me discuss this topic, I’d like to welcome Fabrice Martin, Chief Product Officer at Medallia. RESOURCES Medallia: https://www.medallia.com Catch the future of e-commerce at eTail Boston, August 11-14, 2025. Register now: https://bit.ly/etailboston and use code PARTNER20 for 20% off for retailers and brands Don't Miss MAICON 2025, October 14-16 in Cleveland - the event bringing together the brights minds and leading voices in AI. Use Code AGILE150 for $150 off registration. Go here to register: https://bit.ly/agile150 Connect with Greg on LinkedIn: https://www.linkedin.com/in/gregkihlstrom Don't miss a thing: get the latest episodes, sign up for our newsletter and more: https://www.theagilebrand.show Check out The Agile Brand Guide website with articles, insights, and Martechipedia, the wiki for marketing technology: https://www.agilebrandguide.com The Agile Brand podcast is brought to you by TEKsystems. Learn more here: https://www.teksystems.com/versionnextnow The Agile Brand is produced by Missing Link—a Latina-owned strategy-driven, creatively fueled production co-op. From ideation to creation, they craft human connections through intelligent, engaging and informative content. https://www.missinglink.company…
The WTF Bach Podcast
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Contenu fourni par Evan Shinners. Tout le contenu du podcast, y compris les épisodes, les graphiques et les descriptions de podcast, est téléchargé et fourni directement par Evan Shinners ou son partenaire de plateforme de podcast. Si vous pensez que quelqu'un utilise votre œuvre protégée sans votre autorisation, vous pouvez suivre le processus décrit ici https://fr.player.fm/legal.
Experience the music of Bach as you never have before. For music lovers, to professional musicians, let WTF Bach guide your mind through a contrapuntal journey.
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Contenu fourni par Evan Shinners. Tout le contenu du podcast, y compris les épisodes, les graphiques et les descriptions de podcast, est téléchargé et fourni directement par Evan Shinners ou son partenaire de plateforme de podcast. Si vous pensez que quelqu'un utilise votre œuvre protégée sans votre autorisation, vous pouvez suivre le processus décrit ici https://fr.player.fm/legal.
Experience the music of Bach as you never have before. For music lovers, to professional musicians, let WTF Bach guide your mind through a contrapuntal journey.
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1 Baroque Keyboardists Weren’t Specialists—They Played Everything 1:03:31
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Lire Plus Tard Lire Plus Tard Des listes J'aime AiméThe organ held a central role in the life of a baroque keyboardist. Not only was an accomplished harpsichordist or clavichordist comfortable playing with their feet, but the art suggests that the repertoire often called for ad libitum pedal additions. In J.S. Bach’s second collection of chorale prelude for organ, he introduces obligato pedal parts. Below is an image from his Bach’s earliest chorale settings for organ, as preserved in the Neumeister Collection : Whereas we do not see any explicit pedal markings, we imagine the adept player added them when tasteful. A decade or so later, Bach’s chorale settings look more like this: Note the small staves on the left, indicating that the source still had two staves, but the counterpoint in the pedal is specifically called for. Here is the autograph: That little “P.” below the bottom staff is the clue. The title page of the Orgelbüchlein contains a flowery description, indicating its intended use: Here is the text of Saint-Saëns’ charming autobiography . And here is the episode where I introduce the Neumeister Collection . And I’m going to starting posting my latest YouTube videos in these posts, as extra Bach analysis can hurt no one. Are you a subscriber? We Rely On Listener Support! How to Donate to this Podcast: The best way to support this podcast, is to become a paid subscriber at wtfbach.substack.com More paid subscribers = monthly merchandise giveaways. Rock WTF Bach Swag. You can also make a one-time donation here: https://www.paypal.me/wtfbach https://venmo.com/wtfbach https://cash.app/$wtfbach Thank you for listening! Thank you for your support. Reach us at Bach (at) WTFBach (dot com) Concepts covered: This episode explores the rich tradition of Baroque organ music , focusing on J.S. Bach’s organ works and his chorale preludes . We examine historical performance practice , particularly the use of ad libitum pedal technique and the development of obbligato pedal lines in Bach’s compositions. A deep dive into the Neumeister Collection sheds light on early Baroque keyboard music , revealing how Bach’s pedal technique evolved over time. Finally, we analyze the Orgelbüchlein , its structure, and its lasting impact on organ repertoire. Get full access to WTF Bach at wtfbach.substack.com/subscribe…
A beloved cantata from Bach’s early 20s, the Actus Tragicus anticipates the future of opera more than it foreshadows Bach’s own later cantatas. Albert Schweitzer’s beautiful writing on Bach features heavily in this episode. Here is the tuning video with chorale in question toward the end of the episode: WTF Bach is a listener-supported publication. To receive new episodes, to support the work, consider becoming a free or paid subscriber. Let’s have a look at BWV 106. I focus on the two recorders and their almost unison playing. The effect of one flute dropping a few notes from their otherwise identical melody is marvelous: The theme of the cantata joins the Old-Testament ‘fear of death’ with the New-Testament ‘joy in death.’ Bach combines both testaments’ text in multiple movements. This idea of the soul rising above the old world, ‘as if hastening hither from another,’ musically detached from the fugue in the lower voices, a soprano floats over the texture, quoting Revelations : And who can forget this moment? It even looks striking to the eye: We find a similar image of the comforted soul floating above the music in the duet toward the end of the cantata. Over Jesus’ dying words, the alto slowly sings a Lutheran hymn: Bach so carefully wants to paint the idea of peace in death, he gives one word (sleep) its own dynamic: Performers today were: Masaaki Suzuki, Joshua Rifkin, Rudoplh Lutz. The additional organ chorale at the end of the episode is BWV 616. We Rely On Listener Support! How to Donate to this Podcast: The best way to support this podcast, is to become a paid subscriber at wtfbach.substack.com Enough paid subscribers = exclusive content, monthly merchandise giveaways! You can also make a one-time donation here: https://www.paypal.me/wtfbach https://venmo.com/wtfbach https://cash.app/$wtfbach Thank you for listening! Thank you for your support. Reach us at Bach (at) WTFBach (dot com) Concepts Covered: This episode is an Actus Tragicus, BWV 106 analysis , one of Bach's early cantatas. We examine the influence of Albert Schweitzer’s Bach research on our understanding of this work today. We also discuss Baroque cantata interpretation , and how Italian opera influence permeates Bach’s sacred compositions. The episode touches on historically informed performance , the comparison of recorder vs. flute in Bach's works and Cantata text interpretation . We spend time considering Bach Lutheran hymn settings and his chorale harmonizations . Additionally, we explore the symbolism in Bach’s music , examining the use of Bach musical rhetoric to convey deeper meanings, and how Bach’s sacred vocal music reflects both New Testament and Old Testament themes . The episode touches on themes of Revelation in Bach’s music , Baroque musical theology , and Bach’s death and peace themes , all within the context of Baroque counterpoint in sacred music . Get full access to WTF Bach at wtfbach.substack.com/subscribe…
1 Shakespeare's Venus and Adonis. An Audiobook. 1:09:18
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Lire Plus Tard Lire Plus Tard Des listes J'aime AiméThe bard— not the brook, but don’t worry, this podcast isn’t going to become an English lesson. Thanks for reading WTF Bach! This post is public so feel free to share it. Here is my reading of Shakespeare’s first publication, Venus and Adonis , a poem that is pure music. If I were to list my favorite lines, I might as well copy out half the poem. Just something that pops into my head would be a line like, “Rain added to a river that is rankPerforce will force it overflow the bank.” It bursts with melody and rhythm! And at least one moment, such as when Venus addresses Death, 'Hard-favour'd tyrant, ugly, meagre, lean,Hateful divorce of love,'--thus chides she Death,--'Grim-grinning ghost, earth's worm, what dost thou meanTo stifle beauty and to steal his breath,Who when he lived, his breath and beauty setGloss on the rose, smell to the violet? 'If he be dead,--O no, it cannot be,Seeing his beauty, thou shouldst strike at it:--O yes, it may; thou hast no eyes to see,But hatefully at random dost thou hit.Thy mark is feeble age, but thy false dartMistakes that aim and cleaves an infant's heart. Why, this might well be compared with the later tragedies. Grim-grinning ghost! As Keats wrote in the margin of his copy of the Sonnets, ‘Lo!’ I hope you enjoy this diversion. I’ve been toying with this for about a year now. I suggest reading along while listening to best absorb the poem. You can read the full text in modern English here , and as it appeared (with older spelling) in 1593, here . Poor queen of love, in thine own law forlorn,To love a cheek that smiles at thee in scorn! We Rely On Listener Support! How to Donate to this Podcast: The best way is to become a paid subscriber at wtfbach.substack.com You can also make a one-time donation here: https://www.paypal.me/wtfbach https://venmo.com/wtfbach https://cash.app/$wtfbach Thank you for listening! Thank you for your support. Reach us at Bach (at) WTFBach (dot com) Get full access to WTF Bach at wtfbach.substack.com/subscribe…
1 MiniSeries! 10: The Final Episode 19:29
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Lire Plus Tard Lire Plus Tard Des listes J'aime AiméUPDATE: One of my astute listeners pointed out that it is in fact Jones’ review of Butler’s work in Music & Letters, and the original work by Butler is this book . Thanks for the correction! Don’t miss the end of this episode where I play three of Bach’s earlier settings of the same tune, BWVs 700, 701, & 738! We finish our study of this late masterpiece by reading some scholarship on the two different versions Bach made of his canonic variations on Luther’s 1539 melody. Whereas Wolff suggests both versions could be ‘authentic,’ Gregory Butler reveals that he believes the Original Edition was a mistake— one that prompted the handwritten fair copy. As for the signature in the augmented canon— the finale in the fair copy— it is first spelled out in bar 19. See the top line, G, F#, A, G#: These are not the same notes, but it is the same shape as B-A-C-H. The line that imitates this upper line is moving at half its speed. Therefore, it must repeat the spelling twice as slow later in the piece. See how it is joined by an independent line of counterpoint, now singing out the signature in parallel 3rds: Two signatures in two different final movements! We Rely On Listener Support! How to Donate to this Podcast: The best way to support this podcast, is to become a paid subscriber at wtfbach.substack.com Enough paid subscribers = exclusive content, monthly merchandise giveaways! You can also make a one-time donation here: https://www.paypal.me/wtfbach https://venmo.com/wtfbach https://cash.app/$wtfbach Thank you for listening! Thank you for your support. Reach us at Bach (at) WTFBach (dot com) Concepts Covered: In this episode, we explore Bach canonic variations , as well as other chorale setting of BWV 700 , BWV 701 , and BWV 738 , and their connection to the Luther 1539 melody . We dive into Bach scholarship , focusing on insights from P. 271 and Gregory Butler’s Bach Research . You’ll also learn about Bach's original editions and the handwritten fair copy Bach created, as well as the significance of the augmented canon signature — the iconic B-A-C-H motif . We examine Bach counterpoint techniques, analyze Baroque music in detail, and explore Bach's final movements in these canonic counterpoint studies . This episode serves as a gateway to understanding Bach's late masterpieces , with special attention given to the use of Bach’s signature in these variations. Get full access to WTF Bach at wtfbach.substack.com/subscribe…
1 MiniSeries! 9: Revisions Part Two 27:28
27:28 Lire Plus Tard Lire Plus Tard Des listes J'aime Aimé27:28
Lire Plus Tard Lire Plus Tard Des listes J'aime AiméToday, as we did in episode 5 of this miniseries, we’ll examine the revisions Bach made from engraving copy to handwritten copy. This is an important view into the composer’s workshop, and unlike clear ameliorations between layers in his other works, the two versions of BWV 769 present a unique challenge in seeking the “best” version. Changes like this (first beat, alto) are minute, yet fascinating: (Top: engraving. Bottom: fair copy.) Bach made three revisions dealing with a similar leap of a fifth. The most important revision in the inverted canon variation, is in this pedal line: (Top: engraving. Bottom: fair copy.) Notice the ornament in the fair copy— we often see more ornaments in handwritten versions, but this is not consistently the case in this piece. Heading over to the augmented canon, this revision (in the bottom line) seems to be the only one of major consequence: (Top: engraving. Bottom: fair copy.) The need to change this canonic line stems from a revision Bach made 11 bars earlier— the lines being in augmentation with one another. Admire Bach’s brazenness as he changes what was D over B, to D over C#! Here, as I mentioned, is a very early episode introducing the concept of Bach in revision: We Rely On Listener Support! How to Donate to this Podcast: The best way to support this podcast, is to become a paid subscriber at wtfbach.substack.com Enough paid subscribers = exclusive content, monthly merchandise giveaways! You can also make a one-time donation here: https://www.paypal.me/wtfbach https://venmo.com/wtfbach https://cash.app/$wtfbach Thank you for listening! Thank you for your support. Reach us at Bach (at) WTFBach (dot com) Get full access to WTF Bach at wtfbach.substack.com/subscribe…
1 MiniSeries! 8: A Bachian Fractal 20:51
20:51 Lire Plus Tard Lire Plus Tard Des listes J'aime Aimé20:51
Lire Plus Tard Lire Plus Tard Des listes J'aime AiméShow me a finale as densely packed with thematic material as this one. Here are the five bars — the only five bars — discussed in today’s episode. You might listen while looking at them: Notice the finale comes in two stages, first diminution, then stretto. The signature in the final bar is noteworthy (though it should be mentioned that the letters are an addition by the editor.) And here is a video of the Mandelbrot set fractal, as promised (with perfect background music:) We Rely On Listener Support! How to Donate to this Podcast: The best way to support this podcast, is to become a paid subscriber at wtfbach.substack.com Enough paid subscribers = exclusive content, monthly merchandise giveaways! You can also make a one-time donation here: https://www.paypal.me/wtfbach https://venmo.com/wtfbach https://cash.app/$wtfbach Thank you for listening! Thank you for your support. Reach us at Bach (at) WTFBach (dot com) Get full access to WTF Bach at wtfbach.substack.com/subscribe…
1 MiniSeries! 7: Canon at MOVING Intervals 16:50
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Lire Plus Tard Lire Plus Tard Des listes J'aime AiméHave a look at this. This is Bach beginning a canon in inversion. The follower is a 6th below the leader: (If you can’t see that the shapes are inversions, hold up a mirror — seriously!) Yet here, only a few bars later, the imitation seems to be at a different interval: The follower is no longer a sixth below, but a third. How rare! And going on, something else: (We’re looking at the lower two voices in this picture, the quarter notes.) We see the canonic imitation has shifted yet again, to the interval of a second. What is happening? Dare I say… W.T.F. Bach? This type of composition is, I believe, completely unique. I’d love to see another example elsewhere in music. Bach writes the chorale melody four times, and in all four appearances, finds a different interval at which inverted imitation works. The man’s capacity to combine a single shape with itself, to abstract the DNA of the smallest musical cell, to spin it, lengthen it, shrink it, to construct a world from a grain of sand; this is late Bach. We Rely On Listener Support! How to Donate to this Podcast: The best way to support this podcast, is to become a paid subscriber at wtfbach.substack.com Enough paid subscribers = exclusive content, monthly merchandise giveaways! You can also make a one-time donation here: https://www.paypal.me/wtfbach https://venmo.com/wtfbach https://cash.app/$wtfbach Thank you for listening! Thank you for your support. Reach us at Bach (at) WTFBach (dot com) Get full access to WTF Bach at wtfbach.substack.com/subscribe…
Imagine composing an ornate melody, then stretching it out so it moves twice as slow, and somehow when you layer the stretched version onto the original, they match up beautifully: One shape, two different speeds. This is what Bach has done in this canon (but he also made sure that the consequence of both lines also blends into the harmonic implications of the chorale melody, which must also past through both lines…) Let’s see what our augmented canon looks like on the page. Here is the opening of the ‘quick’ line: And now see the same shape, moving in augmentation: Those images are from the print, which as I mentioned is in open-score, and particularly difficult to read. The left hand is on the 2nd and 4th lines, the pedal sandwiched between them on line 3, and, did I mentioned? Four different clefs. Have a look: We’ve seen this type of composition before on the podcast. Here is the episode from Season One about the augmentation canon (as well as in inversion) from the Art of Fugue: Stay tuned for the final variation! We Rely On Listener Support! How to Donate to this Podcast: The best way to support this podcast, is to become a paid subscriber at wtfbach.substack.com Enough paid subscribers = exclusive content, monthly merchandise giveaways! You can also make a one-time donation here: https://www.paypal.me/wtfbach https://venmo.com/wtfbach https://cash.app/$wtfbach Thank you for listening! Thank you for your support. Reach us at Bach (at) WTFBach (dot com) Get full access to WTF Bach at wtfbach.substack.com/subscribe…
1 MiniSeries! 5: Canonic Revisions Part One 22:06
22:06 Lire Plus Tard Lire Plus Tard Des listes J'aime Aimé22:06
Lire Plus Tard Lire Plus Tard Des listes J'aime AiméThe subject of the last several episodes has been Bach’s canonic variations on a Christmas tune by Martin Luther himself. A major inquiry into this work is its existence in two versions: engraved and handwritten. The published version (for reasons explained in the episode) doesn’t fully solve the canonic lines, as seen here: Notice how the notes of the bottom line don’t continue after the fifth note! See two other canons, each with the comes omitted: Variatio 2 omits the follower after only three notes, while the last image shows the second voice dropping out after two full bars. Because of such condensed notation, a copy working out the solutions would be necessary for anyone wishing to play the work; Bach himself made one— and couldn’t stop himself from making very minor changes. Those intriguing revisions are the subject of this episode. P.S. In the episode I mention that for time’s sake, I cut three revisions from our comparative study of the canon at the 7th. For reference, they are found below. The staves show the pedals and left hand, engraving copy on top, followed by the handwritten copy: Bar 7: Bar 13: Bar 22: P.P.S. I received a notification that the featured recording of Stravinsky conducting his own arrangement is banned in certain countries in which I have listeners. Pardon me if the sound drops out at the end of the episode! If this happens, you’ll have to look the piece up on your own: it can be found searching Stravinsky’s music under the title “Choral-Variationen” (or “Chorale Variations” in other languages) with either W83, K087, or BH-2629 as the catalogue number. We Rely On Listener Support! How to Donate to this Podcast: The best way to support this podcast, is to become a paid subscriber at wtfbach.substack.com Enough paid subscribers = exclusive content, monthly merchandise giveaways! You can also make a one-time donation here: https://www.paypal.me/wtfbach https://venmo.com/wtfbach https://cash.app/$wtfbach Thank you for listening! Thank you for your support. Get full access to WTF Bach at wtfbach.substack.com/subscribe…
1 MiniSeries! 4: Feet & LH, a 7th Apart 18:44
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Lire Plus Tard Lire Plus Tard Des listes J'aime AiméLet’s delve into a third variation from Bach’s 1747 masterpiece, “Some canonic variations on the Christmas song, ‘From Heaven Above’ for the organ with two keyboards and pedal, by J.S. Bach.” Two versions of this piece exist: the ‘fair copy’ and the ‘publication’ ( Stichfassung ), which present the variations in a different order. In this episode, we follow the publication, where the canon at the 7th appears as the third variation. The previous two variations featured canons between right and left hands, while the pedals carried the slow moving chorale melody. This variation introduces something new: a canon between the pedals and left hand. On that page that looks like this: Above those two lines, the right hand plays a quick-flowing accompaniment marked cantabile , but the chorale melody is missing… Note the rest up top, and the downward-facing stems on all the notes. This implies a second voice is coming: the Christmas melody sung in half notes. Together, the two voices of the right hand, combined with the canon between the pedals and the left hand, create a four-voice texture— the previous variations were in three voices. As we’ve seen in his other late canonic works, Bach will gradually increase the complexity of the canonic treatment toward the finale. We Rely On Listener Support! How to Donate to this Podcast: The best way to support this podcast, is to become a paid subscriber at wtfbach.substack.com Enough paid subscribers = exclusive content, monthly merchandise giveaways! You can also make a one-time donation here: https://www.paypal.me/wtfbach https://venmo.com/wtfbach https://cash.app/$wtfbach Thank you for listening! Thank you for your support. Get full access to WTF Bach at wtfbach.substack.com/subscribe…
1 Is Pachelbel's Canon Really a Canon? 17:21
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Lire Plus Tard Lire Plus Tard Des listes J'aime AiméI never knew the authentic version of the world’s most famous canon, having only known arrangements which conceal the fact that the music is indeed a canon in three voices. Here is what the ‘real’ canon looks like: It continues for over 50 bars as a three voice canon at the unison. In my brief survey of this piece, I found one theory that suggests the 9-year-old J.S. Bach was in attendance at the first performance in history. While the canonic treatment is clever and not worthy of our loathing— we blame its ill fate on others— Bach’s contributions to the genre outshine this example. We continue with Bach’s canonic art in the next episodes. We Rely On Listener Support! How to Donate to this Podcast: The best way to support this podcast, is to become a paid subscriber at wtfbach.substack.com Enough paid subscribers = exclusive content, monthly merchandise giveaways! You can also make a one-time donation here: https://www.paypal.me/wtfbach https://venmo.com/wtfbach https://cash.app/$wtfbach Thank you for listening! Thank you for your support. Concepts Covered: The musical canon has long been a cornerstone of Baroque music , with J.S. Bach canons exemplifying the height of Bach’s canonic art and canonic structure in Bach’s compositions . This episode explores Bach’s musical contributions , from his early compositions to his sophisticated fugue and canon techniques . We also discuss Pachelbel’s Canon in D , one of the most recognizable pieces in classical music , analyzing its compositional style , melody , and Baroque influences . Through Bach musical theory , Bach analysis and theory , and comparisons with Pachelbel’s influence , we uncover the lasting impact of these works on Bach music history and the broader canon of Baroque music masterpieces . Get full access to WTF Bach at wtfbach.substack.com/subscribe…
1 MiniSeries! 3: A Canon At The Fifth 16:27
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Lire Plus Tard Lire Plus Tard Des listes J'aime AiméContinuing our mini-series exploring Bach’s canonic variations on the Christmas song, ‘Vom Himmel hoch da komm ich her’ BWV 769, we listen to the second canon: a canon at the perfect fifth. Here is what the initial shape looks like in the right hand: So the same shape must be imitated down the perfect fifth. It appears like this in the left hand: I briefly mention the difference between ‘tonal’ and ‘real’ answers. Although the majority of the imitating line appears a perfect fifth below the leader, several accidentals are changed to keep the overall tonality. Hence Bach here gives us a ‘real answer.’ (I.e. where the F# and G# appear in the left hand, find the corresponding notes in the right hand, note the resulting intervals are diminished fifths, not perfect.) We Rely On Listener Support! How to Donate to this Podcast: The best way to support this podcast, is to become a paid subscriber at wtfbach.substack.com Enough paid subscribers = exclusive content, monthly merchandise giveaways! You can also make a one-time donation here: https://www.paypal.me/wtfbach https://venmo.com/wtfbach https://cash.app/$wtfbach Thank you for listening! Thank you for your support. Get full access to WTF Bach at wtfbach.substack.com/subscribe…
1 MiniSeries! 2: Divine Row Row Row Your Boat 18:55
18:55 Lire Plus Tard Lire Plus Tard Des listes J'aime Aimé18:55
Lire Plus Tard Lire Plus Tard Des listes J'aime AiméThe first variation in these late variations for organ, is a canon at the octave. The two hands, each on a separate keyboard, play the same shape, one octave apart, while the feet provide the chorale melody. It looks like this: Those are the first three measures of 18 measures. That’s right: the shape is imitated note for note for 18 bars! If you’re having trouble seeing that the two upper lines are in fact the same melody, one octave apart, try this image: We Rely On Listener Support! How to Donate to this Podcast: The best way to support this podcast, is to become a paid subscriber at wtfbach.substack.com Enough paid subscribers = exclusive content, monthly merchandise giveaways! You can also make a one-time donation here: https://www.paypal.me/wtfbach https://venmo.com/wtfbach https://cash.app/$wtfbach Thank you for listening! Thank you for your support. Get full access to WTF Bach at wtfbach.substack.com/subscribe…
1 MiniSeries! 1: Bach's Christmas Puzzles 21:04
21:04 Lire Plus Tard Lire Plus Tard Des listes J'aime Aimé21:04
Lire Plus Tard Lire Plus Tard Des listes J'aime AiméIn this first of several related episodes, we will learn about Bach’s late contrapuntal masterpiece, the Canonic Variations on Vom Himmel hoch da komm' ich her , BWV 769. The variations— although certainly not as familiar— should be considered alongside Bach’s other late achievements, the Goldberg Variations , The Art of Fugue , and A Musical Offering. They employ many similar ideas and highlight the composers uncanny ability to ‘squeeze water from a stone,’ making elaborate pieces with minimal material. This first episode discusses the origins of the chorale melody and for what purpose Bach used this piece. Drop me a note to tell me if you like this shorter episode length. Are you the type of listener who loves the hour long podcast? Or did this fit into your schedule better? I mention the title page: And the Wikipedia link to the chorale melody: https://en.wikipedia.org/wiki/Vom_Himmel_hoch,_da_komm_ich_her We Rely On Listener Support! How to Donate to this Podcast: The best way to support this podcast, is to become a paid Substack subscriber at wtfbach.substack.com Enough paid subscribers = exclusive content, monthly merchandise giveaways! You can also make a one-time donation here: https://www.paypal.me/wtfbach https://venmo.com/wtfbach https://cash.app/$wtfbach Thank you for listening! Thank you for your support. Get full access to WTF Bach at wtfbach.substack.com/subscribe…
Since I was a child I’ve known the story of Bach pulling out a blade. What really happened? In this short episode, I read the contemporary reports from the Arnstadt Consistory Court, where this famous fisticuffs was first recorded. About halfway through the episode (14 minutes), I’ve given you some “chill” chorales, played over a drone. One of my listeners mentioned they wanted some Bach for doing yoga/meditation, so this is what I came up with. If you like the way it sounds, I’ll put a full hour-long track on Spotify for all my Bach enthusiast yogis. Meanwhile, stay tuned for some cool episodes coming up during the holiday season. We Rely On Listener Support! How To Donate To This Podcast: The best way to support this podcast, is to become a paid subscriber at wtfbach.substack.com You can also make a one-time donation here: https://www.paypal.me/wtfbach https://venmo.com/wtfbach https://cash.app/$wtfbach Concepts Covered: In this episode, we delve into the Bach Zippelfagottist controversy , a fascinating chapter of Bach’s biography mysteries , where we examine the famous Bach dagger incident and the events surrounding the Arnstadt Consistory Court . We also touch on the historical Bach disputes that hint at Bach’s temperament and behavior , including the Bach and Geyersbach conflict . Bach’s fisticuffs story sheds light on Bach’s early years and his early career troubles . The episode also explores the historical records from the Arnstadt Consistory Court , providing a glimpse into Bach’s self-defense incident and the Bach Arnstadt brawl . Whether you're drawn to Bach's historical documents , his unusual stories , or his works for meditation , this episode offers a thorough exploration of Bach's personal life drama , his clashes with church authorities, and his early controversies that set the stage for his monumental legacy. Get full access to WTF Bach at wtfbach.substack.com/subscribe…
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The WTF Bach Podcast
1 The Urtext Illusion: Textual Variance in Bach's "Aria Variata" BWV 989 54:12
54:12 Lire Plus Tard Lire Plus Tard Des listes J'aime Aimé54:12
Lire Plus Tard Lire Plus Tard Des listes J'aime AiméLast week I posted this piece on YouTube : The most intriguing part of studying this piece was the overwhelming amount of differences between the three earliest sources of this work. Here is a list of the sources I reference in the episode , the copyists, and when they were made: The ‘Andreas Bach Book’ (D-LE III.8.4) J. Christoph Bach; copyist, between 1705-1714 P 801 J. Tobias Krebs; copyist, between 1710-1717 P 804 J. Peter Kellner; copyist, before 1725 In the episode I simply refer to these as Andreas Bach, Krebs, and Kellner. You will hear a great amount of textual variation between these sources. Part of any performer’s job of playing music from Bach’s era includes combing through sources, determining how and why certain discrepancies appear. In the Aria Variata , however, the discrepancies are inconsistent— and perplexing. My current understanding of source tradition hasn’t led me to any conclusion, but were I bold enough to take a stab, I’d guess Andreas Bach is the most accurate source, Kellner made a very sloppy copy from which Krebs copied. Kellner’s copy is full of corrections, but these were probably entered at a later date, and Krebs didn’t get the memo. A taste of what this looks like: That is Kellner’s copy. Notice the ornaments. Compare to Krebs: Both have an E-flat in on the downbeat of the third bar (all three sources in this episode use soprano clef on top). Now here is Andreas Bach: D-sharp in bar three! Also, the ornamentation is fuller. There are many other details in the episode, so please, enjoy! Here are more images to stimulate your fancy: Krebs’ wavy hand. Kellner making mistakes, corrected by— whom? Kellner himself? The baffling passage in variation 4 in Andreas Bach. Notice what look like erasures on some of the notes. How To Support This Podcast: Become a paid subscriber! at wtfbach.substack.com or donate using any of these links: https://www.paypal.me/wtfbach https://venmo.com/wtfbach Concepts Covered: In this episode, we explore the Bach Aria Variata sources and delve into the fascinating world of Bach manuscript discrepancies , specifically examining the Andreas Bach Book , J. Christoph Bach manuscript , and the works of J. Tobias Krebs and J. Peter Kellner . We discuss how Bach’s early keyboard works are presented in various historical music sources , uncovering differences in notation , ornamentation , and textual variants that shape Bach’s source tradition . Through a comparison of the Kellner manuscript errors and the contributions of Krebs vs. Kellner Bach , we gain insights into Bach’s performer scholarship and the challenges of interpreting Baroque music textual variants . Additionally, we explore the authenticity of Bach’s handwritten manuscripts and how these sources influence the understanding of his music today. Get full access to WTF Bach at wtfbach.substack.com/subscribe…
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The WTF Bach Podcast
1 Passion Music for His Son: The F Minor Sinfonia, BWV 795 33:55
33:55 Lire Plus Tard Lire Plus Tard Des listes J'aime Aimé33:55
Lire Plus Tard Lire Plus Tard Des listes J'aime AiméYes, that recording at the end is none other than Jascha Heifetz with Primrose and Piatigorksy, who apparently recorded three of the sinfonias. The wonderful pianist with that golden sound playing before the string trio arrangement is ( I think! ) Marcelle Meyer recorded sometime around 1948. WTF Bach needs your support! Consider becoming a subscriber. Today’s episode focuses on the ‘black pearl’ of the inventions and sinfonias. The f minor sinfonia is highly complex piece of passion music embedded within a seemingly innocent collection of music intended for the beginner. Here, rather than the more typical obligato upper voices with the bass occasionally joining in with a theme here and there, the f minor sinfonia relies on convertible counterpoint where all three voices are judged— and juggled— equally. Bach shows us this technique using different themes: A lament bass: Musical crosses: And a wildly avant-garde motif, which I refer to as the wailing motif: Writing certainly exists on these three motifs seen as “God the Father, God the Son, and God the Holy Spirit.” Not for any particular reason, I refrain from making such an analogy in this episode. As mentioned in the episode, Bach changed some of the enharmonics when transfering the piece from the Notebook for W.F. Bach into the Aufrichtige Anleitung. Here are some examples: The E-double-flat (middle voice) in the notebook for his son: is later changed to a D natural: The B-double-flat in the top voice in the previous examples remain, but Bach will change the spelling in the bass voice of the same note (again, in the notebook:) to an A natural: There are a few other similar changes throughout. Thanks for listening! Have you told your high-school band teacher you’re super into Bach? N.B. My substack is about 1 year old, and in that time I released some 27 episodes and three essays. Should you decide to become a paid subscriber, that’s less than 3 dollars an episode (paying per year: about $3.70 paying per month.) Your contribution ensures the existence of this podcast. I really couldn’t— and wouldn’t be able to— continue devoting the time without your support. Thank you. How To Support This Podcast: https://www.paypal.me/wtfbach https://venmo.com/wtfbach https://cash.app/$wtfbach or become a paid subscriber at wtfbach.substack.com Concepts Covered: The F minor Sinfonia, BWV 795 , stands out among Bach’s inventions and sinfonias , showcasing his counterpoint techniques and expressive depth. Elements like the lament bass , musical crosses , and the haunting wailing motif , this work reveals Bach’s ability to embed passion music into seemingly simple pieces. Through an analysis of enharmonic changes and Bach in revision , we gain insight into his intricate writing, preserved in the W.F. Bach notebook . Legendary musicians such as Jascha Heifetz and Marcelle Meyer have interpreted these works. Join the Bach fan community to continue to explore his legacy through Bach music scholarship , uncovering new dimensions of his sacred motifs and theoretical innovations. Get full access to WTF Bach at wtfbach.substack.com/subscribe…
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The WTF Bach Podcast
1 Fantasy & Fugue in C minor BWV 537 46:34
46:34 Lire Plus Tard Lire Plus Tard Des listes J'aime Aimé46:34
Lire Plus Tard Lire Plus Tard Des listes J'aime AiméBecoming familiar with Bach’s music is a never-ending process. First, there is the initial reading, which alone can occupy many happy years. What’s remarkable is that with each further reading, you’re astonished by the details you missed before—quite honestly amazed. You ask yourself: Where—or even who —was I during those earlier readings? You begin to measure your growth as a musician against the depth with which you can now understand the pieces. One fugue, which I initially read with little interest, is the one featured in this episode: BWV 537. Suddenly, I’m struck by its raw power and its structural reliance on a chromatic line. Now that it has revealed itself to me, it will forever remain a favorite. I hope to share with you a glimpse of this experience in today’s episode. How To Support This Podcast: https://www.paypal.me/wtfbach https://venmo.com/wtfbach https://cash.app/$wtfbach or become a paid subscriber at wtfbach.substack.com Concepts Covered: The Fantasy & Fugue in C minor, BWV 537 , exemplifies Bach’s musical complexity , combining a dramatic chromatic line with masterful fugue techniques . This episode explores the structural analysis of the piece, highlighting Bach’s intricate approach to fugue composition and his use of chromaticism to heighten musical tension. Through Bach music analysis , we gain deeper insight into his musical influence and the enduring power of his Baroque fugues . Understanding the Fugue in C minor reveals the depth of Bach’s structural ingenuity , offering a fascinating study in fugue performance techniques and the brilliance of Bach’s music . Get full access to WTF Bach at wtfbach.substack.com/subscribe…
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The WTF Bach Podcast
In this episode, we’ll explore Bach’s constant involvement with weddings. Weddings and funerals occupied a weekly place in Bach’s life in Leipzig and we’ll shed light on the various ways in which he was involved musically. [I forgot to credit the last recording in this episode to Rudolph Lutz and the J.S. Bach foundation.] Here are (some of) the beautiful parts which make up the chorales, BWVs 250-252. They are beautiful examples of Bach’s handwriting ca. 1730. Note that all three chorales are on the same page. Soprano: Alto: Tenor: Bass: And the second horn part I fondly discuss in this episode: All the parts are viewable at: https://www.bach-digital.de/receive/BachDigitalSource_source_00002475 How To Support This Podcast: https://www.paypal.me/wtfbach https://venmo.com/wtfbach https://cash.app/$wtfbach or become a paid subscriber at wtfbach.substack.com Get full access to WTF Bach at wtfbach.substack.com/subscribe…
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The WTF Bach Podcast
1 The 3rd Keyboard Partita (A Crucial Revision) 22:01
22:01 Lire Plus Tard Lire Plus Tard Des listes J'aime Aimé22:01
Lire Plus Tard Lire Plus Tard Des listes J'aime AiméA brief(er) episode for you today: Bach’s first published opus was his six partitas for keyboard. In some of the sources within Bach’s circle, copies retained as a ‘Handexemplar’ include revisions by a scribe we can almost say with certainty is Bach himself. The most consequential of these revisions appears at the end of the third partita, where the second half of the Gigue is re-written with what one might call ‘updated’ or ‘refined’ counterpoint. Here we see the main source (G 25) in question: Hard to see here, but if we zoom in, we see that this: Is a correction of the original printings, which read: This link here should allow you to download the original print of all six partitas. N.B. As that link is the download of the original print, it will not contain any of the corrections mentioned in this episode. For a full list of the scholarship on these changes, see: Wolff, C. (1999). Text-critical comments on the original print of the Partitas. In Bach: Essays on his life and music (pp. 214-222). Cambridge, MA: Harvard University Press. How To Support This Podcast: https://www.paypal.me/wtfbach https://venmo.com/wtfbach https://cash.app/$wtfbach or become a paid subscriber at wtfbach.substack.com Concepts Covered: The 3rd Keyboard Partita, BWV 827 , stands as a defining work in Bach’s Partitas for keyboard , marking his first published opus and showcasing his mastery of counterpoint . This episode examines the Handexemplar revisions , where Bach’s scribe corrections reveal musical updates that refined the Partita Gigue’s counterpoint . These manuscript corrections provide insight into Bach’s compositional process , highlighting his meticulous approach to keyboard music . As we explore Bach’s revised versions , we engage with the broader landscape of Baroque keyboard music , tracing his influence on counterpoint and the evolution of Bach music performance . Through this Bach partitas analysis , we uncover how his musical revisions continue to shape our understanding of his genius. Get full access to WTF Bach at wtfbach.substack.com/subscribe…
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The WTF Bach Podcast
1 Performer's Commentary, Vol. 3 53:07
53:07 Lire Plus Tard Lire Plus Tard Des listes J'aime Aimé53:07
Lire Plus Tard Lire Plus Tard Des listes J'aime AiméThe final performer’s commentary episode for you. This is live commentating (the program notes of the future) on the last of my three simultaneous releases. This album is a bunch of preludes and fugues— some maybe you know, some maybe you don’t. You can stream and individually purchase any track including the performer’s commentary from the third volume below. [More streaming links (including youtube playlists) at the bottom:] How To Support This Podcast: https://www.paypal.me/wtfbach https://venmo.com/wtfbach https://cash.app/$wtfbach or become a paid subscriber at wtfbach.substack.com The first three albums of the 'Complete Works for Solo Keyboard' are live everywhere. Stream while sleeping to achieve maximum effect. Volume One: Youtube playlist! Spotify: https://tinyurl.com/ycy2fab7 Apple Music: https://tinyurl.com/nhfuws4t Amazon Music: https://tinyurl.com/mrxj7pws Volume Two: Youtube playlist! Spotify: https://tinyurl.com/msjyhamh Apple Music: https://tinyurl.com/mtykbxnz Amazon Music: https://tinyurl.com/3m7b9v6w Volume Three: Youtube playlist! Spotify: https://tinyurl.com/4xneak6r Apple Music: https://tinyurl.com/mr44kwmf Amazon Music: https://tinyurl.com/3e4kwnsb Get full access to WTF Bach at wtfbach.substack.com/subscribe…
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The WTF Bach Podcast
1 No One Ever Erected a Statue to a Critic (Bach vs. Scheibe) 36:19
36:19 Lire Plus Tard Lire Plus Tard Des listes J'aime Aimé36:19
Lire Plus Tard Lire Plus Tard Des listes J'aime AiméJohann Adolph Scheibe went down in history for attacking Bach’s “turgid and confused” style. “…from the natural to the artificial, and from the lofty to the obscure ... one wonders at the painful labor of it all, that nevertheless comes to nothing, since it is at variance with reason.” Let’s examine the controversy from the beginning. How To Support This Podcast: https://www.paypal.me/wtfbach https://venmo.com/wtfbach https://cash.app/$wtfbach or become a paid subscriber at wtfbach.substack.com The first three albums of the 'Complete Works for Solo Keyboard' are live everywhere. Stream while sleeping to achieve maximum effect. Volume One: Spotify: https://tinyurl.com/ycy2fab7 Apple Music: https://tinyurl.com/nhfuws4t Amazon Music: https://tinyurl.com/mrxj7pws Volume Two: Spotify: https://tinyurl.com/msjyhamh Apple Music: https://tinyurl.com/mtykbxnz Amazon Music: https://tinyurl.com/3m7b9v6w Volume Three: Spotify: https://tinyurl.com/4xneak6r Apple Music: https://tinyurl.com/mr44kwmf Amazon Music: https://tinyurl.com/3e4kwnsb Get full access to WTF Bach at wtfbach.substack.com/subscribe…
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The WTF Bach Podcast
1 Mi Fa, et Fa Mi est tota musica (BWV 1078) 32:59
32:59 Lire Plus Tard Lire Plus Tard Des listes J'aime Aimé32:59
Lire Plus Tard Lire Plus Tard Des listes J'aime AiméOn March 1, 1749, Bach penned the following into a Stammbuch : Today’s episode covers this canon in depth. What does it mean? How does it sound? Here is a link to the article by scholar, Anatoly Milka. The book, Bach and the meaning of Counterpoint, by David Yearsley is available here . How To Support This Podcast: https://www.paypal.me/wtfbach https://venmo.com/wtfbach https://cash.app/$wtfbach or become a paid subscriber at wtfbach.substack.com The first three albums of the 'Complete Works for Solo Keyboard' are live everywhere. Stream while sleeping to make me a millionaire. Volume One: Spotify: https://tinyurl.com/ycy2fab7 Apple Music: https://tinyurl.com/nhfuws4t Amazon Music: https://tinyurl.com/mrxj7pws Volume Two: Spotify: https://tinyurl.com/msjyhamh Apple Music: https://tinyurl.com/mtykbxnz Amazon Music: https://tinyurl.com/3m7b9v6w Volume Three: Spotify: https://tinyurl.com/4xneak6r Apple Music: https://tinyurl.com/mr44kwmf Amazon Music: https://tinyurl.com/3e4kwnsb Concepts Covered: The Mi Fa et Fa Mi canon, BWV 1078 , is one of Bach’s puzzle canons , demonstrating his unparalleled command of counterpoint theory and inventive compositional techniques. Written as a 7-voice canon , this work, inscribed in a Stammbuch on March 1, 1749 , reflects his late-period fascination with musical puzzles and structured complexity. Scholars such as Anatoly Milka and David Yearsley have explored its deeper significance, shedding light on Bach’s innovative canons and their place in Bach music scholarship . As we analyze Bach’s use of counterpoint , we uncover the intricate interplay of voices that define his style. This episode delves into Bach music history , his compositional techniques , and the broader implications of Bach’s musical meaning in this enigmatic work. Get full access to WTF Bach at wtfbach.substack.com/subscribe…
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The WTF Bach Podcast
1 Performer's Commentary, Vol. 2 37:46
37:46 Lire Plus Tard Lire Plus Tard Des listes J'aime Aimé37:46
Lire Plus Tard Lire Plus Tard Des listes J'aime AiméAnother performer’s commentary episode for you. If you’ve missed out on the second of my three simultaneous releases, you’ll have a chance to listen to it here, with my live commentary. You can stream and individually purchase any track including the performer’s commentary from the second volume here. —More streaming links (including youtube playlists) at the bottom: How To Support This Podcast: https://www.paypal.me/wtfbach https://venmo.com/wtfbach https://cash.app/$wtfbach or become a paid subscriber at wtfbach.substack.com The first three albums of the 'Complete Works for Solo Keyboard' are live everywhere. Stream while sleeping to achieve maximum effect. Volume One: Youtube playlist! Spotify: https://tinyurl.com/ycy2fab7 Apple Music: https://tinyurl.com/nhfuws4t Amazon Music: https://tinyurl.com/mrxj7pws Volume Two: Youtube playlist! Spotify: https://tinyurl.com/msjyhamh Apple Music: https://tinyurl.com/mtykbxnz Amazon Music: https://tinyurl.com/3m7b9v6w Volume Three: Youtube playlist! Spotify: https://tinyurl.com/4xneak6r Apple Music: https://tinyurl.com/mr44kwmf Amazon Music: https://tinyurl.com/3e4kwnsb Get full access to WTF Bach at wtfbach.substack.com/subscribe…
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The WTF Bach Podcast
1 Bach's Puzzle Canons (Yes, Please.) 30:02
30:02 Lire Plus Tard Lire Plus Tard Des listes J'aime Aimé30:02
Lire Plus Tard Lire Plus Tard Des listes J'aime AiméThanks for your feedback on the last few episodes. I’ve gathered my listeners enjoy piecing together musical cells in their minds, so today’s episode will bring you more of that. The eight surviving canons, BWVs 1072-1078 (+BWV deest ) were written on small pieces of paper or penned into registry books. Their compact content, usually only a few notes, is then ‘solved:’ copied and transformed to make a perpetual piece of music in several voices. You will hear the solutions in the episode. Here is how they appear on the page: This is the first canon discussed. From these two measures of music, eight voices are formed. This is the second canon discussed: a four-voice canon with each voice entering a successive fifth higher than the last. It’s the four clefs at the beginning of the line that clue you in on this. The %-like symbol shows you where the next voice enters. This is BWV 1074, the mysterious ‘Houdemann’ canon. Note the four clefs on the left of the staff, but also the four clefs to the right. They are inverted with a different key signature. Bach here was exploring the a truly symmetrical— not merely diatonic— inversion. The final canon of the episode. The charming two-voice canon for one of his Godchildren. This canon is simple to solve and the easiest to comprehend. Yes, the famous F-A-B-E-R, “ mi fa, et fa mi est tota musica” canon will be in one of the next episodes— rest assured! How To Support This Podcast: https://www.paypal.me/wtfbach https://venmo.com/wtfbach https://cash.app/$wtfbach or become a paid subscriber at wtfbach.substack.com The first three albums of the 'Complete Works for Solo Keyboard' are live everywhere. Stream while sleeping to achieve maximum effect. Volume One: Spotify: https://tinyurl.com/ycy2fab7 Apple Music: https://tinyurl.com/nhfuws4t Amazon Music: https://tinyurl.com/mrxj7pws Volume Two: Spotify: https://tinyurl.com/msjyhamh Apple Music: https://tinyurl.com/mtykbxnz Amazon Music: https://tinyurl.com/3m7b9v6w Volume Three: Spotify: https://tinyurl.com/4xneak6r Apple Music: https://tinyurl.com/mr44kwmf Amazon Music: https://tinyurl.com/3e4kwnsb Get full access to WTF Bach at wtfbach.substack.com/subscribe…
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The WTF Bach Podcast
1 Performer's Commentary, Vol. 1 47:07
47:07 Lire Plus Tard Lire Plus Tard Des listes J'aime Aimé47:07
Lire Plus Tard Lire Plus Tard Des listes J'aime AiméIf you miss those DVDs with the optional director’s commentary, you’re going to enjoy this episode. Each album in my ‘J.S. Bach Complete Solo Keyboard Works’ will be accompanied by this type of work, my commentating as the music plays. You can stream (and individually purchase) any track including the performer’s commentary from the first album here: How To Support This Podcast: https://www.paypal.me/wtfbach https://venmo.com/wtfbach https://cash.app/$wtfbach or become a paid subscriber at wtfbach.substack.com The first three albums of the 'Complete Works for Solo Keyboard' are live everywhere. Stream while sleeping to achieve maximum effect. Volume One: Spotify: https://tinyurl.com/ycy2fab7 Apple Music: https://tinyurl.com/nhfuws4t Amazon Music: https://tinyurl.com/mrxj7pws Volume Two: Spotify: https://tinyurl.com/msjyhamh Apple Music: https://tinyurl.com/mtykbxnz Amazon Music: https://tinyurl.com/3m7b9v6w Volume Three: Spotify: https://tinyurl.com/4xneak6r Apple Music: https://tinyurl.com/mr44kwmf Amazon Music: https://tinyurl.com/3e4kwnsb Get full access to WTF Bach at wtfbach.substack.com/subscribe…
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The WTF Bach Podcast
1 What Did Bach's Business Card Sound Like? 48:53
48:53 Lire Plus Tard Lire Plus Tard Des listes J'aime Aimé48:53
Lire Plus Tard Lire Plus Tard Des listes J'aime AiméYou know that portrait of Bach holding a little scrap of music? Ever wonder what the piece was? What it sounded like? That piece of paper is a six-voice, triple canon : number thirteen in the fourteen additional canons found on the back of Bach’s personal copy of the Goldberg Variations. (Analysis of that specific canon around 32 min.) We’ve covered nine of these puzzling pieces in three previous episodes, but now it’s time to call it a wrap on all fourteen. These additional canons were discovered only as late as the 1970s. For a more detailed history, check the three previous episodes dealing with these canons: Here is the image of the canon, “Christ will Crown the Cross-bearers” that appears in the family registry book belonging to J.G. Fulde: And of course, Bach and his “business card:” The bass line in both the images (and in all of the canons) is our beloved “first eight fundamental notes of the preceding aria” on which all the canons are based. Be sure to get my forthcoming three albums on PRESALE before they go live on May 17th! Volume One: Apple Music: https://tinyurl.com/nhfuws4t Amazon Music: https://tinyurl.com/mrxj7pws Volume Two: Apple Music: https://tinyurl.com/mtykbxnz Amazon Music: https://tinyurl.com/3m7b9v6w Volume Three: Apple Music: https://tinyurl.com/mr44kwmf Amazon Music: https://tinyurl.com/3e4kwnsb How To Support This Podcast: https://www.paypal.me/wtfbach https://venmo.com/wtfbach https://cash.app/$wtfbach or become a paid subscriber at wtfbach.substack.com Get full access to WTF Bach at wtfbach.substack.com/subscribe…
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The WTF Bach Podcast
1 Three Albums on Presale Today! (Ever Dance With a Double?) 30:56
30:56 Lire Plus Tard Lire Plus Tard Des listes J'aime Aimé30:56
Lire Plus Tard Lire Plus Tard Des listes J'aime AiméALBUMS ON PRESALE TODAY! BUY THE ALBUMS HERE! Volume One: Apple Music: https://tinyurl.com/nhfuws4t Amazon Music: https://tinyurl.com/mrxj7pws Volume Two: Apple Music: https://tinyurl.com/mtykbxnz Amazon Music: https://tinyurl.com/3m7b9v6w Volume Three: Apple Music: https://tinyurl.com/mr44kwmf Amazon Music: https://tinyurl.com/3e4kwnsb As for the music covered today, we will hear Doubles layered over their preceding dance movements. A Double is an elaboration on the preceding movement, where the melody is quickened— often twice as quickly. The harmonic structure of the Double and its preceding movement is the same, allowing for one to play both movements at the same time with very interesting results. Pieces studied: Sarabande and Double from Sixth English Suite, BWV 811 Gigue and Double from the c minor lute suite, BWV 997 Partita in b minor for solo violin, BWV 1002 People/places mentioned: Burp Castle at 41 East 7th Street in the East Village of Manhattan (between 2nd Ave & Cooper Square). Paul Spring (guitarist) How To Support This Podcast: https://www.paypal.me/wtfbach https://venmo.com/wtfbach https://cash.app/$wtfbach or become a paid subscriber at wtfbach.substack.com Concepts Covered: In today’s episode, we explore the concept of Doubles in Baroque music . Doubles are essentially melodic embellishments that accelerate the original melody while maintaining the harmonic structure of the original dance movement. This creates an interesting contrast when heard alongside its corresponding dance. We’ll dive into specific examples from Bach’s repertoire, including the Sarabande and Double from the Sixth English Suite, BWV 811 , the Gigue and Double from the c minor lute suite, BWV 997 , and the Partita in b minor for solo violin, BWV 1002 . Get full access to WTF Bach at wtfbach.substack.com/subscribe…
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The WTF Bach Podcast
Thanks for all your support during The Bach Store! If you’re in NYC on Friday, come to Le Poisson Rouge at 158 Bleecker Street at 7pm. Be sure to mark your calendars: April 24th, 2024, my new albums will be on PRE-sale. It marks the beginning of my most ambitious project to date: a very thorough, if possible, ‘complete’ set of the keyboard works of Bach. I will certainly send another reminder as the date approaches. And now for a brief journey into Bach around this date in 1724: today’s episode covers the cantata for the second Sunday after Easter, BWV 104, Du Hirte Israel, höre. Unlike the other cantatas I have recently discussed, this cantata is not based on a chorale melody. And don’t miss out on your WTF Bach merchandise! Here are seven magnets for your fridge. Send me a note to arrange a sale (T-Shirts, Pins, Bags, 3D Printed Heads, Lighters, also available). How To Support This Podcast: https://www.paypal.me/wtfbach https://venmo.com/wtfbach https://cash.app/$wtfbach or become a paid subscriber at wtfbach.substack.com Get full access to WTF Bach at wtfbach.substack.com/subscribe…
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The WTF Bach Podcast
1 Bach Store is BACK! (+ Bach at 15 yrs. old) 25:46
25:46 Lire Plus Tard Lire Plus Tard Des listes J'aime Aimé25:46
Lire Plus Tard Lire Plus Tard Des listes J'aime AiméYou read correctly: The Bach Store is back . In Erfurt, Thuringia, the state from where the Bachs hail. I will play for five hours, March 14-28, 12.00-18.00 GMT +1 (7AM-1PM EST.) You can (hopefully) stream the whole run on my youtube. Subscribe HERE . Or go to: www.youtube.com/@wtfbach Here is the latest video I mentioned in the podcast . Bach Store Merchandise is available on request. Send an email to bach (at) wtfbach (dot com) — Meanwhile, the music in today’s episode comes from the “ Neumeister Collection ,” a collection of over 80 chorale preludes from multiple composers, published for the first time in 1985. More than 30 of the pieces come from J.S. Bach ca. 1700, when the composer was only 15 year old. Hence one of the newest Bach discoveries showed us the youngest portraits of the composer. I played three of them, one on a ‘real’ organ (Saint Anne’s, London) and two on Organteq (by Modartt.) — How To Support This Podcast: https://www.paypal.me/wtfbach https://venmo.com/wtfbach https://cash.app/$wtfbach or become a paid subscriber at wtfbach.substack.com Get full access to WTF Bach at wtfbach.substack.com/subscribe…
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