-
Wendy Carlos demonstrates her Moog Synthesizer in 1970
Wendy Carlos interview on PBS' NOVA in 1989: https://www.youtube.com/watch?v=1EtH5E1N91Y
Note: the BBC has posted a longer version available here: https://www.youtube.com/watch?v=UsW2EDGbDqg
From the BBC archives. The music towards the end of the video is the 2nd movement of the 4th Brandenburg Concerto from her Well-Tempered Synthesizer album. You can visit her webpage at: http://wendycarlos.com
published: 09 Feb 2021
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1970: WENDY CARLOS and her MOOG SYNTHESISER | Music Now | Retro Tech | BBC Archive
Electronic music composer Wendy Carlos - whose debut album Switched-On Bach has introduced a new audience to classical music - explains the fundamentals of electronic sound using her Moog Synthesiser, and demonstrates some of the techniques she employed to adapt Johann Sebastian Bach's compositions for the electronic age.
This clip is from Music Now, originally broadcast 8 February, 1970.
You have now entered the BBC Archive, an audiovisual time machine that will transport you back to the golden age of TV to educate, entertain and enlighten you through our classic clips from the BBC vaults.
Make sure you subscribe so that you never miss a single stop on our amazing journey through the BBC Archive - https://www.youtube.com/c/BBCArchive?sub_confirmation=1
published: 17 Jun 2022
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Wendy Carlos Interview 1989 BBC Two
(✿^-^) ~~**TERFS/TRANSPHOBES DO NOT INTERACT**~~ (^-^✿)
Wendy appeared on the BBC in 1989 and is best known for the scores to A Clockwork Orange, Tron and The Shining.
published: 04 Sep 2019
-
Young People's Concert: "Bach Transmogrified" / Bernstein · New York Philharmonic
Young People's Concert: "Bach Transmogrified"
with the New York Philharmonic
Written and conducted by Leonard Bernstein
Bernstein discusses different transmogrifications or treatments of Bach's works. After an organ recital of the Little Fugue, guest conductor Leopold Stokowski conducts his own transcription of the fugue for symphony orchestra. Other transmogrifications include Foss' Phorion and a version of the Brandenburg Concerto No. 5 performed by the New York Rock and Roll Ensemble.
In this excerpt, Bernstein discusses the Bach Little Fugue in G Minor heard on the Moog Synthesizer.
Original CBS Television Network Broadcast Date: April 27, 1969
Produced and directed by Roger Englander
Available through KulturVideo.com: http://www.kulturvideo.com/Young-People-s-Concerts-Volume-II-p...
published: 26 Apr 2018
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Bach Air on the G String on Moog synthesizer
This music and vide has a festive theme so happy holidays to all my viewers and subscribers! Following in the tradition of Wendy Carlos and Switched-on Bach from 1972 let's play Air on the G String on the Moog synthesizer. The dancers are Pan's People from Top Of The Pops. The synth is a Moog Sub Phatty.
published: 24 Dec 2016
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Bach - Switched On Bach - Wendy Carlos
Sabías que en Switched-On Bach se reconstruyeron electrónicamente algunas obras reconocidas del compositor alemán del periodo barroco Johann Sebastian Bach. Una de estas fue su Tercer Concierto de Brandenburgo.
Para hacerse una idea del cambio en la sonoridad que provee el sintetizador Moog, así suena normalmente la música de Bach, interpretada por una orquesta tradicional.
¿Quieres saber más de Banch?, ingresa a: https://www.senalmemoria.co/articulos/bach-verdi-y-mozart-los-padres-de-la-musica-clasica
Síguenos en nuestras redes para conocer más de la historia de la música:
- Facebook: https://www.facebook.com/senalmemoria.co
- Twitter: https://twitter.com/SenalMemoria
- Instagram: https://www.instagram.com/senalmemoria
published: 04 Aug 2017
-
The Most Important Recording Projects Ever (No. 5: Wendy Carlos' Switched-On Bach series)
Wendy Carlos: The Switched-On Boxed Set (Switched On Bach ! & II; The Well-Tempered Synthesizer; Switched-On Brandenburgs) ESD
published: 08 Jul 2023
-
J.S. Bach: Brandenburg Concerto No. 3 in G major, BWV 1048 - 1. Allegro (2013 Experiment)
THIS EARLY EXPERIMENT HAS BEEN REPOST BY REQUEST.
Few musical works are as loved and as often performed as the six "Brandenburg" Concertos by Johann Sebastian Bach. These six 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 the Margrave of Brandenburg with a bound manuscript containing six lively concertos for chamber orchestra based on the Italian Concerto Grosso style. The Margrave never thanked Bach for his work - or paid him! There's no way he could have known that this unnamed gift (later named the "Brandenburg Concertos" 150 years later when Bach's biographer, Philipp Spitta called them that for the very first time, and the name stuck) would become a benchmark ...
published: 17 Sep 2022
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Switched on Bach | Bourrée BWV807
Polyphonic music lends itself so well to multiple synth voice arrangements. That way every separate voice gets sung by different 'singers' and the conversation they have gets much more clearer and easier to understand. Hear what the great Johann Sebastian Bach had to say to us.
#Behringer #MS1 #Roland #FA #FA08 #Yamaha #Clavinova
published: 20 Mar 2022
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J.S. Bach: Sinfonia to Cantata No. 29 [2017 Revisit] (Synthesized)
Please find my updated version here:
https://youtu.be/-QorYw9hlsE
For information on the visualization see the end of this note.
Johann Sebastian Bach wrote Cantata 29 in 1731, by which time he was working in Leipzig and at the height of his career. Although there is a reference to "Gott" (God) in the title (and the work is based on sacred text), this is not actually a church cantata - that is, it was not written for a specific liturgical feast. But the work is a sacred cantata, written for a service at the Nikolaikirche (St. Nicholas Church) accompanying the “Ratswechsel” - the annual inauguration of a new town council on the 27th of August of that year.
The cantata is one of few sacred cantatas written by Bach which opens with an orchestral sinfonia. Who knows what Bach’s motivation ...
published: 26 Sep 2017
3:57
Wendy Carlos demonstrates her Moog Synthesizer in 1970
Wendy Carlos interview on PBS' NOVA in 1989: https://www.youtube.com/watch?v=1EtH5E1N91Y
Note: the BBC has posted a longer version available here: https://www....
Wendy Carlos interview on PBS' NOVA in 1989: https://www.youtube.com/watch?v=1EtH5E1N91Y
Note: the BBC has posted a longer version available here: https://www.youtube.com/watch?v=UsW2EDGbDqg
From the BBC archives. The music towards the end of the video is the 2nd movement of the 4th Brandenburg Concerto from her Well-Tempered Synthesizer album. You can visit her webpage at: http://wendycarlos.com
https://wn.com/Wendy_Carlos_Demonstrates_Her_Moog_Synthesizer_In_1970
Wendy Carlos interview on PBS' NOVA in 1989: https://www.youtube.com/watch?v=1EtH5E1N91Y
Note: the BBC has posted a longer version available here: https://www.youtube.com/watch?v=UsW2EDGbDqg
From the BBC archives. The music towards the end of the video is the 2nd movement of the 4th Brandenburg Concerto from her Well-Tempered Synthesizer album. You can visit her webpage at: http://wendycarlos.com
- published: 09 Feb 2021
- views: 3631714
6:45
1970: WENDY CARLOS and her MOOG SYNTHESISER | Music Now | Retro Tech | BBC Archive
Electronic music composer Wendy Carlos - whose debut album Switched-On Bach has introduced a new audience to classical music - explains the fundamentals of elec...
Electronic music composer Wendy Carlos - whose debut album Switched-On Bach has introduced a new audience to classical music - explains the fundamentals of electronic sound using her Moog Synthesiser, and demonstrates some of the techniques she employed to adapt Johann Sebastian Bach's compositions for the electronic age.
This clip is from Music Now, originally broadcast 8 February, 1970.
You have now entered the BBC Archive, an audiovisual time machine that will transport you back to the golden age of TV to educate, entertain and enlighten you through our classic clips from the BBC vaults.
Make sure you subscribe so that you never miss a single stop on our amazing journey through the BBC Archive - https://www.youtube.com/c/BBCArchive?sub_confirmation=1
https://wn.com/1970_Wendy_Carlos_And_Her_Moog_Synthesiser_|_Music_Now_|_Retro_Tech_|_BBC_Archive
Electronic music composer Wendy Carlos - whose debut album Switched-On Bach has introduced a new audience to classical music - explains the fundamentals of electronic sound using her Moog Synthesiser, and demonstrates some of the techniques she employed to adapt Johann Sebastian Bach's compositions for the electronic age.
This clip is from Music Now, originally broadcast 8 February, 1970.
You have now entered the BBC Archive, an audiovisual time machine that will transport you back to the golden age of TV to educate, entertain and enlighten you through our classic clips from the BBC vaults.
Make sure you subscribe so that you never miss a single stop on our amazing journey through the BBC Archive - https://www.youtube.com/c/BBCArchive?sub_confirmation=1
- published: 17 Jun 2022
- views: 664526
4:10
Wendy Carlos Interview 1989 BBC Two
(✿^-^) ~~**TERFS/TRANSPHOBES DO NOT INTERACT**~~ (^-^✿)
Wendy appeared on the BBC in 1989 and is best known for the scores to A Clockwork Orange, Tron and The...
(✿^-^) ~~**TERFS/TRANSPHOBES DO NOT INTERACT**~~ (^-^✿)
Wendy appeared on the BBC in 1989 and is best known for the scores to A Clockwork Orange, Tron and The Shining.
https://wn.com/Wendy_Carlos_Interview_1989_BBC_Two
(✿^-^) ~~**TERFS/TRANSPHOBES DO NOT INTERACT**~~ (^-^✿)
Wendy appeared on the BBC in 1989 and is best known for the scores to A Clockwork Orange, Tron and The Shining.
- published: 04 Sep 2019
- views: 1178077
5:52
Young People's Concert: "Bach Transmogrified" / Bernstein · New York Philharmonic
Young People's Concert: "Bach Transmogrified"
with the New York Philharmonic
Written and conducted by Leonard Bernstein
Bernstein discusses different transmogr...
Young People's Concert: "Bach Transmogrified"
with the New York Philharmonic
Written and conducted by Leonard Bernstein
Bernstein discusses different transmogrifications or treatments of Bach's works. After an organ recital of the Little Fugue, guest conductor Leopold Stokowski conducts his own transcription of the fugue for symphony orchestra. Other transmogrifications include Foss' Phorion and a version of the Brandenburg Concerto No. 5 performed by the New York Rock and Roll Ensemble.
In this excerpt, Bernstein discusses the Bach Little Fugue in G Minor heard on the Moog Synthesizer.
Original CBS Television Network Broadcast Date: April 27, 1969
Produced and directed by Roger Englander
Available through KulturVideo.com: http://www.kulturvideo.com/Young-People-s-Concerts-Volume-II-p/d4370.htm
© 1990, 1993 The Leonard Bernstein Office Inc.
https://wn.com/Young_People's_Concert_Bach_Transmogrified_Bernstein_·_New_York_Philharmonic
Young People's Concert: "Bach Transmogrified"
with the New York Philharmonic
Written and conducted by Leonard Bernstein
Bernstein discusses different transmogrifications or treatments of Bach's works. After an organ recital of the Little Fugue, guest conductor Leopold Stokowski conducts his own transcription of the fugue for symphony orchestra. Other transmogrifications include Foss' Phorion and a version of the Brandenburg Concerto No. 5 performed by the New York Rock and Roll Ensemble.
In this excerpt, Bernstein discusses the Bach Little Fugue in G Minor heard on the Moog Synthesizer.
Original CBS Television Network Broadcast Date: April 27, 1969
Produced and directed by Roger Englander
Available through KulturVideo.com: http://www.kulturvideo.com/Young-People-s-Concerts-Volume-II-p/d4370.htm
© 1990, 1993 The Leonard Bernstein Office Inc.
- published: 26 Apr 2018
- views: 566547
2:36
Bach Air on the G String on Moog synthesizer
This music and vide has a festive theme so happy holidays to all my viewers and subscribers! Following in the tradition of Wendy Carlos and Switched-on Bach fr...
This music and vide has a festive theme so happy holidays to all my viewers and subscribers! Following in the tradition of Wendy Carlos and Switched-on Bach from 1972 let's play Air on the G String on the Moog synthesizer. The dancers are Pan's People from Top Of The Pops. The synth is a Moog Sub Phatty.
https://wn.com/Bach_Air_On_The_G_String_On_Moog_Synthesizer
This music and vide has a festive theme so happy holidays to all my viewers and subscribers! Following in the tradition of Wendy Carlos and Switched-on Bach from 1972 let's play Air on the G String on the Moog synthesizer. The dancers are Pan's People from Top Of The Pops. The synth is a Moog Sub Phatty.
- published: 24 Dec 2016
- views: 171184
0:47
Bach - Switched On Bach - Wendy Carlos
Sabías que en Switched-On Bach se reconstruyeron electrónicamente algunas obras reconocidas del compositor alemán del periodo barroco Johann Sebastian Bach. Una...
Sabías que en Switched-On Bach se reconstruyeron electrónicamente algunas obras reconocidas del compositor alemán del periodo barroco Johann Sebastian Bach. Una de estas fue su Tercer Concierto de Brandenburgo.
Para hacerse una idea del cambio en la sonoridad que provee el sintetizador Moog, así suena normalmente la música de Bach, interpretada por una orquesta tradicional.
¿Quieres saber más de Banch?, ingresa a: https://www.senalmemoria.co/articulos/bach-verdi-y-mozart-los-padres-de-la-musica-clasica
Síguenos en nuestras redes para conocer más de la historia de la música:
- Facebook: https://www.facebook.com/senalmemoria.co
- Twitter: https://twitter.com/SenalMemoria
- Instagram: https://www.instagram.com/senalmemoria
https://wn.com/Bach_Switched_On_Bach_Wendy_Carlos
Sabías que en Switched-On Bach se reconstruyeron electrónicamente algunas obras reconocidas del compositor alemán del periodo barroco Johann Sebastian Bach. Una de estas fue su Tercer Concierto de Brandenburgo.
Para hacerse una idea del cambio en la sonoridad que provee el sintetizador Moog, así suena normalmente la música de Bach, interpretada por una orquesta tradicional.
¿Quieres saber más de Banch?, ingresa a: https://www.senalmemoria.co/articulos/bach-verdi-y-mozart-los-padres-de-la-musica-clasica
Síguenos en nuestras redes para conocer más de la historia de la música:
- Facebook: https://www.facebook.com/senalmemoria.co
- Twitter: https://twitter.com/SenalMemoria
- Instagram: https://www.instagram.com/senalmemoria
- published: 04 Aug 2017
- views: 85497
9:13
The Most Important Recording Projects Ever (No. 5: Wendy Carlos' Switched-On Bach series)
Wendy Carlos: The Switched-On Boxed Set (Switched On Bach ! & II; The Well-Tempered Synthesizer; Switched-On Brandenburgs) ESD
Wendy Carlos: The Switched-On Boxed Set (Switched On Bach ! & II; The Well-Tempered Synthesizer; Switched-On Brandenburgs) ESD
https://wn.com/The_Most_Important_Recording_Projects_Ever_(No._5_Wendy_Carlos'_Switched_On_Bach_Series)
Wendy Carlos: The Switched-On Boxed Set (Switched On Bach ! & II; The Well-Tempered Synthesizer; Switched-On Brandenburgs) ESD
- published: 08 Jul 2023
- views: 11168
6:41
J.S. Bach: Brandenburg Concerto No. 3 in G major, BWV 1048 - 1. Allegro (2013 Experiment)
THIS EARLY EXPERIMENT HAS BEEN REPOST BY REQUEST.
Few musical works are as loved and as often performed as the six "Brandenburg" Concertos by Johann Sebastian ...
THIS EARLY EXPERIMENT HAS BEEN REPOST BY REQUEST.
Few musical works are as loved and as often performed as the six "Brandenburg" Concertos by Johann Sebastian Bach. These six 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 the Margrave of Brandenburg with a bound manuscript containing six lively concertos for chamber orchestra based on the Italian Concerto Grosso style. The Margrave never thanked Bach for his work - or paid him! There's no way he could have known that this unnamed gift (later named the "Brandenburg Concertos" 150 years later when Bach's biographer, Philipp Spitta called them that for the very first time, and the name stuck) would become a benchmark of Baroque music.
Even though he didn't call them the "Brandenburgs," originally, Bach considered them as a set. What he did was compile them from short instrumental Sinfonias and concerto movements he had already written. Then he re-worked the old music, often re-writing and elaborating where he saw fit. Bach even later reworked components of the Brandenburgs into other compositions. For example, the 1st movement of Concerto No. 1 can also be found as the Sinfonia to Cantata 52 and its 3rd movement was used as the opening Chorus of Cantata 207. The Sinfonia to Cantata 174 is a reworking of the 1st movement of the 3rd Brandenburg with the addition of three oboes and two horns.
The Concerto No. 3 in G major seems to make its own guidelines. It strays from the usual Concerto Grosso pattern in that, technically, there is no actual solo; the 9 stringed instruments – 3 violins, 3 violas, 3 cellos (supported by a continuo of bass and harpsichord), function sometimes as three solid units, sometimes simply as nine individual voices, engaging in a variety of combinations. The central theme of the opening movement revolves around a three-note figure that drops to the lower neighbour note and then returns to the starting pitch. This musical cell cascades through the string parts, highlighting the inherent equality among the voices in Bach's score.
In 1968 Wendy Carlos released "Switched-On Bach" which was to become the most influential "electronic" (not to be confused with modern "electronica" or EDM "electronic dance music”) classical recording of all time, winning the 1969 Grammys in three categories. The album was also one of the first "classical" recordings to go Gold. She is considered to be the pioneer in bridging the gap between classical and synthesized music. The album received a mixed reaction at the time of its release, however. Some critics reviled it for trivializing the work of one of the most revered classical composers of all time, but others were excited by the freshness of the sound and the virtuosity that went into its creation.
Regardless of the negative reviews, the album caught public attention and sold better than anyone expected. A publicist for Colombia Masterworks said at the time, "Employing a repertoire of works by Bach for this unique recording, makes sense." "The composer sometimes wrote without specific instruments in mind, being more concerned with the actual musical lines." As a result, the Moog synthesizer may be considered a valid musical instrument. More accurately it might be said to carry the listener beyond the limits of conventional instruments toward a new universe of sounds. Summing the emergence of the Moog synthesizer, Benjamin Folkman (Carlos' associate and musicologist) stated in the liner notes for the album: "Like any musical instrument, it has extraordinary capabilities and maddening limitations. Playing it beautifully requires as much skill, practice, talent and taste as playing any instrument beautifully, plus the need of a composer's ear for new and different sounds." The rest as they say is history!
I first heard "Switched-On Bach" in 1972 when my music teacher played the opening movement of the 3rd Brandenburg and asked us to count and name all the instruments. I was amazed to learn that there was only one “instrument” being played: the Moog Synthesizer – those ear-catching sounds! Later that night I went out to purchase my first classical album and my most favourite recording of all time. This is what inspired me to take piano lessons and to go further (discovering my passion for the artistry of Isao Tomita) and delve into arranging, orchestration and synthesis. In complete homage to Carlos' original realization, I have used all "hand-tuned" digital VST synths to come up with the vintage analog modular sounds. This is in no way intended to be a duplication of her work, but my humble attempt at the re-imagining of her voices and timbres using somewhat limited virtual synthesizers. I wanted to create something sounding familiar.
The use of headphones will greatly enhance your listening experience.
INFORMATION ON THE VISUALIZATION IS DETAILED IN THE FIRST PINNED COMMENT.
https://wn.com/J.S._Bach_Brandenburg_Concerto_No._3_In_G_Major,_Bwv_1048_1._Allegro_(2013_Experiment)
THIS EARLY EXPERIMENT HAS BEEN REPOST BY REQUEST.
Few musical works are as loved and as often performed as the six "Brandenburg" Concertos by Johann Sebastian Bach. These six 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 the Margrave of Brandenburg with a bound manuscript containing six lively concertos for chamber orchestra based on the Italian Concerto Grosso style. The Margrave never thanked Bach for his work - or paid him! There's no way he could have known that this unnamed gift (later named the "Brandenburg Concertos" 150 years later when Bach's biographer, Philipp Spitta called them that for the very first time, and the name stuck) would become a benchmark of Baroque music.
Even though he didn't call them the "Brandenburgs," originally, Bach considered them as a set. What he did was compile them from short instrumental Sinfonias and concerto movements he had already written. Then he re-worked the old music, often re-writing and elaborating where he saw fit. Bach even later reworked components of the Brandenburgs into other compositions. For example, the 1st movement of Concerto No. 1 can also be found as the Sinfonia to Cantata 52 and its 3rd movement was used as the opening Chorus of Cantata 207. The Sinfonia to Cantata 174 is a reworking of the 1st movement of the 3rd Brandenburg with the addition of three oboes and two horns.
The Concerto No. 3 in G major seems to make its own guidelines. It strays from the usual Concerto Grosso pattern in that, technically, there is no actual solo; the 9 stringed instruments – 3 violins, 3 violas, 3 cellos (supported by a continuo of bass and harpsichord), function sometimes as three solid units, sometimes simply as nine individual voices, engaging in a variety of combinations. The central theme of the opening movement revolves around a three-note figure that drops to the lower neighbour note and then returns to the starting pitch. This musical cell cascades through the string parts, highlighting the inherent equality among the voices in Bach's score.
In 1968 Wendy Carlos released "Switched-On Bach" which was to become the most influential "electronic" (not to be confused with modern "electronica" or EDM "electronic dance music”) classical recording of all time, winning the 1969 Grammys in three categories. The album was also one of the first "classical" recordings to go Gold. She is considered to be the pioneer in bridging the gap between classical and synthesized music. The album received a mixed reaction at the time of its release, however. Some critics reviled it for trivializing the work of one of the most revered classical composers of all time, but others were excited by the freshness of the sound and the virtuosity that went into its creation.
Regardless of the negative reviews, the album caught public attention and sold better than anyone expected. A publicist for Colombia Masterworks said at the time, "Employing a repertoire of works by Bach for this unique recording, makes sense." "The composer sometimes wrote without specific instruments in mind, being more concerned with the actual musical lines." As a result, the Moog synthesizer may be considered a valid musical instrument. More accurately it might be said to carry the listener beyond the limits of conventional instruments toward a new universe of sounds. Summing the emergence of the Moog synthesizer, Benjamin Folkman (Carlos' associate and musicologist) stated in the liner notes for the album: "Like any musical instrument, it has extraordinary capabilities and maddening limitations. Playing it beautifully requires as much skill, practice, talent and taste as playing any instrument beautifully, plus the need of a composer's ear for new and different sounds." The rest as they say is history!
I first heard "Switched-On Bach" in 1972 when my music teacher played the opening movement of the 3rd Brandenburg and asked us to count and name all the instruments. I was amazed to learn that there was only one “instrument” being played: the Moog Synthesizer – those ear-catching sounds! Later that night I went out to purchase my first classical album and my most favourite recording of all time. This is what inspired me to take piano lessons and to go further (discovering my passion for the artistry of Isao Tomita) and delve into arranging, orchestration and synthesis. In complete homage to Carlos' original realization, I have used all "hand-tuned" digital VST synths to come up with the vintage analog modular sounds. This is in no way intended to be a duplication of her work, but my humble attempt at the re-imagining of her voices and timbres using somewhat limited virtual synthesizers. I wanted to create something sounding familiar.
The use of headphones will greatly enhance your listening experience.
INFORMATION ON THE VISUALIZATION IS DETAILED IN THE FIRST PINNED COMMENT.
- published: 17 Sep 2022
- views: 9919
2:00
Switched on Bach | Bourrée BWV807
Polyphonic music lends itself so well to multiple synth voice arrangements. That way every separate voice gets sung by different 'singers' and the conversation ...
Polyphonic music lends itself so well to multiple synth voice arrangements. That way every separate voice gets sung by different 'singers' and the conversation they have gets much more clearer and easier to understand. Hear what the great Johann Sebastian Bach had to say to us.
#Behringer #MS1 #Roland #FA #FA08 #Yamaha #Clavinova
https://wn.com/Switched_On_Bach_|_Bourrée_Bwv807
Polyphonic music lends itself so well to multiple synth voice arrangements. That way every separate voice gets sung by different 'singers' and the conversation they have gets much more clearer and easier to understand. Hear what the great Johann Sebastian Bach had to say to us.
#Behringer #MS1 #Roland #FA #FA08 #Yamaha #Clavinova
- published: 20 Mar 2022
- views: 3492
3:52
J.S. Bach: Sinfonia to Cantata No. 29 [2017 Revisit] (Synthesized)
Please find my updated version here:
https://youtu.be/-QorYw9hlsE
For information on the visualization see the end of this note.
Johann Sebastian Bach wrote ...
Please find my updated version here:
https://youtu.be/-QorYw9hlsE
For information on the visualization see the end of this note.
Johann Sebastian Bach wrote Cantata 29 in 1731, by which time he was working in Leipzig and at the height of his career. Although there is a reference to "Gott" (God) in the title (and the work is based on sacred text), this is not actually a church cantata - that is, it was not written for a specific liturgical feast. But the work is a sacred cantata, written for a service at the Nikolaikirche (St. Nicholas Church) accompanying the “Ratswechsel” - the annual inauguration of a new town council on the 27th of August of that year.
The cantata is one of few sacred cantatas written by Bach which opens with an orchestral sinfonia. Who knows what Bach’s motivation was behind this Sinfonia (convenience, musical appropriateness, or simply a looming deadline?) but the opening music the citizens of Leipzig heard that day (and again in 1739 and 1749) had existed in another form for over a decade, as the prelude to Violin Partita No. 3 in E (BWV 1006), written during Bach's earlier Cöthen period. Bach had already revised this for organ and strings in 1729 for the “wedding” cantata “Herr Gott, Beherrscher aller Dinge” (BWV 120a).
Bach sometimes reused an earlier composition, typically revising and improving it in a process called “parody” - the reworking of one kind of composition into another. Transposing the work from E major down a step to D major, Bach transformed the prelude and created a joyous orchestral setting befitting the ceremonial pomp of the occasion. The obbligato (solo) organ plays the original virtuoso violin part, while the lavishly written ensemble (3 trumpets, two oboes, strings, continuo and timpani) imitates the material to produce a concerto-like structure. Today, this ceremonial sinfonia is often performed by solo organ (notably by organist Diane Bish).
I decided to revisit this piece as I’d been requested to participate in a concert series of semi “switched-on” music combining analog and digital synthesizers and strings to create a hybrid ensemble. Though the project is on hold, I thought to create a new version having gained more experience and comfort with my software and mixing processes. I tried to get closer in sound to Carlos’ original version than in my previous post from six years ago (https://www.youtube.com/edit?o=U&video_id=J0TnGGKN2co). Though my timbres are reminiscent, I’ve given the score a broader stereo treatment than Carlos’ more simplistic audio vista.
This is probably the most important piece of music to me (and is my ultimate favourite Baroque composition). The work presented here, is my sincere homage to Wendy Carlos, whose 1969 Grammy Award winning "Switched-On Bach" was the album that sparked my interest in Classical music. It inspired me to study piano, explore music through its eras, and later on, lead me to synthesizers and digital sound development.
Here is Bach's famous Sinfonia to Cantata No. 29, "Wir danken dir, Gott, wir danken dir" (We thank you, God, we thank you). As always, the use of headphones will greatly enhance the listening experience.
For those wanting to follow the music, the MAMM Player Visualization colours are as follows:
Organ – Orange (top line)
Trumpets – Light Orange/Yellow/Lime Green (intermittent over Violin and Oboe)
Violin – Green (2nd line)
Oboe – Blue (3rd line)
Bassoon – Mauve (4th line)
Viola – Purple (can be seen under some of the Bassoon line)
Cello – Violet (2nd last line)
Double-bass – Pink (bottom line)
Timpani – Coral (intermittent through Cello and Double-bass)
https://wn.com/J.S._Bach_Sinfonia_To_Cantata_No._29_2017_Revisit_(Synthesized)
Please find my updated version here:
https://youtu.be/-QorYw9hlsE
For information on the visualization see the end of this note.
Johann Sebastian Bach wrote Cantata 29 in 1731, by which time he was working in Leipzig and at the height of his career. Although there is a reference to "Gott" (God) in the title (and the work is based on sacred text), this is not actually a church cantata - that is, it was not written for a specific liturgical feast. But the work is a sacred cantata, written for a service at the Nikolaikirche (St. Nicholas Church) accompanying the “Ratswechsel” - the annual inauguration of a new town council on the 27th of August of that year.
The cantata is one of few sacred cantatas written by Bach which opens with an orchestral sinfonia. Who knows what Bach’s motivation was behind this Sinfonia (convenience, musical appropriateness, or simply a looming deadline?) but the opening music the citizens of Leipzig heard that day (and again in 1739 and 1749) had existed in another form for over a decade, as the prelude to Violin Partita No. 3 in E (BWV 1006), written during Bach's earlier Cöthen period. Bach had already revised this for organ and strings in 1729 for the “wedding” cantata “Herr Gott, Beherrscher aller Dinge” (BWV 120a).
Bach sometimes reused an earlier composition, typically revising and improving it in a process called “parody” - the reworking of one kind of composition into another. Transposing the work from E major down a step to D major, Bach transformed the prelude and created a joyous orchestral setting befitting the ceremonial pomp of the occasion. The obbligato (solo) organ plays the original virtuoso violin part, while the lavishly written ensemble (3 trumpets, two oboes, strings, continuo and timpani) imitates the material to produce a concerto-like structure. Today, this ceremonial sinfonia is often performed by solo organ (notably by organist Diane Bish).
I decided to revisit this piece as I’d been requested to participate in a concert series of semi “switched-on” music combining analog and digital synthesizers and strings to create a hybrid ensemble. Though the project is on hold, I thought to create a new version having gained more experience and comfort with my software and mixing processes. I tried to get closer in sound to Carlos’ original version than in my previous post from six years ago (https://www.youtube.com/edit?o=U&video_id=J0TnGGKN2co). Though my timbres are reminiscent, I’ve given the score a broader stereo treatment than Carlos’ more simplistic audio vista.
This is probably the most important piece of music to me (and is my ultimate favourite Baroque composition). The work presented here, is my sincere homage to Wendy Carlos, whose 1969 Grammy Award winning "Switched-On Bach" was the album that sparked my interest in Classical music. It inspired me to study piano, explore music through its eras, and later on, lead me to synthesizers and digital sound development.
Here is Bach's famous Sinfonia to Cantata No. 29, "Wir danken dir, Gott, wir danken dir" (We thank you, God, we thank you). As always, the use of headphones will greatly enhance the listening experience.
For those wanting to follow the music, the MAMM Player Visualization colours are as follows:
Organ – Orange (top line)
Trumpets – Light Orange/Yellow/Lime Green (intermittent over Violin and Oboe)
Violin – Green (2nd line)
Oboe – Blue (3rd line)
Bassoon – Mauve (4th line)
Viola – Purple (can be seen under some of the Bassoon line)
Cello – Violet (2nd last line)
Double-bass – Pink (bottom line)
Timpani – Coral (intermittent through Cello and Double-bass)
- published: 26 Sep 2017
- views: 94666