It's not really complicated, if you study really hard and Putting it into practice comes out alone, I can improvise a fugue of 3 voice or write 4 but the The characteristics of bach music is unmatched, i believe he is not of this world
@@carsonwall2400 he said how could all this contained in mind, my thoughts was, it's possible, not hard, its about consistence and it will come out alone, i used to think same when i started this journey
I like the way you always lay each version of the theme over a shadow of the original. Just out of curiosity, do you have a favourite of the Contrapuntus 14 completions? Mine is Zoltán Göncz's, but I haven't looked at any of the others in much detail.
Lovely, very beautiful. Two questions: 1) Would you say that Kimiko Ishizaka brings something of her own to this performance -- something that wasn't there before? I don't know how to describe or understand, but to me the music sounds less dry, more pliable than most Bach I've heard before. 2) What is the significance of the inverted music shown below the main animated display? Thank you Stephen, and thank you for your generous gifts to music.
It's hard to say what was and what wasn't "there before." Ishizaka has her own unique interpretation, but what she does is in response to things that are suggested by the composition itself. The piece is written to be invertible, and is played once in each orientation; each time, what you're hearing is on top; its inversion is below.
KDI uses at least two little-known secrets to making the voices dance : [1:] They must make 'room' [empty times] for each other ; so, each one must touch down only briefly for each step [ each note's sounding ] before lifting off again . ( In short: very non-legato ; often even staccato , esp. for otherwise-dominant dancings~comments [phrases] . ) [2:] Then, each voice is given a distinct persona , via a distinct _avg_ degree of non-legato , as well as by _differing_ degrees of it { & of dynamics [volume] if available } _thruout_ the course of each one's every smallest comment [phrase] . (-- even tho often then also _imitating_ these distinct phrasings between each other . ) . . . By such means , so rarely does anyone else -- til they learn from such as KDI -- enable Bach's voices ( creatures [overtonings] of universal beginningless & endless Causality [Inter-Dependence] ) to approach true inter-fractality . . to come to life together !
her interpretation contains more drama and emotion, more than i think is necessary, since the magic of bachs music is in the composition itself, and as such is better expressed through cold, robotic playing. i dont prefer it, but i still appreciate her performance.
The mirrors are incredible..
The notes in each voice are reversed, and the voices itself are reversed too!
Speechless performance from Bach..
Lkkik,,,,
Definitely out of this World ...
I am hyped for contrapunctus 14!
I hope he uses Glenn Gould recording for that one.
Amazing. As a non-musician, I can now actually see (some of) what Bach is doing. But how could all this be contained in one mind?
It's not really complicated, if you study really hard and Putting it into practice comes out alone, I can improvise a fugue of 3 voice or write 4 but the The characteristics of bach music is unmatched, i believe he is not of this world
@@carsonwall2400 i think he changed the comments 🤔
@@carsonwall2400 he said how could all this contained in mind, my thoughts was, it's possible, not hard, its about consistence and it will come out alone, i used to think same when i started this journey
@@carsonwall2400 yea, but not difficult, if you studied the species of voicing and advanced theory it's like a sound puzzle
@@carsonwall2400 i just adding stuff, i don't think it harm, if you don't like this it's fine i don't obligated you to read it tho 🤷🏻♀️
One problem is remembering to breath while this unfolds in so many dimensions....
The Inversus begins at 3:25. Better with two harpsichords IMO.
Yeah, that drove me nuts. I remember reading there were no pianos in Bach's time.
Two?
@@oldbrokenhands There were, but only at the very end of his life, and the Musical Offering was the only piece he ever wrote with them in mind.
Actually at 3:25 begins the rectus. The first is the Inversus
@@oldbrokenhands the art of fugue isn't a harpsichord piece either
I like the way you always lay each version of the theme over a shadow of the original. Just out of curiosity, do you have a favourite of the Contrapuntus 14 completions? Mine is Zoltán Göncz's, but I haven't looked at any of the others in much detail.
Sorry, I can't help you.
Great job.
We are too close to the unfinished fugue.
Ishizaka's recording includes a completion she composed.
smalin I have listened to it 2 weeks ago and I am waiting for your animated graphical score.
Are you impatient?
Yes, to some extent.
Why the mirror bellow the score?
CoolPigeon I believe it is because the second half is the first half inverted.
It's a mirror fugue.
Lovely, very beautiful. Two questions:
1) Would you say that Kimiko Ishizaka brings something of her own to this performance -- something that wasn't there before? I don't know how to describe or understand, but to me the music sounds less dry, more pliable than most Bach I've heard before.
2) What is the significance of the inverted music shown below the main animated display?
Thank you Stephen, and thank you for your generous gifts to music.
It's hard to say what was and what wasn't "there before." Ishizaka has her own unique interpretation, but what she does is in response to things that are suggested by the composition itself.
The piece is written to be invertible, and is played once in each orientation; each time, what you're hearing is on top; its inversion is below.
KDI uses at least two little-known secrets to making the voices dance : [1:] They must make 'room' [empty times] for each other ; so, each one must touch down only briefly for each step [ each note's sounding ] before lifting off again . ( In short: very non-legato ; often even staccato , esp. for otherwise-dominant dancings~comments [phrases] . ) [2:] Then, each voice is given a distinct persona , via a distinct _avg_ degree of non-legato , as well as by _differing_ degrees of it { & of dynamics [volume] if available } _thruout_ the course of each one's every smallest comment [phrase] . (-- even tho often then also _imitating_ these distinct phrasings between each other . ) . . . By such means , so rarely does anyone else -- til they learn from such as KDI -- enable Bach's voices ( creatures [overtonings] of universal beginningless & endless Causality [Inter-Dependence] ) to approach true inter-fractality . . to come to life together !
her interpretation contains more drama and emotion, more than i think is necessary, since the magic of bachs music is in the composition itself, and as such is better expressed through cold, robotic playing. i dont prefer it, but i still appreciate her performance.
Holy fugue, Batman
BIKarus I
this one looks like constellations