Play Bach I (Classical Electronic Music Analog Synthesizer)
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- Опубліковано 30 чер 2024
- Play Bach I
Classical Electronic Music
Titre:
1. Prélude et Fugue en Do Mineur BWV 847 00:00
2. Prélude et Fugue en Do# Majeur BWV 848 03:47
3. Fugue en Mib BWV 876 07:47
4. Concerto pour deux violons en Re Mineur BWV 1043 09:33
5. Ich Folge dir Gleichfalls BWV 245 12:41
6. Petite Fugue en Sol Mineur BWV 578 16:25
7. Passacaille et Fugue en Do Mineur BWV 582 19:54
8. D. Scarlatti Sonate K 01 32:16
9. F. Chopin Valse n°5 en La Majeur op.42 33:33
Instruments:
Roland Juno 106 (Mid)
Ladyada x0xb0x (Right pan)
Arturia Micro Brute (Left Pan)
Recorded by J.Jupin
Mastered by A.Jousse
Artwork by C.André
Mixed, Programmed, Performed by A.Fefeu DeMacau and J.Likhtarevich
"This is the result of love between the psychedelic sounds of Goa Acid techno and the divin music of J.S.Bach"
Bandcamp: playbach.bandcamp.com/album/p...
Facebook: / play-bach-330902887382644
![Hans Wurman - The Moog Strikes Bach [Original German Stereo LP] (1969)](http://i.ytimg.com/vi/m-TgvSJJdis/mqdefault.jpg)
![Peter Michi Miyazaki: J.S.Bach "Badinerie" [Played by ARP2600]](/img/n.gif)
Bach works everywhere. He's like the universal language of music. like mathematics for physics
It's like Bach composed Castlevania.
Pretty much.. Castlevania seems to borrow from Bach and a little from the Beethoven sonatas.
In an alternate universe!
This remeber me of Bloodstained library ost
That's actually an interesting thought: if Bach had been born now, what would have been his line of work? Maybe he'd have written the score of Start Wars or the music of Final Fantasy?
Bach composed everything😅 😂
this feels like a direct plug of Bach right into the brain
bach is pretty much perfect for every musical genre ^^
I thought that too!
Moreeeeeee!! Ahhhhgggggggg!!
The roots of it all
Bach heared...and Bach said:"Wunderbar!"...period :)
Wunderbach!
Passacaglia must be one of the greatest and trippiest pieces of music of all time.
Recommended best trip to take with Bach:
Toccata and Fugue in d minor
Brandenburg concerto #5 cadenza
( harpsichord solo )
Most of the Two part Inventions
Well Tempered Clavier
Italian Concerto
Happy Sailing................
Great work my friend, as a Bach lover and electronic musician I appreciate this effort of yours.
@Dangelo Lyric So any updates bots
Your transcription of the Passacaglia and Fugue absolutely blew my mind!❤
The de-tuning effect in BWV 245 is the first time I have heard someone do this in Bach, and I think it works wonderfully. So memorable and distinctive!
I feel like I awaken prescience when I listen to this😂
"RIIISEEEEEE KWISATZ HADERACH !!! AAAHHHHHGGGGGGGG GOLLUM GOLLUM AAAHHHGGGGGGG" 🤣🤣🤣🤣🤣
dont worry I am ok
Sounds great!
This channel is so underrated.
Awesome!
Amazing!
Thanks!!!! Genuine, great, gorgeous! Fantastique!
Very good, I love how you explore all possible sounds
Wonderful!!
Nice work!
This is awesome
Wonderful interpretation, with some great synth voicing - love it - thank you for posting this
Incroyable surtout le concerto double en ré mineur!
This is crazy sikk!!! I love it
582 never disappoints. It's such a masterpiece, and you did it justice.
The best, unique perfect sound 😂 love this ❤
To those who refer this as classical, it as actually Baroque. Classical period follows this on a historical timeline.
Actually, when most people say classical music, they mean Western music made in the common practice period.
As much as I advocate for purity and exactness in speech, I think using the term "classical music" to refer to Rennaisance, Baroque, Classical &c does it justice. It highlights and brings to the spotlight the difference between modern garbage and the classical, good way of making *music*.
To further the clarification above by “No Name” (ca. March, 2020) re the misleadingly-named “Classical Period” :
As for a better label, for that century-long reaction into over-simplicity, in the bourgeois & royal Europeans’ predominant music of the century-long period, ca. 1725 to 1825, which we still so-oxymoronically* call “The Classical Period” . .
{*: since, honestly, most of its music was so timidly simplistic as to be quite boring, and thus was far below "classic" } ;
. . its music comprising those two castes’ period of predominant reaction against the most moving complexity . .
( esp. moving, via the breadth of exploration of permutations of pattern, the depth of subtlety of modulation [chord-changes], & all within the expanse of polyphony [multi-melody structure] )
--- and thus, reaction against the deeper and more enduring interest and enjoyability ---
. . of much of their own parents' & grandparents' music, ca. 1600 to 1775 (- yes, overlapping -), comprising what we call the "Baroque" ["Irregular"] Period ;
; those reactionaries’ own idealistic labels, for this over-simplistic century of works, being usually either The “Galant" ["Valiant"] Period (among the Mediterraneans) , or The "Empfindsam" ["Feeling"] Period (among the Teutons) :
::
even were our own future descendants to eventually return to one or the other of those original idealistic labels for that reactionary period,
either one would still be just as much of an oxymoron as that of now our own still-continued naming of it as “The Classical Period”:
namely, the problem that, actually, the music of those reactionaries’ parents’ "Baroque" music, was, really, often either far _more_ 'galant' in its courageous unabashed complexity ( esp. of-course the multi-cable rock-climbings & deep-sea-divings of J. S. Bach ) ,
&/or was just as much if not more 'empfindsam' ( esp. of-course the complete heart-puddlings of the slow movements of G. F. Händel -- &, actually, often of J.S.B. as well ) ,
, more so than the often painfully - simplistic & - timid mere kiddy-pool-splashings of those reactionaries’ own predominantly - mere plagal [IV-I] & authentic [V-I] cadences, with only very shallow permutations thru-out each work --- all within mere homophony [single-melody structure] , to boot {- predominantly, anyway -} ;
; during which over-simplistic century, even its most renowned exponent, Mozart himself, toward the last of his mere 35 years (straddling its middle), gradually rebelled more and more often against the advice he'd been reluctantly following thru the vast majority of his incredible output: namely, to dumb it all down, in order to “make it more popular” and “sell more tickets” ;
which leaves us, with several notable exceptions thru-out his several hundred works, only the very last dozen or so (including the last few of his 41 main symphonies), that he'd actually started-upon only so late (before he suddenly died), to once again be works employing complex modulations & permutations (+ occasional polyphony), and thereby --- tho only also via his genius -- to be so enduringly enjoyable as to eventually easily survive the test of time ..
and thus leaving perhaps only a couple of dozen by him** to comprise perhaps about fully half of all the truly 'classic' works from that whole century-long "Galant" or "Empfindsam" Period -- seldom “Classic”! -- to still surely be saved in the holographic-qubit ROM's of our grandchildren's grandchildren.
[*: --- and, quite similarly, that “mere several dozen only”, thru that whole century, excludes most all but a few works of perhaps its second-brightest star, Haydn, as well ; (-- including most all of his - yes - 104 symphonies ) ;
plus, it excludes most of at least the first couple dozen if not more of the works of Beethoven, as he brought Europe out of such over-simplism in his gradual venturing into ever higher & deeper patterns of modulation & polyphony . .
-- with, again so oxymoronically, even deeper degrees of both ‘galance’ & ‘empfindsamkeit’ --
. . , such that most of his earlier works, along with, again, indeed most all of the works of that whole previous reactionary century thru-out Europe, all, conveyed much less galance or empfindsamkeit, and seemed, all in all, like mere hasty embellishments of children’s nursery rhymes.
]
--------
Ending: Now, why take pains to go so far into all of this ? For one main reason, only:
This is a call to musicians of our generation and of those to come who may also read this:
to help explore, express, and resolve the common hangups and obstacles that we all share in our subconsciousnesses, especially in this turbulent era and perhaps even those to come;
a call to help express and then show various resolutions of our ‘deepest’ issues, via variegated musical patterns stimulating ‘deep’ ~ ‘psychic’ resolutions of the most complex &/or most troubling patterns in all our feelings and our conceptions. I.e.:
Since, perhaps, of all the arts, music can often cause the very deepest resolutions in most of our psyches, leading to the most resolutions in our relationships and services for each other, and thus leading to the most flourishing of our civilization (eventually surely across the planets and into the stars), then,
this is a call to all true musicians, to please let go of aspiring to spend one’s precious lifetime in only the mere parroting of ever-less-relevant works of those ever-longer dead (so many works which really were never “classic” anyway);
and instead, to help much more, in your time remaining, to compose more new and fresh works which might eventually be appreciated as true classics of our age, for this whole generation now, and even for as many as possible of the generations yet to come.
@@waking-tokindness5952 With all respect, the fathers wrote practically everything that one could do within the major-minor system, there's music for everything and perhaps the only thing modern composers could do to make something new is to start altering tuning and scales or experiment with form, but this is while plenty of bold (and working well) compositions are unknown, and while classically trained composers in Europe got lost in dodecaphony or worse they misuse instruments and compose piles of nonsensical noise, often including stuff like scratching back of viola most of the time and turning a literal vacuum cleaner on and off. I believe the proper composing ended between 1930s and 1960s, just when it was getting interesting as some composers began for example writing symphonies heavily using counterpoint but it seems to have died with them.
@@piotrmalewski8178 Plenty of elegant, inter-dependence -revealing modal & rhythmic architecture s yet unwritten.
Check out compositions of "fractal proportions".
( But gr8 t C someone else thinkg re this issue. )
Beautiful! Probably the strongest electronic classical recordings I've heard so far!
Really beautiful work!Not easy to follow 'W.Carlos',but I must admit I really enjoyed this a lot! : )
Excelent. Go ahead!
Hermoso y sublime,gracias
Wow, fantastic work! The genius of Bach must be exalted in many ways and electronic instruments match perfectly with His music.
El genio de Bach con instrumentos electrónicos, meraviglioso!
Love it!
maravilloso , que felicidad me produce
Cet album est extraordinaire. Le seul album "switch on Bach" interprété et arrangé avec gout que j'aie pu trouver.
Cette musique et tout simplement super pour faire des génocide !
@@Kael-Shadowclaw-qg3kh Chef ?
Great!
Outstanding work. When you have perfect music you can display this art. The Bach sounds fantastic but the jury is out in the Scarlatti & Chopin though. But still a brilliant musical demo.
I think Yarosystems did Bach better.
Awww! You are a genius! I have done Für Elise with synths a few years ago and currently i'm listening to classic again. This is exactly what i was looking for since classical instruments are getting boring after a while. Thank you for taking your time and making me happy :) handsovercookies
congratiulation, this is on the spot
Now it just needs some breakbeats!
WoW!!!!
Agggghhhhhh my brain!! I bit more than I could swallow 😵💫🤯😵
Boah geil!!!
from what i read about bach he made hundreds of songs on sheet music paper and hundreds of years later some body discovered the compositiods
that john sepastion bach created in his own time thats the history what i learned about bach by the way i like bach music.
Ian mentioned this album in an April 2016 CUPodcast and here I am.
@@playbach3243 I don't think they're on UA-cam but if you search CUPodcast episode 70, it should be about 6 minutes from the end. They're opening gifts and Pat gets a Queen vinyl and Ian gets Switched-On Bach which I completely confused for this one. Even though I think I like this one more. All in all, I'm an idiot and confused this album with Switched-On Bach.
Well done, I like the artwork too
ahahhah so funny! loved it
Sooooo Holy shit!!!!
haha Ich Folge dir Gleichfalls is cool
THE HARMONICS AT 33:29 JESUS CHRIST
Oh fuck this is so fuckin raw so fuckin sickkkkk!!!!!
Fuck, this musikks a fuckin trip I love it!!!!
the besto t study 1.25x
What software do you use to make these sounds please?
The sounds are made by hardware.
3:24 Jurassic Park
why u leave us (?)
Do I have your permission to download this?
You can download it in good quality on the Bandcamp: playbach.bandcamp.com/album/play-bach-i
5:04
Why does Baroque style work for synthesized music?
Creo que, más bien que el estilo barroco, en general, es la música contrapuntística de BACH la que es óptima para versiones sintetizadas! 🤓
Votre travail musical est remarquable.
Les sons des générateurs Moog sont bien programmés.
J'utilise moi-même le Mi i-Moog, avec lequel je joue ne Prélude numéro 1 de Bach.
Cependant, certaines de vos interprétations sont jouées trop rapidement, à mon sens, excusez-moi.
Good job.
i loved the project, but if someone played this like some living human being would be perfect.
Is that a wrong note at 10:25?
Yeah, that has some little mistakes, but it's not a big problem
14:27 Seriously? I mean cmon man.
Really, it's horrible. What fan of baroque could possibly consider this musically appropriate.
@@julianopificius6910 Try re-listening, now & then, at least a few times, to just one piece at a time (w/ a good amount of silence between pieces) over at least a few days;
apparently, at least for all those w/ whom I've given such recordings who initially had the same adverse reaction,
our neuronal~psychic sub-nets' workings .. ..
---- of appreciating e.g. the better metricality, and -- er, usually -- the better elucidation of the polyphony (via more distinction between the voices' respective timbres ) * ----
.. .. such 'positive' sub-net activations seem apparently to eventually predominate far over our 'negative' ones (of our natural aversion vs e.g. the strangeness of those new timbres explored) ** .
--------
*: --- altho, in this version, it must be admitted, sometimes the voices' volumes are not well inter-balanced.
**: --- w/ at least one glaring exception: The chaos of that last track, the destruction of the Chopin Waltz, resulting in something the furthest from music, _must've_ been included as merely a humorous ending!
@@waking-tokindness5952 "A lot of long words there, miss: we're naught but humble pirates"; Capt. Barbosa.
OK, your post sounds a bit self-indulgent, but I'll take you seriously, and do as you suggest.
@@julianopificius6910 :. One can't help speculating that your open-mindedness might well eventually lead to your full enlightenment --- perhaps, so opificiously, via shortcuts such as J.S. Bach's music, if rendered metrically* & distinctly --- enlightenment into comprehension of universal Inter-Dependence ~ Causality ~ Conservation ~ .. Karma .. .. ..
, w/ all other enlightened saints ['buddhas'] , all together forever helping yet others up out of their small dark self-ishnesses & into the same unending interstellar celebration of -- well, of helping yet others up into the same .. etc .. ..
--- but, for us 'gandharva buddhas' of JSB's ilk here, by then, perhaps especially via yet more new & fresh inter-dependence - illustrating classics-to-come in music & even multi-media ..
--- with Papa Bach himself, of course, manning the main console of the raddest mega-synth, moogifying a google galaxies of heavenly hosts, cosmic choirs' enchanting cantatas turning the turbulent turmoils of billions of buzzing big bangs, inexorably, inevitably, into perfect proportionality, peace, & prosperity, in countless chiliocosms of civilizations;
all, ever more .. well, just ever more Together!
.. ..
--- on & on ..
& on .. .. ..
- ?
---------
*: -- "metrically": excepting his arioso interludes, of course.
-- Oh, and if your video viewer's settings allow (-- possibly getting to the settings by clicking on the small white cog along the margin? --) , try listening to most of it at only perhaps +-75% of the usual modern tempo (which some experts of the Baroque say now tends on-avg. to be way too fast).
ADULTERATO
Walter/Wendy Carlos did this 50 years ago and infinitely better, and with far more primitive tools and methodology, limited by the technology that she helped conceptualize, develop and needed to create to achieve her artistic vision. Sad that in half a century no one has come even close to the brilliance of her pioneering work with Bob Moog. Perhaps there is some truth in the saying that you can't improve on perfection. Nice effort though, but unlistenable after one has already experienced "Switched-On Bach".
That's reactionary nonsense. SoB was the unsurpassable work of its time, but not for all time.
Carlos' work is still legendary, but this Play Bach collection (album?) is absolutely excellent. Their version of the Prelude #2 in C-Minor beats Carlos' presto, tinny, and misshapen version hands-down.
(Yes, I know that Carlos wanted that SoB version of this Prelude to be deliberately "outrageous", and that's fair enough: the problem is that it was both outrageous and not very good.)
Among the other wonderful surprises in this Play Bach album is the realization of the first movement of the Double Violin Concerto - a genuine revelation, with the violin counterpoints given equal prominence for a change, allowing the discords to stand without embarrassment, and cracking along at a tempo that isn't breakneck by any means but which doesn't allow the structure to sag for a single moment.
Congratulations to everyone who made this album - the hard work and careful study you put into this simply shines through at every moment. More like this, please!
@@geakt124 Thank you for being a better person than the person you replied to.
W.Carlos standard was outstanding,and you correctly highlight that SOB1 was an early (possibly a very first) attempt in electronics applied to Bach's melodie however,according to my personal taste, the"Sheep may safely graze" rendition is just average while conversly,it could be sounding as a great transciption to you.
I agree that probably the present analog synth performances would allow the artist to try a more innovative way in sound research.
Given our current tech.support, this video is average stuff,yet I'd say it's enjoyable for a Bach enthusiast as I am put apart the awfully arranged Passacaglia....
Wendy Carlos is impossible to find on streaming services anywhere, including UA-cam. :(
@@stapler942
Side 1
archive.org/details/SwitchedOnBach2
Side 2
archive.org/details/SwitchedOnBach1
They switched the names by accident. They even notified it.
Enjoy! :)
Bad musicians needs machines to play!
Harpsichords were machines in their age.
Sure, because bach use to play on synth right? there must've been some great computer effects in the 1700's.
machine is only as bad as the person using it
Dumbest statement ever
That really was
ugly sounds, very bad performance, poor fantasy
I agree, it's pretty brutal, isn't it? I will give him one thing: the voicing is so aggressive that you can hear every note on every part very distinctly - whether you need to or not! Wendy, in contrast, managed to convey a "dynamic delicacy" (I'm searching for the right phrase here, and hope you get what I mean) and subtlety to her work that is missing here. She chose voices to match, complement or at lest respect the instruments of the original work. Again, that is missing here. This treatment seems to be using the work as a way of showing off the instrument (and perhaps the artist?) at the expense of the music. I remember reading some of the notes Wendy published way back relating to discussions with Ben Folkman. There was a concern that the Moog would sound just like a juiced up (my word) organ. She succeeded in avoiding that fate, while this work does not.
@Freline I don't have expectations, selfish or otherwise. I'm just expressing my opinion, to which I'm as entitled as you are. This is a public site, and when one posts one's creations, they do so to get opinions. That's how it works.
And quit with the silly fan-boy defense by proxy: the author can respond to my comments if he/she wants to, and doesn't need your defense.
Thumbs down.
Crowww !
Awesome!