Beyond the Notes: Bach's Prelude in C Minor will make you smile.
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- Опубліковано 29 вер 2024
- Music goes directly to our hearts and souls. It connects on an emotional level, which is great. But why is that? In this series you and I are searching for some elements, details sometimes even, that can (a little bit) "explain" that connection.
Here: Bach's Prelude in C Minor from his Well-Tempered Clavier book 1, BWV 847
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Bach certainly loved C minor (and E flat), this one and the duo from the second book are full of religious symbolism. For starters, C minor is a key with 3 flats, representing the holy trinity. Bach was a very religious man and did this sort of thing often. For example, his Mathew’s Passion starts in E minor (Erde) and the final chorus ends in C minor. So we start on Earth and finish in Heaven. I could go into much more detail but youtube comments are not the place. :)
Hey, do you have more information/examples for the (religious) symbolism that can be researched?
@@NM-ls3egWell I know that when Bach writes a long note on a motiv, It means something big and solemn, like god. Also, some motivs do have a cross like shape, like the one in the C sharp minor fugge: C sharp B sharp E D Sharp C sharp. Equilibrium.
Matt on, you may want to take a gander at channel where I discuss color and even shape relationships to specific notes. I have even developed a special keyboard based on these associations, my Musicolor Matrix.
Your, _Acoustic Rabbit Hole_
This was my first prelude and fugue I learned. I enjoied your thoughts, thank you, Mr. Winters.
Really interesting presentation - many thanks.
(16th note = semiquaver).
Fantastic
Congratulations, and thank you!
"Music is a methaphorical language" (L. Bernstein)
Over the centuries Bach continues to be unrivaled.
Thank you, this deep analysis is very impressive, and once again demonstrates the genius of Bach. Regarding the last E natural, I like your interpretation : Bass C for Earth, higher C for Heaven, and finally E for Human, flat or natural according to his mood... but I would like to recall an other possible reason, very basic indeed : It was very usual, not to say mandatory, from Renaissance to Baroque, AND SPECIALLY FOR ORGANISTS (I.e. church music), when a piece of music was written in minor mode to end up with a final chord in major - listen to Bach, Buxtehude, MA Charpentier, H. Purcell and dozens of other : D minor pieces finish with a F#, G minor with a B natural.... One reason given is that, when you play and then mute the final chord , the sound goes in reverberation all around the church, or cathedral and goes distorted when the chord is in minor. Probably real reason was more mystical.
Good observation! Makes sense to me that both interpretations are true. The world is made up octaves and their intervals. IMHO. Thanks.
The Prelude dates from 1720, it’s the 15th work in Clavier-Buechlein for Wilhelm Friedemann Bach as the 2nd Praeludium in the early form. J N Forkel used in his edition published by Hoffmeister. Gerber’s copy ends with a mordant on the E natural in the last measure. Gerber studied with J S Bach in 1725. The Gerber manuscript also has the word Adagio in what has thought to be J S Bach’s handwriting in measure 25, three measures before the Presto, this indication is only found in Gerber’s manuscript, which along with JSB’s cousin Johann Walter and two other manuscripts contain the earliest version of WTC Pt 1.
Future son in law J C Altnickol’s copy dates from the later years of J S Bach’s life and contains all the revisions not found in the earlier manuscripts, or of those the autograph which Bach altered.
for me the ending is not happy at all - or even a place of contentment - rather still tragic, but coming to a place of acceptance of the tragedy - one is no longer struggling within with bitterness but rather finally willing to live with the deep pain in one's spirit
Similarly for me, it was always a short lasting relief, perhaps acceptance of fate, but willingness to move forward, and move forward it does as the piece is really completed by the following fugue
And the successive fugue is basically like: hmm.... Let's get to the garden to have a walk under the afternoon sunshine and flowers on the ground and enjoy all this no matter what.
You could be describing how I feel about the last three years.
This is wonderful Wim. Thank you for sharing your deep love of music and the fruits of all your in-depth studies. Anything which helps us get closer to the music of Johan Sebastian Bach is valuable and worthwhile. Wishing you the best - John
Wim,
This is a really nice series which makes us think more about the music than just the notes. When I had lessons in my latter years, my teachers would spend a good part of my lessons doing this kind of analysis. Today, this has become second nature to me and makes learning and playing music even more enjoyable as I seek out this in the music.
If you were to do another piece, I would like you to continue with Prelude and Fugue No. 3 in C#. There's a lot more to these two than meets the eye.
I like your interpretation of this piece. The depth of JSB's music seems to require a lifetime of study and interpretation.
Until now I always have felt that Prelude No. 2 was a kind of a "simple" piece by the Great Master Bach. But now that this video has shed some light upon its hidden depth I feel very happy not having discarded it from my repertoire. Certainly the clavichord is an ideal instrument for it. Unfortunately on grand pianos some very unpleasantly mechanical interpretations have been spread. Thank your for your elucidations!
I had to go immediately and play this again (piano, I'm afraid- I don't own a clavichord and I just started rebuilding my harpsichord), and it felt like an entirely new piece to me! After growing up with quite strict Bach interpretations being common (I'm 57), free, even Romantic interpretations like this make the music feel like it is finally able to escape; to escape the cold written notes and to come alive and communicate Bach's very deep emotions. Thank you for the inspiration!
its like bach was only a pattern. a tips but not a piece. (but its the only one from bach lol)
Bach is, indeed, a soulful storyteller
Hi Wim!
Love your channel and this analysis, I just want to add a quite crucial detail which musicians trained in partimento and 18th century improvisation will notice immediately in the opening of this piece and which I think is somewhat missing in the analysis but still indeed should be highlighted here.
The melodic line 1, 7, 6, #7, 1 over the tonic pedal point in the first bars of this prelude belongs to a very characteristic opening pattern of this musical era called the minor Quiescenza. This particular Quiescenza with 1, b7, 6, natural 7, 1 in the soprano is a variant of this pattern called the “The Dark Quiescenza”. It’s a signature opening gambit of the time and Bach uses it a lot in his music.
In fact, this prelude actually echoes the major version of the Quiescenza in the very end, sort of binding the whole piece together, as if the entire piece was just an odyssey from one Quiescenza to another.
Thank you for another great video!
Yeah, can you say more ?
I like this approach much more than the symbolistic approach. Thanks for sharing.
Does the E in the first bars of Mozart a minor sonata count as the case you are talking about?
@@classicgameplay10 No, that is just a simple 1-5-1 opening. Go and check out Mozart’s Piano Sonata No. 12 in F major, K. 332. It’s one of his most famous sonatas and it opens with a Quiescenza.
@@classicgameplay10 Prelude in D minor Book 1 starts with a Quiescenza, Eb major prelude also starts with a Quiescenza, prelude 1 in Book 2 starts with one too, and many other places. It’s a common opening gambit from that time, one way musicians opened a piece of music in the 18th century, like a “hello”.
This was my first contest piece in the seventh grade in Wisconsin. We were rated, not against each other, but on a scale of one to five. The judge was apologetic while giving me a two for not having played it fast enough. (I played it considerably faster than this demonstration.) Today I would deem that rating appropriate, but not because of the tempo. I was merely playing the correct notes. I was not, however, telling a story. Fifty years later I am again playing c-minor, this time the double concerto in a small local concert not far from Eisenach. I hope we will tell an interesting musical story at an appropriate tempo and with the correct notes. Thank you for this reminder about what really matters in music.
Now in my late 50s, an ardent amateur pianist, how often I wish that my childhood teachers, fine as they were and whom I loved, had imparted also that I was not just "playing the piano" but telling a story using the piano. Learning grammar is part of school, too. But even at the late teen and college level, the drive to the annual recitals was too often about getting notes under the fingers than what you are saying, like learning to recite a poem phonically. Most professionals play their instruments in settings where interpretation is less important or is given by another (conductor), producing a bias in music training.
My favourite Prelude and Fugue of the whole two books. Thank you, Wim. I had a bad day and your “review” (and playing) of this piece made me feel better. God bless you +
“Will make you smile” along with the music over the intro would make Bach himself squirm against his own music that is anything but cheesy.
My first hearing of this piece was on Walter (at that time, now Wendy) Carlos' Switched-On Bach, which was released in 1968. Ever since, that has been my interpretation -- on piano, which I played in C minor, F minor, and G minor (each has its own mood and feel). Hearing your analysis and interpretation today greatly broadened my narrow understanding. Many thanks.
In my imagination, the fugue to this prelude is Orpheus putting Cerberus to sleep, So the prelude would precede that? Makes sense to me.
Thank you Wim.
The final C maj is simply perfect.
you're an amazing musician with mind opening insights, thank you!
Never realised what this prelude was hiding!
Thanks so much!
Thanks for opening to us your thoughts about this piece, and discussing the potential for saddness at certain parts if it.
I am deeply intrigued by this. Puzzled too. I only associate feelings of happiness and sadness with color, not sound, thankfully.
So being both an artist and musician helps me understand how one might feel sad. In hearing this music. I guess. Hmmm.
I interpret the frequent shifts into minor as equally joyous and more 'delicious' actually.
I interpret it as one might feel great pleasure while eating a heavenly gourmet meal and feeling complete satiafaction.
Then the desert, ambrisoal and no less blissful, Is as much, if not more, satisfying.
At the moment I might not mind risking a bit of sadness for a piece of blueberry or cherry cheesecake. 😄
Thanks again. 💛
I'm collecting different parts of Beethoven's music to introduce the value of classical music to some students. Now after watching your VDO I take a step back. I never saw emotional interpretation like this on Bach. Thank you
WIth Bach I've always sensed that there is more. And todaynyour explanation of that presto and the way you land on the e-natural made bachian sense, noit just a musical event. (The e-natiral really is final sunshine but it's still incomplete, requiring the echo of teh c. I love it.
Thank you Wim for your wonderful analysis of the Bach B Minor Prelude. It makes it so much more interesting to learn to play!
I'm a little late but Fugue in F# minor from Book II is a powerful piece often overlooked. It would be a cool subject for your series.
One of my first "major" pieces which I learnt for the piano. Nice interpretation and a very insightful video!
An excellent analysis. This prelude is not "just a finger exercise": it is music !
My teacher told me she never heard this prelude well played….your interpretation at the end is very interesting
wonderful.. real music played and described by a real musician. Someone who really know, feals and seeks to understand... music. refreshing to say the least. I eas wondering if you could do something covering the evplution of Bachs work throught the years...
As a young classical guitar learning a long time ago, I loved playing adaptations for guitar of Bach's music. Also menuettos, sarabands, and other pieces of early European music. As with Gould, after this early learning I found Mozart not only hard to grasp, but also repetitive, too foreseeable.
Wirklich berührend diese persönliche Deutung dieses oft zu Tode gehetzten Präludiums !
Manche werden sagen : das ist " zu romantisch " für Bach,
und das auch noch unter Berufung auf " die historische Aufführungspraxis ".
Ich finde es mutig - und deshalb wertvoll, weil inspirierend,
wenn ein Interpret seine persönliche Geschichte mit einem Musikstück erzählt.
DANKE - und gerne weiter so !
Gruß aus Stuttgart, wo J.S. Bach vielfältig " gepflegt " wird !
Post Scriptum : 300. Geburtstag von Bach's Inventionen-Vorwort 1723 :
" am allermeisten eine cantable Art im Spielen zu erlangen "
( das Video hier kann das auf sehr persönliche Weise veranschaulichen ).
Terrible performance! You’ve turned the sublime into the banal. Too much rubato: it’s really difficult to ruin the 48 - you’ve done it, somehow.
With this piece I've always felt it was an intense drama, slightly sad but with momentum to start with it's more like frustration or anger.
The contrast with semiquavers in the rhythm and the outer counter point is effectively a melody in minims, so it's why I tend to play it sostenuto, holding down the outer notes and playing the inner parts bordering on staccato. Almost never with any pedal.
I'm sure this is totally "wrong" in a authentic sense, but on a piano the dynamic possibilities and sense of touch really reflects the potential in has to be seen this way.
I've heard this Prelude with an ornament on the final E, and also without. Which way is as intended?
Loved this! Crazy to think about what the music could be symbolizing from Bach’s perspective, but I think it could certainly be the case! The way you played the ending Picardy third was truly magical. Really enjoyed this and would love to hear more! 😊 After hearing this you know that I want to hear the Fugue!! 😂😁😁😏
I totally agree! This sort of musical analysis is needed now more than ever.
While I happen to mostly disagree with your metronome/cut time discussions, this interpretation and discussion of the C-minor Prelude is quite wonderful. Including the tempo.
What you say here is what makes Bach utterly unique in the history of Western music. Bach was familiar with some of his German and Italian antecedents which influenced his compositional style. I wish you could analyze Toccata Nona (First Book of Toccatas and Partitas, Vol 2) of Girolamo Frescobaldi. His play with harmonies and temperament is very interesting to me and marks his genius. Love your presentations.
Nice very nice, just goes to show the genius of Bach, writes a series of pieces to show off the merits of a new tuning system, and yet in a prelude you can extract a story. You are a consummate teacher!
This is such a beautiful and lyrical [in a very Bachian Baroque way quite different from, and yet no less emotionally moving than, Romantic-style lyricism] prelude. You asked about our story with this piece:
Since high school, I perceived this prelude as full of emotion and lyricism, and played it accordingly; and yet I would never ever hear any renditions of it that seemed to recognise it as such. Upon hearing Mahan Esfahani's rendition during the pandemic (which seemingly was only available on UA-cam for a brief period), I almost immediately teared up a bit, because of hearing for the first time in my life _someone else_ playing it according to the same manner of perception and communication of tone and mood in the music as I had myself been doing "in private" for 15 or so years. And now your rendition is also of a similar nature, with similarly tear-jerking beauties.
The double lower auxiliary notes occurring in 3rds and 6ths; the tensions and variations of tension in the harmonies; the clearly cello-like lyricism of the left hand (when played at a suitable speed); and indeed, the basic fact that this the opening minor prelude of the WTC follows the same basic pattern [one main harmony per bar, with each bar consisting of 8 semiquaver notes tracing out the harmony and then repeated] as the preceding, very opening prelude of the WTC: all these point _not_ to a fast-tempo mechanical exercise, but rather an exercise in coordinated melodic lyricism and in understanding the emotional depths of tonal harmony.
And also, I agree that while the Picardy 3rd is very common, it somehow is made particularly beautiful in how it occurs at the end of this prelude.
lovely piece, I would love to see you cover the f minor prelude and fugue from book 1. its incredible probably my favourite :)
Great stuff. I'd like to know the distance of the octave span on the instrument you play. In other words from the top of the upper C to the bottom of the lower C, right hand only. Thanks.
I love people who adore and talk about the phenomenal details of the greatest Musician of all times. So I love you too 🍒 👏🏼
What a wonderful revelation you had for this piece. I have to go to the piano immediately ! Thank you !!!
Simplesmente muito bem interpretado com uma musicalidade pura.Parabéns.
Great explanation, very enjoyable. The very first time I heard this was in 1968, played by Walter now Wendy Carlos, your first time is almost always the most memorable. It remains my favourite today as does most if not all of Wendy's interpretations. I'll often listen to something she also recorded and think, I prefer Wendy's ! Electronic music at that time was so inovative especially Wendy and of course the BBC Radiophonic Workshop, although not necessarily electronic had that feeling of being different and futuristic, the Dr Who theme being the most obvious example
Interesting video, thank you for sharing your thoughts and emotions. But if I may make a suggestion: I just find the background music unnecessary. What you are saying in ivery interesting and nteresting enough, you don't need background music in order to spice your videos up.
Unfortunately, the instrument is tuned approximately 1 tone lower here...
Il tempo è allegro marcato con espressione e il finale è più vivace x poi spegnersi!
I love Bach's prelude! The prelude of the Law.
Dear Wim, it is for me one of the complexest works on only two pages in entire cycle of WTK. Its technical complexity is only the reflection of its musical complexity. Almost diabolical,long phrase take its final goal in adagio ( „der jüngste Gericht, in english The final court?? ) . I play it each day,since my childhood, and it sound always different…Many „lowered“ intervals combined with eachoter in such a manner that appears nowhere else in the entire music…
This post just came up on my feed. Cool stuff. Just subscribed. Thanks
Fue Maravilloso. Magistral. La Composición
Literaria Coyuntural y estructural.
Hecho para la Humanidad x Familia BACH
Cuando todo estaba en pañales
Aun se puede percibir Sabiduría Universal
Gracias.
Roberto Quijada Gopal
The last 7 notes also set up the fugue theme-and its ending.
Thank you so much for your thoughtful insight into this wonderful piece. It's really eye-opening. Very interesting.
When I played this piece at school, I imagined a mysterious figure in the dark, walking quickly and decisively through a 1700s busy city in the evening, with a sense of great urgency or danger. All different city sounds and events happening all around, horse hooves clicking against the pavement. He eventually stops abruptly, hardly believing he had managed to reach his destination, and yet he hesitates to proceed forward. He eventually walks through the door with a feeling of momentary relief, but the real story is only about to unveil, the fugue begins... One of my favourite Bach pieces, loved your insights and interpretation, it motivates me to come back and learn it again as it's been years since I last played it.
I would love to memorize this piece❤Describes what my emotion is and me struggling out of it😊
Thank you for the awesome video. I would love to hear your take on n° 21 of WTC Book 1 (b flat major)
La musique de Bach en particulier laisse une grande liberté dans l'interprétation possible. Cela stimule la créativité, incite à recréer l'oeuvre pour la personaliser. Les interprétations différentes sont autant de variations sans cesse nouvellement écrites. Et toutes sont légitimes. Les interprétations en dehors des sentiers battus, comme justement celle de ce prélude par Gould, sont des garantes de la vie toujours fluide dans la musique.
A superb theological interpretation. Thank you, so inspiring!!!
There's this feeling I have when sseeing someone so connected and so immersed with music, that gives me a lot of motivation
A very reflective analysis. I’ve enjoyed your interpretation. It makes justice with this great piece of music, which is not just an acrobatic exercise .
It is one of my favorites preludes. So musical, creative and valid!
Così non mi piace ,il tempo è lento e zoppo, inoltre non sono abbellimenti così trillati
very insightful and enjoyable. Bach's mind operated on so many levels. Modern music is by comparison flat as a piece of paper?
Wow! You made me hear this piece in an entirely new way. Thank you! I wonder how you take the C-major Prelude of Book I of the well tempered piano......
"lets get right into the content" "but first a word of our sponsor".... no... that's not how you do things..
Prelude in C# from the second book has always been a personal favourite of mine. Also, will there be any other community challenges for 2023?
Yeah, same here! And the Fugue,so joyful, so multi layered, so perfect!
your moment is divin human and the love between - trinity, thanks
D. Born Germany
Hi Wim, thanks a lot for your analysis , I really liked it. From a symbolic point of view, it is spot on. And on the analytic level, it is very relevant . Little parenthesis : although I tend to not take into account any symbolism of any kind when I play, music, melody, harmony, motifs, everything leads to a certain kind of interpretation,a natural and musical interpretation. End of parenthesis.
Since I haven't studied much Baroque Music, my question is : preludes were meant to warm up the keyboardist, to get used to a certain key, weren't they? And often improvised, sometimes written or half written, or am I mistaken? Was this the case with the WTC?
I play this on a Yamaha P60 - I'll be playing now with all this mind. Thank you.
Wonderful tutorial. Thank you. I especially enjoyed your ending.
I was taught this piece (and the Fugue) over 50 years ago, and my piano teachers goal for the Prelude was for me to play it as fast as possible without freezing up.
So I am delighted to hear your insightful approach of this Prelude.
Much appreciated. 🇨🇦
It sounds terribly out of tune.
I've wondered if we didn't mess up the history and if Bach isn't really two or three people. The keyboard music is unlike the orchestral music, and some of the orchestral music differs from others; compare the Orchestral Suites with the Brandenburgs. The cantatas are a lot like the passions, and the orchestral part of those seems like yet another personality... Chromaticism is featured in the keyboard works but rare elsewhere...and so on. Maybe some of it could be explained by various traditions he's adhering to for each pieces, but that's beyond me
This is an interesting insight into how you view this prelude, Wim, I really should listen more to the WTC which I no doubt will in a few months (once the CDs are there).
Also, you asked for a suggestion for the next piece to cover, so I would like to suggest Ludwig van Beethoven Op. 129, Rondo a capriccio.
Interesting parallels between the end of the Prelude and the last nine measures of Brahms' piano quartet in c minor...
Perhaps an even more direct comparison would be the first four measures of Chopin's Op. 25 No. 12 étude (nicknamed "Ocean").
I think in this universe there are very few possibilities for you not to be a poet 😊
Life doesn't let choice: that's also what i am.
Please can you make a vidéo for Schuman's Kinderszenen " the poet speaks"?
Thanks for this beautiful job of yours , kind regards!
11:56 Ah! Yes, the wonderful Tierce de Picardie! It uplifts my spirits at the conclusion of the Prelude…
An excellent antidote to the common approach by pianists, who tend to say: "this isn't very interesting - let's play it fast."
To exemplify this: ua-cam.com/video/OVOnw91xWjw/v-deo.html
This Prelude was never part of my piano lessons back in the days, but I always played it slower and more emotional than I knew it from any vinyl. To warm up your fingers, it's a nice exercise to play it fast, but there is no feeling at all. Thanks to UA-cam I could listen to many others. Mostly fast and cold except for Glenn Goulds interpretation. The confirmation I was locking for ;-)
If you take the first five notes out of the first bar, you get the structure of the Presto part, isn't it true?
only a genius could make this happen, this creator kakes me realize that fact after looking ar his channel. He can explain the genius of Bach.
Always learning. Nice video.
he took it from the middle eastern Turks with their exotic string instruments and wind instruments. Weren't they around at the same time interacting with Europeans??
Phenomenal playing and musical breakdown, and the sonics remind me of Indian raga like music but straight from Bach right there. Thanks you for this! I'll have to watch it many times to understand it fully
So now and then JSB reverted to the rhapsodic stylus phantasticus of his youth and this seems to be an example of this. Another one is the totally out of place long harpsichord cadenza in 5th Brandenburg concerto. The so called deeper meanings of this instances would surprise JSB himself.
maestro, your analysis of the 1st 4 measures is perfectly sound, but you suddenly skip forward through the text without explanation and are all at once in the elaborate and very complicated cadenza--wouldn't a line-by-line, measure-by-measure, change-by-change analysis be more appropriate? bach is obviously presenting a student-friendly lesson in harmonic progression pattern-prelude with a very bach-like encouraging touch at the end: a giant cadenza! a show-your-stuff!--was this video of yours cropped? it seems to me a good 5-7 minutes of pre-cadenza analysis got lost--doesn't seem like you
agreed, but needs more emotional intensity blocked by too much left brain knowledge still, not bad at all--"in Bach, EVERY NOTE IS IMPORTANT"-P. CASALS--Bach is also working with overtones...and further touches a beyond musical dimension
Mr Winters,
Thank you for your artistry and inspiration. I appreciate your work and perspective in this and your other series.
I am looking forwarding to more Beyond the Notes.
I wish you health and joy and many more rapturous musical moments.
-Dr D
this was so useful - I love this prelude for first half but never understood the second half until now! it's making me appreciate this prelude (and the ending) so much more. thank you!
Cheers, love it when it is played at a lower tempo, I've always gotten so much more depth from it, love the choice of sixths for harmony, they generally feel deeper than thirds. I always got a sort of stormy sky and rain feeling from it then when it reaches the bottom it begins clearing up. Though I've always associated with a deep emotional moment. Funny enough its in a movie as a slower acapella piece and its beautiful that way too. Ill see if I can find it
Thank you for the excellent and passionate presentation. Thank you for making connections I was not aware of.
A very enlightening explanation of this Bach piece for a non-musician. It'll add an extra dimension to my music listening from now on.
You gave me an idea that I never considered before, just playing the first note in each measure and then adding in more notes as you get more familiar. That's brilliant! Huge applause to you.
I love your explanation, really connected with it. My gramma played this piece every morning so it means a lot to me since I can remember. I feel the same as you explain on the ending , it really takes you out of the Cm mood somewhere else
Hi Wim. I like to listen to Bach’s music in guitar because this instrument let’s the interpreter “dress” each note not only in time and pitch location, but also in intensity and because you can change the timbre and add effects like vibratos that can range from very subtle to very noticeable. The “legato”-like nature of the instrument, produced by pulsing the strings from one fret to another, humanizes the “machine-like” flavor of Bach’s music. I found a decent interpretation of this particular piece in (ua-cam.com/video/Kwd-BJ56byY/v-deo.html), but I think that another fantastic transcription could be made that can make the finale sound really, really sweet. What do you think?
You said at the end we could ask you to analyze other pieces. Not sure if you do only keyboard pieces, but if not... Would you talk about Pachelbel's Chaconne of the Partie IV (e minor) of the Musicalische Ergötzung? Such a beautiful and profound piece, and so little info about it (and so few interpretations around, compared to BWV 847). Please! Pleeeease!
Well, pretty interesting, you are a fine and perceptive musicologist ! But the silly TINKLING during your introduction is irritating, puts me off - a presentation detail only. And what is a "CALVIER" ?
But please keep going, we all benefit from your analysis and exploration of wonderful creations of genius - thank you !!