Best line I read in a lon, long time. SO TRUE!

In fact, this is the very piece I heard the high-school orchestra doing the other day. What? That was supposed to be Brandenburg #3?

Oh my God 😂

So true!

Actually always had a liking for that pre concert "chaos". Great to open up some uncommon brain paths.

Aren't they?!

1:27

Em7add11 - Dm/Em7

Absolutely, they sound sort of 'fresh' and absolutely not like anything from baroque, they'd fit in a horror movie probably

Absolutely. I would expect such harmony in a messiaen work, or maybe at least a passion piece and not some - excuse me - random folk suite. ':D

hahahahahahahahaahhahaahhaah

Yeah he was awesome on the trumpets. 🤣

beliber

Thought I recognised it.

Epic comment

bach composed things with melodies or notes out of tune, but that worked well, in the Brandenburg concerts for example.

Opening of Johannes passion has quite some dissonances.

I think Bach was never driven by seeking consonances, but his sons actually were …

madlad

This seems intrinsic to the musically sensitive. My aunt was a music teacher with a university qualification. She taught both her sons. To tease her they would occasionally end something with a hanging G7 or the like. She would feel compelled to get up and resolve it. Harmless family fun. Listen also to the last bars of Schubert's 4-hand Fantasy in F, and realise how seductively he led you miles away from F. and then pointedly brings you back in a few crashing chords.

This was one of the best comments I've ever seen on YT. Unexpected but relevant to the subject of the video.

But doesn't the beaver dam prevent flooding?🤔 The creek flooding = Bach proliferation. 🌊

I learned a lot from this one comment. I love that you connect the arts, linguistics, and the natural sciences so succinctly.

@@facundoboms8955You’re going to want to find some sort of standards, ffs.🤦‍♂️🤦‍♂️🤡🤡🤡🙄

@Mikosch2 That is in no way an explanation of the difference between turbulent and laminar flow. I know you like to hear yourself talk about things that you have no clue about but it rarely works out. Jesus.🤦‍♂️🤦‍♂️🤦‍♂️🤡🙄

That's so kind. Thank you!

My mother, an LRAM, was brought up largely on Beethoven and Schumann. A friend of mine, a music teacher, played a piano piece of Schoenberg's to her. He asked her what she thought of it. After a short pause, one word "Hateful." I've heard music being called many names, but thhis was the first time I heard "hateful"

I also love the one with Mr.Bean fainting. Happy to see the music to this.

Yes. The use of extended techniques in the 4th movement is fascinating. Perhaps we will look at this at some point in the future.

His Rosary Sonatas for violin are equally fascinating with unusual tunings including crossing 2 of the strings to represent the crucifixion.

@@kathyjohnson2043 that is a wonderful and haunting work ( . Decades ago when I first heard it there was only one recording available in the US, on the Vox label. Now there are numerous renditions.

The thing about an era before it becomes ossified is precisely this kind of experimentation, that then seems to heretical to us later. Laurence Sterne's Tristram Shandy is the literary case in point.

Imagine if you gave this lad effect pedals.

Yes. They are beautiful.

1st final chord: Ebm7(add11). 2nd final chord: Ebm7b9(add11). And i would would all of that with C#maj7add9.

kzfaq.info/get/bejne/e7-Kapx5z7bMYoE.html

The Bergamasca melody is used for the German folk song Kraut und Rueben, part of the Quodlibet in the 3oth Goldberg variations against Ich bin so lang g’wezt over the original bass melody. There’s a quote from the folk song as pointed out in a 1603 lute manuscript of Mein Junges Leben hat ein End’ which Sweelinck wrote his famous variations. The information was from an article from 2005 on the Bach Cantata website which goes into greater detail of the capstone nature of the Quodlibet and its references to earlier canons both in the use of Ich bin so lang so with a variant end, and also in the Cantata BWV 212 with a variant ending.

Forget to mention the Bach families would sing quolibets extempore at family gatherings for humorous effect. The two lyrics has cabbage and another vegetable (with inferred gas/flatulence) and the other lyric with the commanding come here, come here…

@@Renshen1957 turnip.

​@@klegdixal3529 ​ @klegdixal Thank you for the translation. That's the translation I learned in my two years study of the German language. Currently, I do not have access to a 17th century or early 18th century German dictionary. After the controversy down under claim over the Anna Magdelena Bach's alleged composing the Violin Sonatas and additional claim of the "French" Suites for Harpsichord, (the French word now used composed was in JSB's time the word for copied), I now take the precaution to double check words from the time period. There's no doubt as to Kraut=cabbage (from my last contact with an 18th century dictionary), and yet a mid 20th century source on the Quolibet then "two songs" translated Kraut as Kale. Although all members of the Cabbage family are Brassica oleracea cultivars, and Rueben is turnip, I now, if I have time, take the precaution to double check with a then contemporary dictionary. The change of word or phrase meanings is fairly common in French Harpsichord music, the tempo indication Vivement for the the fifth piece in Francois Couperin "Ordre 6ème de clavecin" at that the time translates as "Deeply," however, current usage includes "strongly," "briskly," and also in comments of "can't wait." Consequently most Harpsichord (and piano) players speed through Les Barricades Mystérieuses. This piece is translated as The Mysterious Barricades, Barricades also refers to (music) chords. The 19th century publishers of Couperin's Harpsichord music (Friedrich Chrysander and Johannes Brahms also interpreted the title concluding piece of the Ordre (suite) as Gnat or Urchin, while the late Emirtus Professor of French at UCSB translated the title as fly. (The latter more appropos). in English, By and By as in modern usage as a noun is defined as future time or occassion. In the first century of the 17th century English, by and by meant immediately. The Merriam-Webster dictionary still list the 17th c. definition as an adverb, but vernacular usage in the 20th Century to present whether noun or adverb is understood as some undefined future occurence or event. Hence my reluctance to confirm turnip and left it as vegetable. Not having ever eaten turnips, I was unaware of their reputation of producing really foul-smelling farts!

Yes it's hilarious 🤣 totally agree

But can you really be a modernist before your time? That’s like being a postmodernist in retrospect. Don’t get me wrong - I’m a belieber, I couldn’t lieber if I tried. Tip your server ... and try the veal!

Thank you!

Yes, indeed. In fact Schnittke was mentioned in an earlier video about Rebel: kzfaq.info/get/bejne/ja5pdMiQ2dSliZc.html and I think I recommended this Concerto Grosso: kzfaq.info/get/bejne/hNp3h61nxLGoYpc.html

Wow, this is amazing. I immediately thought I knew this simple tune but couldn’t remember. Kraut und Rüben - a big mess. Thanks for the clarification.

Yes, the Battalia has other movements are equally spectacular. The Resurrection Sonata is extraordinary. He is a fascinating composer.

Silent Grass Step

sounds he was micro-dosing on ergot. thx for the post.

Thank you.

My favorite thing is that now i know you can call what you guys did a Quodlibet. Who drinketh, in latin.

Sometimes one has to shake up the house!

*keeps the listener away fixed that for you 😁

@@TomJacobW No, no, no, Tom! Awake! Hahaha...

Adrian Belew does cats, rhinos, and elephants on his guitar.

Yes, hopefully, as this channel continues, and with the support of our patrons, we will explore a whole range of topics like this

@@themusicprofessor I cannot wait to see what happens! I'm not too big in the music spotlight at the moment, but I do know my Stravinsky, so if you ever want someone to talk to about it, I'd be more then happy to tell you what I know!

Ahh man I just wrote this. You got there first.

Thank you!

Thank you very much.

How would we know it it did?

Thank you. Yes it is!

@@jerryatrick6127 we’ll, yeah, but I was raised on Barton and Stravinsky, so there’s that.

Thank you so much!

Oh yes, silly mistake. Duly amended.

Thank you. Yes, the connection with the 30 years war is fascinating. The impact of war upon artists is a topic that has come up in other short films on this channel, particularly these two about Ravel: kzfaq.info/get/bejne/qtlnfpeqqLaZpH0.html and kzfaq.info/get/bejne/p5yfgtJpzuDRqaM.html

Thank you

@@themusicprofessor Thank you!

Thank you. Interesting comment. I've always liked the fact that Handel's house in London was later occupied by Jimmy Hendrix!

Well I know what you mean but Biber was an expert harmonist.

@@themusicprofessor Just kidding ^^ , I didn't want to disrespect the composer, I Just react to what I listened and the impact of It on my ears

Thank you so much for your support!

It's a very similar effect. Ives also liked to take existing tunes and play them simultaneously in different keys

@@themusicprofessor Trying to think of an example where Ives used that many at the same time, and I'm drawing a blank. ::illustration of Charles Ives grinding his teeth in frustration::

Very interesting suggestion.

Yes this music is really amazing!! I wanted to speak about this composer too!!

kzfaq.info/get/bejne/nLKeo5Bi0c3HZGg.html 🔥🔥🔥🙈🙉🙊

Let me know if you remember!

@@themusicprofessor perhaps the reference was to Carlo Gesualdo ( 1566 -1613 ), known for his use of "advanced" chromaticism.

Like the Sage at the end of the first Act of Rite of spring or maybe the introduction of the exalted sacrifice.

Bi-tonal folky fiddle sound - yes, I see what you mean!

Thank you.

Thank you. Yes, we made a video about this a couple of weeks ago: kzfaq.info/get/bejne/ja5pdMiQ2dSliZc.html

kzfaq.info/get/bejne/ja5pdMiQ2dSliZc.html

I know both pieces, and I once had to write program notes for “Les élements”. Anyway, the approach of both Biber and Rebel has little to do with Schoenberg. Rather, they are forerunners of Charles Ives.

No.

We're not suggesting it's modernism, since any composer in any era can only be a composer of their time. Nevertheless, it is polytonal, and a fascinating experimental movement. There are equally striking effects later on in the suite. When Stravinsky described Beethoven's Grosse Fuga as 'contemporary forever' he seemed to imply that some music can innovate far beyond its time, and even beyond our own time.

​@@themusicprofessor I guess I see it as an accident, not worthy any more than "hmm, interesting". it is an conceivable idea... some music is really forever however that's a completely different realm to simple tricks and effects. I don't think it was beyond our time, it was acceptable back then and was within the bounds of liberty that the composer can take, so it really was of that time, not beyond it.

@@handavid6421 You must be fun at parties

@@captainhaddock6435 I apologize if I annoyed you

there's always a "meh" comment to these unique and seemingly anachronistic examples. for me, i would wonder if composers in those days would maybe get bored and want to do something as "crazy" as this. and some of them apparently did! and this particular effect is very similar to what Charles Ives has done, and most people think of that as "modern".

Glad you liked it!

Wow. Not many youth orchestras tackle this piece!

@@themusicprofessor and funnily enough, it was the baby orchestra that played it, so the lowest-level orchestra lol