J. S. Bach’s canonic Sarabande, BWV 1067#3, presented, decomposed, and reassembled into a new canon by BSG

7 parts9 pages16:022 days ago65 views
Flute, Violin(3), Cello, Contrabass, Harpsichord
CLICK "Show More!" One of the most affecting and beautiful canons in Bach, the Sarabande of the B Minor Orchestral Suite, previously available as https://musescore.com/bsg/scores/830006 , but here represented with another purpose, as the first of five sections. Please read THERE ( https://musescore.com/bsg/scores/830006 ) for my lengthy encomium (and analysis) to this singular movement.

In subsequent sections, I strip the canon (between the top part (flute/vn1) and the bass) down to its essentials in two successive stages, until it reads one note per measure, note-against-note, in canon at the 12th. One can hear that the great beauty and poignant harmony of the Sarabande are all latent in that skeleton; it is the secret of this superlative movement incomparably perfectly balancing technique and beauty.

Then, to show how one might reverse that process, and use it as a model of engineering a complex canon at a non-unison interval, the lower 5th/12th in particular, I flesh out a wholly new canon (or is it truly wholly new?) upon that skeleton, and provide inner parts in style and instruments (part V of this posting).

If you like canons and the lower 12th/5th generating suite movements, check out my earlier canonic menuet in this style (not based upon Bach's skeleton, so to speak (currently in Leipzig)) https://musescore.com/bsg/scores/4905490 .

[5/17: Harpsichord operating properly now in Bach and BSG canons].

Tom Hamilton: Fugue in G major, corr./rewrite BSG 4/2019

2 parts4 pages01:42a month ago158 views
Corrections/rewrite of https://musescore.com/user/2501446/scores/5524991 , measure-for-measure, by permission. I did not restructure it, add or delete entries, etc., just tried to repair Tom's gestures , melody, and counterpoint.

This was generally straightforward, but the real 4-voice part mm. 39-45 was challenging, esp. preserving intent in the face of widespread "beginners'" 6-4 chords, whose evasion underlies the history of the tonal answer system of fuguery.

Vivaldi: Concerto RV 565 D minor for 2 violins, violoncello, and strings

9 parts43 pages09:05a month ago121 views
Violin(2), Cello(2), Strings(3), Harpsichord, Contrabass
Vivaldi's famous D Minor RV 565 (transcribed as BWV 596 by Bach (how ironic that BWV 565 is also in D minor!), but not here). Continuo realized by me. Developed from a score posted by Eric Holden.

No phrasing, but ritardandi added.

St Anne via custom instrument with SDRC (recorded, however, at Hauptwerk Giubiasco)

1 part1 page00:33a month ago39 views
Other Woodwinds
Part of the tutorial https://musescore.org/en/node/270844 .This score is configured to use a MuseScore instrument which is the carefully-parameterized Hauptwerk organ at St. Anne's, Moseley. It has registration changes in it (to be uploaded). Nevertheless, I have directed the channels to the Grabowski image of the Mascioni organ at Giubiasco, and hand-registered it, which produces a much more beautiful recording. If you use the MuseScore audio source, you will hear flutes and recorders (which are not all bad!)

If you want to hear St. Anne on the St. Anne's Moseley organ, with the SDRC (score-directed registration control) operating, choose the "Moseley...." audio source.

St. Anne direct,no SDRC (di BSG 2019)

3 parts1 page00:25a month ago82 views
Oboe, Recorder, Bassoon
Example to accompany https://musescore.org/en/node/270844 (q.v.). In spite of the tune name, this is not recorded by Hauptwerk at St. Anne's Moseley, but at the Mascioni organ (digitized by Piotr Grabowski) at Giubiasco, Switzerland. If you select "MuseScore" as audio source, you will hear the oboe etc as written on the score, as advertised.

Schubert: Sonata #20 in A, Andantino (D959 #2)

1 part8 pages07:362 months ago115 views
The slow middle movement of Schubert’s penultimate Sonata, with its predecessor and successor published posthumously, is one of singular tragedy and poignance. You can read about its history and formal structure here: https://en.wikipedia.org/wiki/Schubert%27s_last_sonatas . To me, its emotional rhetoric is its gravamen. Its main theme is a gently-plodding lament in 3/8, in F# minor, suggesting quiet resignation to tragedy, which rises in the central section to chromatic rage in triplets, diminished-sevenths, bass trills, fiery scales and crashing sforzando chords, before its climatic thunderclaps, whereupon it sinks back into quietude, into the gentle sunlight of C# major, which is revealed as only a huge dominant to the gloomy return of the F# minor lament, sung in the alto, descending diminuendo into a deathly silence.

Not a happy piece.

To me, this movement will forever be associated with a classic film using it as a soundtrack, Robert Bresson’s deeply affecting and renowned classic, “Au Hasard Balthazar” of 1966, surely one of the most powerful and tragic works of art I have ever seen or heard (Wikipedia: https://en.wikipedia.org/wiki/Au_Hasard_Balthazar ). Bresson, a pious Catholic, authored this utterly unconventional fable of an innocent who quietly and passively bears the sins of the world, its tragic message, rhetoric and dramatic arc perfectly matching those of Schubert’s Andantino.

Not a happy movie.

But I hope you enjoy the work I did on this performance anyway. All the dynamics and articulations are Schubert's.