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Species Unite
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“We don't want Idaho to have a bad reputation. This is our home state. We love our home state. It's beautiful. We pride ourselves on our nature. We pride ourselves on our wildlife. And instead, we are continuing to do things that are… that are sickening.” - Ella Driever In 1995, wolves were reintroduced to central Idaho, and in 2003 a Boise High school called Timberline officially adopted a local wolf pack. Throughout the 2000, students went on wolf tracking trips and in their wolf packs range. But in 2021, Idaho's legislature passed Senate Bill 1211, 1211 allows Idaho hunters to obtain an unlimited number of wolf tags, and it also allows Idaho's Department of Fish and Game to use taxpayer dollars to pay private contractors to kill wolves. That means bounties on wolves, including on public lands. And in 2021, the Idaho Fish and Game Commission expanded the wolf hunting season and hunting and trapping methods. So it's not too surprising to learn that also in 2021, the Timberline pack disappeared. The students, the ones that cared about wolves, at least, were devastated. Last summer I went to D.C. with some of the Species Unite team for a wolf rally on Capitol Hill. While I was there, two young women gave a talk about what happened at Timberline in 2021. Their names are Ella Driver and Sneha Sharma. They both graduated from Timberline High School and were there when their wolf pack disappeared. Please, listen and share.…
Introducing: The Chorale! Chorale Preludes, Four-Part Chorales, &c.
Manage episode 378446733 series 2964306
内容由Evan Shinners提供。所有播客内容(包括剧集、图形和播客描述)均由 Evan Shinners 或其播客平台合作伙伴直接上传和提供。如果您认为有人在未经您许可的情况下使用您的受版权保护的作品,您可以按照此处概述的流程进行操作https://zh.player.fm/legal。
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Thanks for listening! In this episode we discuss the history of the Chorale- how it became called 'Chorale' and how it factors into Bach's music.
Pieces featured:
BWV 691 and BWV 93 (Chorale) at the same time
BWV 651
BWV 682
Performers were: Michel Chapuis, Kay Johannsen
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Here are the links to the cantata cycles mentioned at the end, thank you, Tucker! From the profile you can access different ensembles' complete cantata cycles as well as other great selections.
Tucker's Spotify Playlists
Support us:
https://www.patreon.com/wtfbach
https://www.paypal.me/wtfbach
https://venmo.com/wtfbach
https://cash.app/$wtfbach
Write us:
bach (at) wtfbach (dot) com
Get full access to WTF Bach at wtfbach.substack.com/subscribe
90集单集
Manage episode 378446733 series 2964306
内容由Evan Shinners提供。所有播客内容(包括剧集、图形和播客描述)均由 Evan Shinners 或其播客平台合作伙伴直接上传和提供。如果您认为有人在未经您许可的情况下使用您的受版权保护的作品,您可以按照此处概述的流程进行操作https://zh.player.fm/legal。
--
I AM STARTING A SUBSTACK SOON SO JOIN THE FUN:
WTFBACH.SUBSTACK.COM
--
Thanks for listening! In this episode we discuss the history of the Chorale- how it became called 'Chorale' and how it factors into Bach's music.
Pieces featured:
BWV 691 and BWV 93 (Chorale) at the same time
BWV 651
BWV 682
Performers were: Michel Chapuis, Kay Johannsen
--
Here are the links to the cantata cycles mentioned at the end, thank you, Tucker! From the profile you can access different ensembles' complete cantata cycles as well as other great selections.
Tucker's Spotify Playlists
Support us:
https://www.patreon.com/wtfbach
https://www.paypal.me/wtfbach
https://venmo.com/wtfbach
https://cash.app/$wtfbach
Write us:
bach (at) wtfbach (dot) com
Get full access to WTF Bach at wtfbach.substack.com/subscribe
90集单集
所有剧集
×Today, as we did in episode 5 of this miniseries, we’ll examine the revisions Bach made from engraving copy to handwritten copy. This is an important view into the composer’s workshop, and unlike clear ameliorations between layers in his other works, the two versions of BWV 769 present a unique challenge in seeking the “best” version. Changes like this (first beat, alto) are minute, yet fascinating: (Top: engraving. Bottom: fair copy.) Bach made three revisions dealing with a similar leap of a fifth. The most important revision in the inverted canon variation, is in this pedal line: (Top: engraving. Bottom: fair copy.) Notice the ornament in the fair copy— we often see more ornaments in handwritten versions, but this is not consistently the case in this piece. Heading over to the augmented canon, this revision (in the bottom line) seems to be the only one of major consequence: (Top: engraving. Bottom: fair copy.) The need to change this canonic line stems from a revision Bach made 11 bars earlier— the lines being in augmentation with one another. Admire Bach’s brazenness as he changes what was D over B, to D over C#! Here, as I mentioned, is a very early episode introducing the concept of Bach in revision: We Rely On Listener Support! How to Donate to this Podcast: The best way to support this podcast, is to become a paid subscriber at wtfbach.substack.com Enough paid subscribers = exclusive content, monthly merchandise giveaways! You can also make a one-time donation here: https://www.paypal.me/wtfbach https://venmo.com/wtfbach https://cash.app/$wtfbach Thank you for listening! Thank you for your support. Reach us at Bach (at) WTFBach (dot com) Get full access to WTF Bach at wtfbach.substack.com/subscribe…
Show me a finale as densely packed with thematic material as this one. Here are the five bars — the only five bars — discussed in today’s episode. You might listen while looking at them: Notice the finale comes in two stages, first diminution, then stretto. The signature in the final bar is noteworthy (though it should be mentioned that the letters are an addition by the editor.) And here is a video of the Mandelbrot set fractal, as promised (with perfect background music:) We Rely On Listener Support! How to Donate to this Podcast: The best way to support this podcast, is to become a paid subscriber at wtfbach.substack.com Enough paid subscribers = exclusive content, monthly merchandise giveaways! You can also make a one-time donation here: https://www.paypal.me/wtfbach https://venmo.com/wtfbach https://cash.app/$wtfbach Thank you for listening! Thank you for your support. Reach us at Bach (at) WTFBach (dot com) Get full access to WTF Bach at wtfbach.substack.com/subscribe…
Have a look at this. This is Bach beginning a canon in inversion. The follower is a 6th below the leader: (If you can’t see that the shapes are inversions, hold up a mirror — seriously!) Yet here, only a few bars later, the imitation seems to be at a different interval: The follower is no longer a sixth below, but a third. How rare! And going on, something else: (We’re looking at the lower two voices in this picture, the quarter notes.) We see the canonic imitation has shifted yet again, to the interval of a second. What is happening? Dare I say… W.T.F. Bach? This type of composition is, I believe, completely unique. I’d love to see another example elsewhere in music. Bach writes the chorale melody four times, and in all four appearances, finds a different interval at which inverted imitation works. The man’s capacity to combine a single shape with itself, to abstract the DNA of the smallest musical cell, to spin it, lengthen it, shrink it, to construct a world from a grain of sand; this is late Bach. We Rely On Listener Support! How to Donate to this Podcast: The best way to support this podcast, is to become a paid subscriber at wtfbach.substack.com Enough paid subscribers = exclusive content, monthly merchandise giveaways! You can also make a one-time donation here: https://www.paypal.me/wtfbach https://venmo.com/wtfbach https://cash.app/$wtfbach Thank you for listening! Thank you for your support. Reach us at Bach (at) WTFBach (dot com) Get full access to WTF Bach at wtfbach.substack.com/subscribe…
Imagine composing an ornate melody, then stretching it out so it moves twice as slow, and somehow when you layer the stretched version onto the original, they match up beautifully: One shape, two different speeds. This is what Bach has done in this canon (but he also made sure that the consequence of both lines also blends into the harmonic implications of the chorale melody, which must also past through both lines…) Let’s see what our augmented canon looks like on the page. Here is the opening of the ‘quick’ line: And now see the same shape, moving in augmentation: Those images are from the print, which as I mentioned is in open-score, and particularly difficult to read. The left hand is on the 2nd and 4th lines, the pedal sandwiched between them on line 3, and, did I mentioned? Four different clefs. Have a look: We’ve seen this type of composition before on the podcast. Here is the episode from Season One about the augmentation canon (as well as in inversion) from the Art of Fugue: Stay tuned for the final variation! We Rely On Listener Support! How to Donate to this Podcast: The best way to support this podcast, is to become a paid subscriber at wtfbach.substack.com Enough paid subscribers = exclusive content, monthly merchandise giveaways! You can also make a one-time donation here: https://www.paypal.me/wtfbach https://venmo.com/wtfbach https://cash.app/$wtfbach Thank you for listening! Thank you for your support. Reach us at Bach (at) WTFBach (dot com) Get full access to WTF Bach at wtfbach.substack.com/subscribe…
The subject of the last several episodes has been Bach’s canonic variations on a Christmas tune by Martin Luther himself. A major inquiry into this work is its existence in two versions: engraved and handwritten. The published version (for reasons explained in the episode) doesn’t fully solve the canonic lines, as seen here: Notice how the notes of the bottom line don’t continue after the fifth note! See two other canons, each with the comes omitted: Variatio 2 omits the follower after only three notes, while the last image shows the second voice dropping out after two full bars. Because of such condensed notation, a copy working out the solutions would be necessary for anyone wishing to play the work; Bach himself made one— and couldn’t stop himself from making very minor changes. Those intriguing revisions are the subject of this episode. P.S. In the episode I mention that for time’s sake, I cut three revisions from our comparative study of the canon at the 7th. For reference, they are found below. The staves show the pedals and left hand, engraving copy on top, followed by the handwritten copy: Bar 7: Bar 13: Bar 22: P.P.S. I received a notification that the featured recording of Stravinsky conducting his own arrangement is banned in certain countries in which I have listeners. Pardon me if the sound drops out at the end of the episode! If this happens, you’ll have to look the piece up on your own: it can be found searching Stravinsky’s music under the title “Choral-Variationen” (or “Chorale Variations” in other languages) with either W83, K087, or BH-2629 as the catalogue number. We Rely On Listener Support! How to Donate to this Podcast: The best way to support this podcast, is to become a paid subscriber at wtfbach.substack.com Enough paid subscribers = exclusive content, monthly merchandise giveaways! You can also make a one-time donation here: https://www.paypal.me/wtfbach https://venmo.com/wtfbach https://cash.app/$wtfbach Thank you for listening! Thank you for your support. Get full access to WTF Bach at wtfbach.substack.com/subscribe…
Let’s delve into a third variation from Bach’s 1747 masterpiece, “Some canonic variations on the Christmas song, ‘From Heaven Above’ for the organ with two keyboards and pedal, by J.S. Bach.” Two versions of this piece exist: the ‘fair copy’ and the ‘publication’ ( Stichfassung ), which present the variations in a different order. In this episode, we follow the publication, where the canon at the 7th appears as the third variation. The previous two variations featured canons between right and left hands, while the pedals carried the slow moving chorale melody. This variation introduces something new: a canon between the pedals and left hand. On that page that looks like this: Above those two lines, the right hand plays a quick-flowing accompaniment marked cantabile , but the chorale melody is missing… Note the rest up top, and the downward-facing stems on all the notes. This implies a second voice is coming: the Christmas melody sung in half notes. Together, the two voices of the right hand, combined with the canon between the pedals and the left hand, create a four-voice texture— the previous variations were in three voices. As we’ve seen in his other late canonic works, Bach will gradually increase the complexity of the canonic treatment toward the finale. We Rely On Listener Support! How to Donate to this Podcast: The best way to support this podcast, is to become a paid subscriber at wtfbach.substack.com Enough paid subscribers = exclusive content, monthly merchandise giveaways! You can also make a one-time donation here: https://www.paypal.me/wtfbach https://venmo.com/wtfbach https://cash.app/$wtfbach Thank you for listening! Thank you for your support. Get full access to WTF Bach at wtfbach.substack.com/subscribe…
I never knew the authentic version of the world’s most famous canon, having only known arrangements which conceal the fact that the music is indeed a canon in three voices. Here is what the ‘real’ canon looks like: It continues for over 50 bars as a three voice canon at the unison. In my brief survey of this piece, I found one theory that suggests the 9-year-old J.S. Bach was in attendance at the first performance in history. While the canonic treatment is clever and not worthy of our loathing— we blame its ill fate on others— Bach’s contributions to the genre outshine this example. We continue with Bach’s canonic art in the next episodes. We Rely On Listener Support! How to Donate to this Podcast: The best way to support this podcast, is to become a paid subscriber at wtfbach.substack.com Enough paid subscribers = exclusive content, monthly merchandise giveaways! You can also make a one-time donation here: https://www.paypal.me/wtfbach https://venmo.com/wtfbach https://cash.app/$wtfbach Thank you for listening! Thank you for your support. Get full access to WTF Bach at wtfbach.substack.com/subscribe…
Continuing our mini-series exploring Bach’s canonic variations on the Christmas song, ‘Vom Himmel hoch da komm ich her’ BWV 769, we listen to the second canon: a canon at the perfect fifth. Here is what the initial shape looks like in the right hand: So the same shape must be imitated down the perfect fifth. It appears like this in the left hand: I briefly mention the difference between ‘tonal’ and ‘real’ answers. Although the majority of the imitating line appears a perfect fifth below the leader, several accidentals are changed to keep the overall tonality. Hence Bach here gives us a ‘real answer.’ (I.e. where the F# and G# appear in the left hand, find the corresponding notes in the right hand, note the resulting intervals are diminished fifths, not perfect.) We Rely On Listener Support! How to Donate to this Podcast: The best way to support this podcast, is to become a paid subscriber at wtfbach.substack.com Enough paid subscribers = exclusive content, monthly merchandise giveaways! You can also make a one-time donation here: https://www.paypal.me/wtfbach https://venmo.com/wtfbach https://cash.app/$wtfbach Thank you for listening! Thank you for your support. Get full access to WTF Bach at wtfbach.substack.com/subscribe…
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The WTF Bach Podcast
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The first variation in these late variations for organ, is a canon at the octave. The two hands, each on a separate keyboard, play the same shape, one octave apart, while the feet provide the chorale melody. It looks like this: Those are the first three measures of 18 measures. That’s right: the shape is imitated note for note for 18 bars! If you’re having trouble seeing that the two upper lines are in fact the same melody, one octave apart, try this image: We Rely On Listener Support! How to Donate to this Podcast: The best way to support this podcast, is to become a paid subscriber at wtfbach.substack.com Enough paid subscribers = exclusive content, monthly merchandise giveaways! You can also make a one-time donation here: https://www.paypal.me/wtfbach https://venmo.com/wtfbach https://cash.app/$wtfbach Thank you for listening! Thank you for your support. Get full access to WTF Bach at wtfbach.substack.com/subscribe…
In this first of several related episodes, we will learn about Bach’s late contrapuntal masterpiece, the Canonic Variations on Vom Himmel hoch da komm' ich her , BWV 769. The variations— although certainly not as familiar— should be considered alongside Bach’s other late achievements, the Goldberg Variations , The Art of Fugue , and A Musical Offering. They employ many similar ideas and highlight the composers uncanny ability to ‘squeeze water from a stone,’ making elaborate pieces with minimal material. This first episode discusses the origins of the chorale melody and for what purpose Bach used this piece. Drop me a note to tell me if you like this shorter episode length. Are you the type of listener who loves the hour long podcast? Or did this fit into your schedule better? I mention the title page: And the Wikipedia link to the chorale melody: https://en.wikipedia.org/wiki/Vom_Himmel_hoch,_da_komm_ich_her We Rely On Listener Support! How to Donate to this Podcast: The best way to support this podcast, is to become a paid Substack subscriber at wtfbach.substack.com Enough paid subscribers = exclusive content, monthly merchandise giveaways! You can also make a one-time donation here: https://www.paypal.me/wtfbach https://venmo.com/wtfbach https://cash.app/$wtfbach Thank you for listening! Thank you for your support. Get full access to WTF Bach at wtfbach.substack.com/subscribe…
Since I was a child I’ve known the story of Bach pulling out a blade. What really happened? In this short episode, I read the contemporary reports from the Arnstadt Consistory Court, where this famous fisticuffs was first recorded. About halfway through the episode (14 minutes), I’ve given you some “chill” chorales, played over a drone. One of my listeners mentioned they wanted some Bach for doing yoga/meditation, so this is what I came up with. If you like the way it sounds, I’ll put a full hour-long track on Spotify for all my Bach enthusiast yogis. Meanwhile, stay tuned for some cool episodes coming up during the holiday season. We Rely On Listener Support! How To Donate To This Podcast: The best way to support this podcast, is to become a paid subscriber at wtfbach.substack.com You can also make a one-time donation here: https://www.paypal.me/wtfbach https://venmo.com/wtfbach https://cash.app/$wtfbach Get full access to WTF Bach at wtfbach.substack.com/subscribe…
Last week I posted this piece on YouTube : The most intriguing part of studying this piece was the overwhelming amount of differences between the three earliest sources of this work. Here is a list of the sources I reference in the episode , the copyists, and when they were made: The ‘Andreas Bach Book’ (D-LE III.8.4) J. Christoph Bach; copyist, between 1705-1714 P 801 J. Tobias Krebs; copyist, between 1710-1717 P 804 J. Peter Kellner; copyist, before 1725 In the episode I simply refer to these as Andreas Bach, Krebs, and Kellner. You will hear a great amount of textual variation between these sources. Part of any performer’s job of playing music from Bach’s era includes combing through sources, determining how and why certain discrepancies appear. In the Aria Variata , however, the discrepancies are inconsistent— and perplexing. My current understanding of source tradition hasn’t led me to any conclusion, but were I bold enough to take a stab, I’d guess Andreas Bach is the most accurate source, Kellner made a very sloppy copy from which Krebs copied. Kellner’s copy is full of corrections, but these were probably entered at a later date, and Krebs didn’t get the memo. A taste of what this looks like: That is Kellner’s copy. Notice the ornaments. Compare to Krebs: Both have an E-flat in on the downbeat of the third bar (all three sources in this episode use soprano clef on top). Now here is Andreas Bach: D-sharp in bar three! Also, the ornamentation is fuller. There are many other details in the episode, so please, enjoy! Here are more images to stimulate your fancy: Krebs’ wavy hand. Kellner making mistakes, corrected by— whom? Kellner himself? The baffling passage in variation 4 in Andreas Bach. Notice what look like erasures on some of the notes. How To Support This Podcast: Become a paid subscriber! at wtfbach.substack.com or donate using any of these links: https://www.paypal.me/wtfbach https://venmo.com/wtfbach Get full access to WTF Bach at wtfbach.substack.com/subscribe…
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The WTF Bach Podcast
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Yes, that recording at the end is none other than Jascha Heifetz with Primrose and Piatigorksy, who apparently recorded three of the sinfonias. The wonderful pianist with that golden sound playing before the string trio arrangement is ( I think! ) Marcelle Meyer recorded sometime around 1948. WTF Bach needs your support! Consider becoming a subscriber. Today’s episode focuses on the ‘black pearl’ of the inventions and sinfonias. The f minor sinfonia is highly complex piece of passion music embedded within a seemingly innocent collection of music intended for the beginner. Here, rather than the more typical obligato upper voices with the bass occasionally joining in with a theme here and there, the f minor sinfonia relies on convertible counterpoint where all three voices are judged— and juggled— equally. Bach shows us this technique using different themes: A lament bass: Musical crosses: And a wildly avant-garde motif, which I refer to as the wailing motif: Writing certainly exists on these three motifs seen as “God the Father, God the Son, and God the Holy Spirit.” Not for any particular reason, I refrain from making such an analogy in this episode. As mentioned in the episode, Bach changed some of the enharmonics when transfering the piece from the Notebook for W.F. Bach into the Aufrichtige Anleitung. Here are some examples: The E-double-flat (middle voice) in the notebook for his son: is later changed to a D natural: The B-double-flat in the top voice in the previous examples remain, but Bach will change the spelling in the bass voice of the same note (again, in the notebook:) to an A natural: There are a few other similar changes throughout. Thanks for listening! Have you told your high-school band teacher you’re super into Bach? N.B. My substack is about 1 year old, and in that time I released some 27 episodes and three essays. Should you decide to become a paid subscriber, that’s less than 3 dollars an episode (paying per year: about $3.70 paying per month.) Your contribution ensures the existence of this podcast. I really couldn’t— and wouldn’t be able to— continue devoting the time without your support. Thank you. How To Support This Podcast: https://www.paypal.me/wtfbach https://venmo.com/wtfbach https://cash.app/$wtfbach or become a paid subscriber at wtfbach.substack.com Get full access to WTF Bach at wtfbach.substack.com/subscribe…
Becoming familiar with Bach’s music is a never-ending process. First, there is the initial reading, which alone can occupy many happy years. What’s remarkable is that with each further reading, you’re astonished by the details you missed before—quite honestly amazed. You ask yourself: Where—or even who —was I during those earlier readings? You begin to measure your growth as a musician against the depth with which you can now understand the pieces. One fugue, which I initially read with little interest, is the one featured in this episode: BWV 537. Suddenly, I’m struck by its raw power and its structural reliance on a chromatic line. Now that it has revealed itself to me, it will forever remain a favorite. I hope to share with you a glimpse of this experience in today’s episode. How To Support This Podcast: https://www.paypal.me/wtfbach https://venmo.com/wtfbach https://cash.app/$wtfbach or become a paid subscriber at wtfbach.substack.com Get full access to WTF Bach at wtfbach.substack.com/subscribe…
In this episode, we’ll explore Bach’s constant involvement with weddings. Weddings and funerals occupied a weekly place in Bach’s life in Leipzig and we’ll shed light on the various ways in which he was involved musically. [I forgot to credit the last recording in this episode to Rudolph Lutz and the J.S. Bach foundation.] Here are (some of) the beautiful parts which make up the chorales, BWVs 250-252. They are beautiful examples of Bach’s handwriting ca. 1730. Note that all three chorales are on the same page. Soprano: Alto: Tenor: Bass: And the second horn part I fondly discuss in this episode: All the parts are viewable at: https://www.bach-digital.de/receive/BachDigitalSource_source_00002475 How To Support This Podcast: https://www.paypal.me/wtfbach https://venmo.com/wtfbach https://cash.app/$wtfbach or become a paid subscriber at wtfbach.substack.com Get full access to WTF Bach at wtfbach.substack.com/subscribe…
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