@@dazhund3297 Maybe I get used to hear pipe organ with low-frequency "buzzzz" in the background. It makes the sound more succulent. The jiggling part before 0:28 till "Gelobet seist du, Jesu Christ!" without low or even mid range frequency did hammer me a bit dizzy. It tastes quite flat like boiled un-seasoned chicken breast. The notes should be joyful and pleasant. But the high I feel just like simply weed without brownie. I've never heard the original Bach song. I might be just bullshitting.
Sounds amazing! It reminds me of Wendy Carlos' "Switched-on Brandenburgs" that I bought on vinyl when I was a teenager. How did you made the production? Was that midi or processed audio?
Handel was obviously a very talented composer, yet his music does not strike me emotionally like other Baroque composers do, such as the Couperins, the Great Bach and his sons, and Forqueray to name a few.
@@dazhund3297 I am listening to it now. Another great work by Handel. With your recommendation I also have one if you are willing. Gott hilf mir, denn das Wasser geht mir bis an die Seele, BuxWV 34 played by Vox Luminis specifically.
Thanks for this, Dazhund. You're clearly a talented wind player and you've put together a pleasant and entertaining version of this movement. Thanks again.
I love the way you voiced this and the choice of this work :) It’s gorgeously done 🙏🏼 So during the pandemic year (2020) with nothing better to do, I set up a project for myself where I would write an analysis of one movement from every Bach cantata (and listen to the whole cantata to choose the most appropriate movement and read several analyses of the work) every single day … it was a daunting task inspired by the industry of Bach. I called it the ‘Cantata of the Day’. Here’s my entry for BWV 150, focusing on the 5th movement: “It is sometimes impossible for scholars to be entirely sure of the exact order of composition for many of the works, as some (like the cantata for today) come to us only through copies that were made by Bach’s students, but I will use the latest in Bach scholarship to guide me. Cantata 150 is thought to be the very first cantata Bach composed. He likely wrote it in Arnstadt in 1707, when he was only 22 years old. A remarkable acrostic spelling DOKTOR CONRAD MECKBACH, formed by the first letters of each line of the poetic movements 3, 5 and 7, amazingly only discovered in 2010, has brought forth the theory that the work was composed in April 1707 to celebrate the 70th birthday of this early supporter of Bach. This cantata is unusual among Bach’s other works in the genre for several reasons. The movements are sparsely orchestrated and rely heavily on the choir, which appears in four of the seven movements. The choral movements are episodic, changing tempo and character at the drop of a hat to suit the next idea in the text. And the fifth movement, posted below, is one of the few vocal trios in the whole of the Bach cantata oeuvre. This short but brilliant movement calls for a virtuosic viola da gamba and bassoon player. The difficult bassoon part may, in fact, have led to a famous early quarrel between Bach and one of his bassoon players, which became physical and resulted in Bach being reprimanded for being too demanding of his instrumentalists. This music is the first of many thrilling works by Bach that mention the power of the wind, expressed in the breathlessly driving force of the viola da gamba and bassoon against the gorgeous trio of the bass, tenor and alto vocalists. Another movement that is sure to delight <3”
Thanks for this Dazhund; lively and entertaining! Many musicians I've met knew plenty of Mozart and very little Haydn. For me, his is a house crammed with treasures. 'The Creation' is a towering piece of work, and you have selected one of its peaks to give to us. Thank you!
Cheers! Not being a formally trained musician myself, Haydn was a relatively new discovery for me as well. Stumbled on a recording of the Creation on spotify and was completely wowed. Can't wait to discover more of this guy
Thanks for this Dazhund. I enjoyed it! Do you know Gabrieli's 'Canzon Primi Toni a 8' as well? I first heard it decades ago and have like it ever since. It would never have occurred to me to use a EWI in this way, so I'm grateful to you for bringing it to me. Thanks again.
Very nice work, as per usual. I had not heard Cantata 150 before but this video made me go and listen to it. Also, I am almost certain that the melody and the chords at the start of the the 5th movement were inspired by Pachelbel's D major Chaconne. The wikipedia page for this Cantata does not mention this but it does say that the 7th probably borrowed the ground bass from Pachelbel, so my theory seems very plausible.
@ojfeh fascinating, I've never heard that piece myself, gonna have to give it a listen I could tell this piece was influenced by earlier baroque stuff, but I had assumed buxtehude or something
Delightful! The "soul" of your performance feels to me like a kind of living Johann Sebastian Bach. Just subscribed your channel and looking forward to many more pieces from you. Congratulations!
Sang this in my freshman year of high school and it both terrified me and excited me. It’s the only piece I remember from that year, so I guess it imprinted on me. Great rendition.
Adding my corrections comment also here on the main thread: *Bar 7 (0:16) first bit should be A natural in the 642 chord above E flat (third inversion of a 7th dominant above F). A flat should arrive only on the 15th 16-note (3rd 16-note on the 4th bit) in the first violin. Until then A natural only. *Bar 8 (0:18) 4th 8-note (2nd bit 2 8-note) should be B natural (H) above G (G major chord). *Bar 32 (1:07/08) F# throughout the measure, no F natural at all (g minor dominant harmony). *Bar 55 (1:52/53) as written above *Bar 70 (2:23) I think I heard B flat instead of A on the 5th 8-note (3rd bit first 8-note). *Bar 127 (4:16) same as bar 7 *Bar 128 (4:18) same as bar 8 *Bar 132 (4:26) the bass should be D 5#3 instead of C 6#42 (pure D major chord in root position instead of third inversion of a 7 dominant above D). The 6#42 above C was correct in bar 12 but not here.
Sublime. I think you have some accidental mistakes in some of the chromatic progressions and cadences. Due to your impressive work, I would be happy to correct them for free! (I'm a harpsichordist and continuo player)
*Bar 7 (0:16) first bit should be A natural in the 642 chord above E flat (third inversion of a 7th dominant above F). A flat should arrive only on the 15th 16-note (3rd 16-note on the 4th bit) in the first violin. Until then A natural only. *Bar 8 (0:18) 4th 8-note (2nd bit 2 8-note) should be B natural (H) above G (G major chord). *Bar 32 (1:07/08) F# throughout the measure, no F natural at all (g minor dominant harmony). *Bar 55 (1:52/53) as written above *Bar 70 (2:23) I think I heard B flat instead of A on the 5th 8-note (3rd bit first 8-note). *Bar 127 (4:16) same as bar 7 *Bar 128 (4:18) same as bar 8 *Bar 132 (4:26) the bass should be D 5#3 instead of C 6#42 (pure D major chord in root position instead of third inversion of a 7 dominant above D). The 6#42 above C was correct in bar 12 but not here.
