J. S. Bach, ‘Ach wie flüchtig, ach wie nichtig’: Analysis
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- čas přidán 22. 05. 2024
- In the third installment of this four-part series, composer Samuel Andreyev continues his analysis of the chorales of Bach, this time focusing on Ach wie flüchtig, ach wie nichtig.
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Now that this series has reached its conclusion: did you learn anything new from it? How could I improve my videos? Thanks for watching and see you again next week.
Thanks for this nice series Samuel! If I may suggest one thing, it would be to mention that Bach didn't think in terms of functional harmony but rather in terms of figured bass and the rule of the octave. Not to say you can't analyze this music with functional harmony but just to understand how it was composed and look at it from various perspectives. What do you think?
yeah that Stockhausen IS the greatest composer ever
and in terms of improving your videos...I'd prefer to start with the music and then with the words/explanations because how much time passed before I heard 1 note? you even read a text... mmm u could have played the piece first then read whatever u want but start with the music!!! 3 minutes before I heard 1 note. Better start with the piece then do all the talking. that's my solicited feedback tyvm
Thank you Mr Andreyev. It's been interesting to see you correlate meaning with harmonic context, especially with specific words. I've looked at the big Bach works for greatness more often(Messe, the Passions), because albeit the efforts of my teacher, the harmonic lessons of the educational system through the chorales are stagnant.
All of your videos are great. As a student of music, I hope to continue to learn from someone as knowledgeable as you.
No matter which composers I admire and research, my interest always winds its way back to Bach.
I love this chorale! The wind band at my uni plays this to start off every rehearsal and it’s great to clear the air and so beautiful. Never actually tried to analyse it though, so this was a treat! Thanks!
I really enjoyed this series and the deft analyses conducive to careful hearing that you provided. I appreciate you reading the German followed by the English translations; it was good to be reminded of a language that I studied as a freshman in college. In fact, I intend to acquire the edition of the chorales that you used as mine, Edition Breitkopf, "371 Four-Part Chorales" lacks the words. Anyway, the series has inspired me to listen to more chorales, play them at the piano while sight-singing parts, an excellent suggestion!
Thank you for this series. I found it enlightening. I have shared it with several of my friends who dabble in music composition.
Thanks for doing that, it helps grow the channel!
Bach turned a sad tune into joy. Most have been a very joyful person.
excelent ¡¡
This is great. Since you asked for suggestions, the chorales are particularly interesting because you can compare much less interesting harmonizations by different composers with Bach’s. Or, perhaps intentionally write some correct but uninteresting harmonizations and compare them with Bach’s harmonizations. This could illuminate Bach’s excellence even more than just starting with his music at the outset. (But then this is the end of your chorale series so maybe my suggestion isn’t helpful!)
lovely videos thank you wondering what you think of Busoni's arangement of Ich ruf zu dir, Herr Jesu Christ?
Haven’t heard it yet!
I'm guessing that the reason for the Picardy thirds at the end of each phrase is a musical foreshadowing of the message of hope "Wir Gott flücht, bleibt ewig stehen" with which this verse closes. And perhaps they constitute as well a repetitive reply to the cry repeated "Ach" in each stanza.
My first exposure to this chorale is the cantata based upon it. The choral first movement in chorale prelude style is the very opposite of dirge-like. The orchestra is going furiously. The setting could be taken to embody the fleeting nature of life, especially in the very short declamation fragments in the vocal parts not singing the chorale melody.
A basic question... When you say melody like this has been harmonised, does that imply that the melody could exist and be performed with no harmonisation? I know that melody preceded the ability to harmonise it, but to my ears as a self-taught musician but with a good ear, it's hard for me to hear this melody without at least a simple chord progression being implied. But is that accurate? Or was a melody in this style and time period meant to stand alone, and the harmonisation is some fancy icing on the cake?
Well, generally when he talks about harmonized, he is talking about the composer who harmonized it.
For certain, everyone who plays an instrument would be able to hear a version of what the song would sound when harmonized. And I think that is why the melodies were left bare. For each composer to come up with their own harmonizations.
It do not they were meant to be enjoyed bare.
because you mentioned the anagram, here's the poem "mund" by the austrian poet Reinhard Priessnitz:
- lage?
- nebel
- leben?
- egal!
in his poem, Im Nebel, Hermann Hesse, a son of Pietist missionaries, uses "Nebel" in the first stanza, as he must, and in the very next stanza appears "Leben" in a conscious intent to set up a contrasting theme. The third line of the second stanza repeats "Nebel" immediately following "Leben" in the second line. Perhaps Hesse was acquainted with the Lutheran hymn set by Bach. Here are the first two stanzas of Hesse's poem:
Im Nebel
Seltsam, im Nebel zu wandern!
Einsam ist jeder Busch und Stein,
Kein Baum sieht den anderen,
Jeder ist allein.
Voll von Freunden war mir die Welt,
Als noch mein Leben Licht war,
Nun, da der Nebel fällt,
Ist keiner mehr sichtbar.
In Scott Horton's translation:
In the Fog
Strange, to wander in the fog.
Each bush and stone stands alone,
No tree sees the next one,
Each is alone.
My world was full of friends
When my life was filled with light,
Now as the fog descends
None is still to be seen.
Hesse's old friend, the composer, Othmar Schoek, set it to music as a lieder:
czcams.com/video/bsgc4msjVHg/video.html
Also remarkable is the massive, 5-part setting of Herr Gott, dich loben wir, BWV 725 (lasting nearly 10 minutes) czcams.com/video/ywK9KXZinfI/video.htmlsi=kn0DWEs1h8iRdLHn What would be the practical purpose of such a piece? Like the series of 14 canons BWV 1087, it is simply for private meditation.
I enjoyed your analysis of this chorale. I suggest viewers go listen to the full cantata. The first chorale has a wonderful exciting instrumental accompaniment to this chorale. The final chorale is the one shown in this video.
I highly recommend viewing the full cantata by the Bachstiftung (Rudolf Lutz), primarily for the Aria So schnell ein rauschend Wasser schiesst performed by the amazing tenor Daniel Johanssen
czcams.com/video/Px_UReer1ww/video.html
Nice. Can you analyze some Sorabji next?
Why should I?
I don't get Sorabji.
Blink * blink blink * blink * blinkity * blonk
What are you trying to say?
?
@@samuel_andreyev maybe morse code?
@@samuel_andreyev he's trying to say that you blink a lot.