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Random Music

on Sun Jan 10, 2016 8:12 pm


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Goldberg Variations

on Sun Jan 10, 2016 8:36 pm
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Ballo del Granduca - Ton Koopman, Compenius organ

on Thu Jan 21, 2016 10:25 pm
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Johann Sebastian Bach BWV 1080 Jordi Saval

on Mon Jan 25, 2016 1:01 pm
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Re: Random Music

on Mon Jan 25, 2016 1:16 pm
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BWV 971 - Italian Concerto

on Mon Jan 25, 2016 1:57 pm


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Scarlatti Toccata No.7 Igor Kipnis

on Mon Jan 25, 2016 2:02 pm
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Marin Marais Pieces for 2 Violas da Gamba Jordi Savall

on Tue Jan 26, 2016 2:35 pm
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Re: Random Music

on Thu Jan 28, 2016 9:40 pm
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Re: Random Music

on Sat Mar 12, 2016 11:27 am
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Яe:

on Mon Mar 14, 2016 2:31 pm
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Шостакович - Концерт No. 1

on Mon Mar 21, 2016 6:39 am
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Re: Random Music

on Tue Mar 29, 2016 5:00 pm


https://www.youtube.com/watch?v=hggo-uuk5oE
I Concerti dell'Addio - The Farewell Concertos
Concerto for violin, strings &  basso continuo in E
minor, RV273 , A. Vivaldi   Fabio Biondi
Europa Galante [on period instruments]
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J.S Bach Concerto BWV 974

on Mon May 02, 2016 3:24 pm
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Goldberg Variations - Harpsichord (Leonhardt)

on Wed Jun 22, 2016 1:32 pm
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BWV 54 Leonhardt

on Sun Aug 21, 2016 6:39 pm
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Glenn Gould-J.S. Bach-The Art of Fugue

on Sun Aug 21, 2016 6:52 pm


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Glenn Gould - Little Prelude, In E Major, BWV 937

on Sun Aug 21, 2016 6:57 pm
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Glenn Gould - Little Prelude, In C Minor, BWV 934

on Sun Aug 21, 2016 7:01 pm
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Re: Random Music

on Sun Aug 21, 2016 7:12 pm
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Contrapunctus XIV

on Thu Nov 10, 2016 10:11 am
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Re: Random Music

on Thu Nov 10, 2016 10:20 am
Contrapunctus XIV breaks off abruptly in the middle of the third section at the 239th measure. The autograph carries a note in the handwriting of Bach's son Carl Philipp Emanuel Bach saying “Über dieser Fuge, wo der Nahme B A C H im Contrasubject angebracht worden, ist der Verfasser gestorben.” (“At the point where the composer introduces the name BACH in the countersubject to this fugue, the composer died.”) However, modern scholarship disputes this version, in particular because the musical notes are indisputably in Bach's own hand, written in a time before his deteriorating vision led to erratic handwriting, probably 1748–1749. See e.g. the discussion in Johann Sebastian Bach, the Learned Musician by Christoph Wolff, ISBN 0-393-04825-X.

Many scholars, including Gustav Nottebohm (1881), Wolff and Davitt Moroney, have argued that the piece was intended to be a quadruple fugue, with the opening theme of Contrapunctus I to be introduced as the fourth subject. The title Fuga a 3 soggetti, in Italian rather than Latin, was not given by the composer but by CPE Bach, and Bach's Obituary actually makes mention of “a draft for a fugue that was to contain four themes in four voices”. The combination of all four themes would bring the entire work to a fitting climax. Wolff also suspected that Bach may have finished the fugue on a lost page, called “fragment X” by him, on which the composer attempted to work out the counterpoint between the four subjects.

The permutation matrix

In 1991 an astonishing discovery was published by Zoltán Göncz answering the question with fairly great certainty how Bach planned the appearance of the fourth subject, the main subject of the cycle:

In the course of the exposition of the first three subjects (first subject: mm. 1–21, second subject: mm. 114–141, third subject: mm. 193–207), Bach applied a serial sequence of voice entries decided in advance, by which he determined the space and time parameters of the subject entries. The superimposition of the three exposition matrices foreshadows and develops as a negative the sequence of the voice entries of the fourth subject. The copying of the four subjects onto each other displays a characteristic construction of Bach’s oeuvre occurring mainly in the vocal fugues: that of the permutation fugue.



However paradoxical, it follows from the logic of composing a quadruple fugue that the combinations joining all four subjects and rendered the latest when performing the work were already completed in the very first stage of composition because the possibility of overlapping the four subjects (1+2+3+4) is the sine qua non of writing a quadruple fugue.

One of the striking features of Contrapunctus XIV is that in this movement Bach applied the stretto of whole expositions. In the exposition of the first three subjects he “programmed” the later permutation stretti, then applied the expositions as “programs”, “algorithms”. The permutation matrix, apart from originating authentically with Bach, can be proved to have been ready at the time of the genesis of the work (that is, earlier than the surviving section).

The discovery of the permutation matrix was one of the most essential conditions to achieve that the reconstruction of Contrapunctus XIV could come near to the original form planned by Bach. (Göncz, Z.: Reconstruction of the Final Contrapunctus of The Art of Fugue, in: International Journal of Musicology Vol. 5, pp. 25–93. 1997 ISBN 3-631-49809-8; Vol. 6, pp. 103–119. 1998 ISBN 3-631-33413-3) Score published by Carus-Verlag [CV 18.018]

Bach - Contrapunctus 14 - reconstruction - part 1
Bach - Contrapunctus 14 - reconstruction - part 2

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Die Zauberflöte Mozart

on Mon Dec 26, 2016 3:33 pm
https://www.youtube.com/watch?v=lJJW0dE5GF0

Diana Damrau , Der Hölle Rache .. , Die Zauberflöte .

https://www.youtube.com/watch?v=-8FSKZ6eXnU

Lucia Popp: "Der Hölle Rache kocht in meinem Herzen", La flauta mágica *

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Glenn Gould - 39. Dmitri Shostakovich, Piano Quintet Op.57

on Tue Jan 17, 2017 12:00 am
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Glenn Gould- Bach's Piano Concerto No.1 in D minor (BWV 1052)

on Tue Jan 17, 2017 12:01 am
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Glenn Gould - On the Record

on Tue Jan 17, 2017 7:17 am
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Bach: Concerto in D minor, 1. Allegro, BWV 1052 - Gustav Leonhardt

on Thu Jan 19, 2017 12:00 am
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Dmitri Shostakovich Piano Quintet in G Minor, op. 57

on Thu Jan 19, 2017 12:12 am


Piano Quintet in G Minor, op. 57.

Played by Dmitri Shostakovich and the Beethoven Quartet in 1940. First recording
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BWV 1056 - Harpsichord Concerto in F Minor

on Thu Jan 19, 2017 7:19 pm
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M. Rostropovich Cello suite No. 1

on Sun Jan 22, 2017 11:11 am
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Scriabin Sonata No. 3 III

on Tue Jan 24, 2017 11:11 am
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Scriabin Two Pieces

on Tue Jan 24, 2017 11:11 am
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RV 281 , Concerto per violino in mi minore - 1/3. Allegro

on Tue Jan 24, 2017 11:11 am
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L. Beethoven Piano Sonata The Tempest Emil Gilels , Neuhaus and Waldstein

on Tue Jan 24, 2017 11:11 am
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Sibelius The Swan of Tuonela Karajan

on Tue Jan 24, 2017 12:12 pm
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Valse triste op. 44 Jean Sibelius Herbert von Karajan

on Tue Jan 24, 2017 12:12 pm
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Glenn Gould-Beethoven-Sonata No.17-The Tempest-part 3 of 3 (HD)

on Tue Jan 24, 2017 12:42 pm
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French Suites Ton Koopman

on Tue Jan 24, 2017 1:11 pm
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French Suites Gould

on Tue Jan 24, 2017 1:11 pm
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Silvius Leopold Weiss

on Tue Jan 24, 2017 1:11 pm
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