The WTF Bach Podcast

If you miss those DVDs with the optional director’s commentary, you’re going to enjoy this episode.Each album in my ‘J.S. Bach Complete Solo Keyboard Works’ will be accompanied by this type of work, my commentating as the music plays. You can stream (and individually purchase) any track including the performer’s commentary from the first album here:How To Support This Podcast:https://www.paypal.me/wtfbachhttps://venmo.com/wtfbachhttps://cash.app/$wtfbachor become a paid subscriber at wtfbach.substack.comThe first three albums of the 'Complete Works for Solo Keyboard' are live everywhere. Stream while sleeping to achieve maximum effect.Volume One: Spotify: https://tinyurl.com/ycy2fab7 Apple Music: https://tinyurl.com/nhfuws4t Amazon Music: https://tinyurl.com/mrxj7pws Volume Two: Spotify: https://tinyurl.com/msjyhamh Apple Music: https://tinyurl.com/mtykbxnz Amazon Music: https://tinyurl.com/3m7b9v6w Volume Three:Spotify: https://tinyurl.com/4xneak6r Apple Music: https://tinyurl.com/mr44kwmf Amazon Music: https://tinyurl.com/3e4kwnsb Get full access to WTF Bach at wtfbach.substack.com/subscribe

You know that portrait of Bach holding a little scrap of music? Ever wonder what the piece was? What it sounded like? That piece of paper is a six-voice, triple canon: number thirteen in the fourteen additional canons found on the back of Bach’s personal copy of the Goldberg Variations. (Analysis of that specific canon around 32 min.)We’ve covered nine of these puzzling pieces in three previous episodes, but now it’s time to call it a wrap on all fourteen. These additional canons were discovered only as late as the 1970s. For a more detailed history, check the three previous episodes dealing with these canons:Here is the image of the canon, “Christ will Crown the Cross-bearers” that appears in the family registry book belonging to J.G. Fulde:And of course, Bach and his “business card:”The bass line in both the images (and in all of the canons) is our beloved “first eight fundamental notes of the preceding aria” on which all the canons are based.Be sure to get my forthcoming three albums on PRESALE before they go live on May 17th!Volume One:Apple Music: https://tinyurl.com/nhfuws4tAmazon Music: https://tinyurl.com/mrxj7pwsVolume Two:Apple Music: https://tinyurl.com/mtykbxnzAmazon Music: https://tinyurl.com/3m7b9v6wVolume Three:Apple Music: https://tinyurl.com/mr44kwmfAmazon Music: https://tinyurl.com/3e4kwnsbHow To Support This Podcast:https://www.paypal.me/wtfbachhttps://venmo.com/wtfbachhttps://cash.app/$wtfbachor become a paid subscriber at wtfbach.substack.com Get full access to WTF Bach at wtfbach.substack.com/subscribe

ALBUMS ON PRESALE TODAY! BUY THE ALBUMS HERE!Volume One: Apple Music: https://tinyurl.com/nhfuws4t Amazon Music: https://tinyurl.com/mrxj7pws Volume Two: Apple Music: https://tinyurl.com/mtykbxnz Amazon Music: https://tinyurl.com/3m7b9v6w Volume Three: Apple Music: https://tinyurl.com/mr44kwmf Amazon Music: https://tinyurl.com/3e4kwnsb As for the music covered today, we will hear Doubles layered over their preceding dance movements. A Double is an elaboration on the preceding movement, where the melody is quickened— often twice as quickly. The harmonic structure of the Double and its preceding movement is the same, allowing for one to play both movements at the same time with very interesting results. Pieces studied:Sarabande and Double from Sixth English Suite, BWV 811Gigue and Double from the c minor lute suite, BWV 997Partita in b minor for solo violin, BWV 1002People/places mentioned:Burp Castle at 41 East 7th Street in the East Village of Manhattan (between 2nd Ave & Cooper Square).Paul Spring (guitarist)How To Support This Podcast:https://www.paypal.me/wtfbachhttps://venmo.com/wtfbachhttps://cash.app/$wtfbachor become a paid subscriber at wtfbach.substack.comConcepts Covered:In today’s episode, we explore the concept of Doubles in Baroque music. Doubles are essentially melodic embellishments that accelerate the original melody while maintaining the harmonic structure of the original dance movement. This creates an interesting contrast when heard alongside its corresponding dance. We’ll dive into specific examples from Bach’s repertoire, including the Sarabande and Double from the Sixth English Suite, BWV 811, the Gigue and Double from the c minor lute suite, BWV 997, and the Partita in b minor for solo violin, BWV 1002. Get full access to WTF Bach at wtfbach.substack.com/subscribe

Thanks for all your support during The Bach Store! If you’re in NYC on Friday, come to Le Poisson Rouge at 158 Bleecker Street at 7pm.Be sure to mark your calendars: April 24th, 2024, my new albums will be on PRE-sale. It marks the beginning of my most ambitious project to date: a very thorough, if possible, ‘complete’ set of the keyboard works of Bach. I will certainly send another reminder as the date approaches.And now for a brief journey into Bach around this date in 1724: today’s episode covers the cantata for the second Sunday after Easter, BWV 104, Du Hirte Israel, höre. Unlike the other cantatas I have recently discussed, this cantata is not based on a chorale melody. And don’t miss out on your WTF Bach merchandise! Here are seven magnets for your fridge. Send me a note to arrange a sale (T-Shirts, Pins, Bags, 3D Printed Heads, Lighters, also available).How To Support This Podcast:https://www.paypal.me/wtfbachhttps://venmo.com/wtfbachhttps://cash.app/$wtfbachor become a paid subscriber at wtfbach.substack.com Get full access to WTF Bach at wtfbach.substack.com/subscribe

You read correctly: The Bach Store is back. In Erfurt, Thuringia, the state from where the Bachs hail. I will play for five hours, March 14-28, 12.00-18.00 GMT +1 (7AM-1PM EST.) You can (hopefully) stream the whole run on my youtube. Subscribe HERE.Or go to: www.youtube.com/@wtfbachHere is the latest video I mentioned in the podcast.Bach Store Merchandise is available on request. Send an email to bach (at) wtfbach (dot com)—Meanwhile, the music in today’s episode comes from the “Neumeister Collection,” a collection of over 80 chorale preludes from multiple composers, published for the first time in 1985. More than 30 of the pieces come from J.S. Bach ca. 1700, when the composer was only 15 year old. Hence one of the newest Bach discoveries showed us the youngest portraits of the composer. I played three of them, one on a ‘real’ organ (Saint Anne’s, London) and two on Organteq (by Modartt.) —How To Support This Podcast:https://www.paypal.me/wtfbachhttps://venmo.com/wtfbachhttps://cash.app/$wtfbachor become a paid subscriber at wtfbach.substack.com Get full access to WTF Bach at wtfbach.substack.com/subscribe

This week I’ll be performing some flute chamber music in Santa Barbara, California. I realize I’ve never specifically mentioned Bach’s wonderful flute repertoire on this podcast. We tackle here what I find is the most complex composition in the repertoire: the first movement of the b minor sonata, BWV 1030.Pieces heard:BWV 1030.1 Source P. 1008, early version, harpsichord part.BWV 1030.2 The later version, arranged as a flute sonata.Articles:Contentious writing on flute vs. recorderYour Support Is What Keeps Us Alive!https://www.paypal.me/wtfbachhttps://venmo.com/wtfbachhttps://cash.app/$wtfbachCheck out WTF Bach’s Youtube!New videos appearing soon.Join the mailing list for very occasional blasts: wtfbach.substack.comWrite us:bach (at) wtfbach (dot) comConcepts Covered:Bach’s flute sonatas stand as essential works in the Baroque flute repertoire, with the B minor sonata, BWV 1030, being one of the most important. This masterpiece of Bach’s chamber music showcases intricate counterpoint and structure, making it a highlight of flute repertoire. Through an exploration of Bach’s early drafts, such as BWV 1030.1, we uncover Bach’s approach to flute sonata composition. The discussion of flute vs. recorder further enriches our understanding of Baroque music history and performance practice. Whether analyzing Bach’s compositions or appreciating the beauty of music for flute, this sonata remains a testament to Bach’s genius. Get full access to WTF Bach at wtfbach.substack.com/subscribe

This is the final episode introducing Bach’s cantata cycle of 1724. In the first four cantatas of the cycle, we heard how Bach used Lutheran hymnal melodies as cantus firmi in different voice parts in each opening movement (sopranos, followed by altos, followed by tenors, followed by basses.)Here, the next two cantatas see less predictable treatments of the old melodies. Bach evidently valued these two cantatas, as later in life he arranged single movements from both BWV 10 and BWV 93 into his publication of organ music known as the “Schübler Chorales.” Pieces heard:BWV 10, Meine Seel erhebt den Herren (Full Performance of the cantata)BWV 648, Meine Seel erhebt den Herren (Organ version)BWV 93, Wer nur den lieben Gott lässt waltenCheck out WTF Bach’s Youtube!New videos to start appearing soon.Your Support Is What Keeps Us Alive!https://www.paypal.me/wtfbachhttps://venmo.com/wtfbachhttps://cash.app/$wtfbachCheck this playlist:I mentioned this playlist in the episode: all the cantatas in the 1724 cycle. Love to my fans!The book I mentioned on the use of ‘Tonus Peregrinus”Join the list for updates if you haven’t already:wtfbach.substack.comWrite us:bach (at) wtfbach (dot) com Get full access to WTF Bach at wtfbach.substack.com/subscribe

Last episode we introduced Bach’s second cantata cycle from 1724. We saw in the first cantatas of the cycle, Bach used a church melody as the cantus firmus first in the sopranos, then the altos. This episode we will explore the next two cantatas where Bach sets the cantus firmus in the tenors in BWV 7, and the basses in BWV 135. About the melody you may know as “O Sacred Head Surrounded” Pieces heard:BWV 7, Christ unser Herr zum Jordan kam (Full Performance)BWV 135, Ach Herr, mich armen Sünder (Full Performance)Oh, you don’t follow WTFBach on Instagram? For shame! Posting almost daily music from the keyboard repertoire.We Need Your Support!https://www.paypal.me/wtfbachhttps://venmo.com/wtfbachhttps://cash.app/$wtfbachCheck this playlist:A fan of the show made this great Spotify playlist with all the cantatas in the second cycle! Thank you! Love to my fans-Join the list for updates if you haven’t already:wtfbach.substack.comWrite us:bach (at) wtfbach (dot) com Get full access to WTF Bach at wtfbach.substack.com/subscribe

Peter Schickele was one of my idols. He died on Tuesday, January 16. His creation, P.D.Q. Bach, helped bring much needed self-effacing humor to the world of classical music. Links below to help you get into his (and Victor Borge’s— another giant of classical music parody—) life and work:Peter Schickele’s Obituary, NY TimesBeethoven’s 5th announced as a baseball game (a classic!)The Short-Tempered ClavierReport from Hoople (full album- the Beethoven sketch is included)The Definitive Autobiography of P.D.Q. Bach (1807-1742?)and we should also mention,Victor Borge (anything you can find will amuse you!)Good Ol’ Piano SlapstickMozart OperaInflationary LanguageTelevision Special (75+ Min) Get full access to WTF Bach at wtfbach.substack.com/subscribe

In this episode we delve into Bach’s second cantata cycle begun in 1724. The first two cantatas are briefly covered, (with two further cantatas to follow next episode) as well as the connection between the Lutheran church melodies and the significance of the year Bach began this ambitious project.Pieces heard:BWV 20, O Ewigkeit, du Donnerwort (Click here to see the live video)BWV 2, Ach Gott, vom Himmel sieh dareinBWV 684, Chirst unser Herr zum Jordan KammSupport us:https://www.paypal.me/wtfbachhttps://venmo.com/wtfbachhttps://cash.app/$wtfbachJoin the list for updates if you haven’t already:wtfbach.substack.comWrite us:bach (at) wtfbach (dot) com(@wtfbach on instagram) Get full access to WTF Bach at wtfbach.substack.com/subscribe