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The WTF Bach Podcast

Evan Shinners
The WTF Bach Podcast
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  • 100th Episode! Special Guest: Ton Koopman
    A few months back I had the pleasure of interviewing Ton Koopman. If you’re at home in the Baroque, you’re no stranger to his work. Please enjoy this interview, marking the 100th episode of The WTF Bach Podcast! Thanks for your support, thanks to all those who make this work possible. Here’s looking forward to 100 more!Topics Covered (Chronologically)Works of doubtful authenticity (Violin Sonata, BWV 1025)Continuo playing (Figured bass, Improvisation, Ornamentation)Legato in the BaroqueWanda Landowska (“I play Bach his way”)Tuning (Meantone and Werckmeister)Student copies with different ornamentsTempo and the connection with ornamentationHeinrich SchützBach’s repertoire in concertsPedal harpsichord and pedal clavichordBach’s toccatas on organ without pedalsBach ‘counting’ bars (Kabbalah and numerology in Bach)The ending of ‘The Art of Fugue’ BWV 1080The Fuga a 3 Soggetti’s inclusion in ‘The Art of Fugue’Koopman as pianistThe touch on piano vs. harpsichordBeginning organist repertoire (pianists learning organ)Pedal techniqueGustav Leonhardt (also as organist)’Touch’ on harpsichord and organ (quick and slow attack)Performing and musicologyEarly fingeringMy Lady Neville’s BookBook collecting (and indexing)L'art de toucher le clavecin (Couperin)Roger North’s comments on musical performance practicePrefaces by FrescobaldiN.B. BWV 1025 was played by Robert Hill and Reinhard Goebel. The charming piece around min 39 is Giles Farnaby’s (1560-1640) ‘Up Tails All.’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.comEnough paid subscribers = exclusive content, monthly merchandise giveaways!You can also make a one-time donation here:https://www.paypal.me/wtfbachhttps://venmo.com/wtfbachhttps://cash.app/$wtfbachThank you for listening! Thank you for your support. Get full access to WTF Bach at wtfbach.substack.com/subscribe
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  • Ep. 99: NEW ALBUM - Partitas 1-3
    Listen to the new album here:https://modernclassicalx.lnk.to/BachCompleteKeyboardWorksVol4PartitasPtOneToday I’ve released Volume 4 in my “Complete Keyboard Works” of JSB. This album contains three pieces by the master: Partita no. 1 in B-flat Major, BWV 825Partita no. 2 in c minor, BWV 826Partita no. 3 in a minor, BWV 827Bach’s Opus One—the six Partitas of Clavier-Übung I—were first issued individually from 1726, with the complete set published in 1731. Bach pays homage to his Leipzig predecessor, Johann Kuhnau, who established the model in 1689 with his own Neuer Clavier-Übung. Even the title pages show Bach’s awareness of Kuhnau’s legacy:Here is (an edition based on) the all-interesting source G 25, with its crucial revisions to the 2nd and 3rd partitas. These tempo indications, for example, withheld from publication in the Neue Bach Ausgabe, greatly affect this transitional passage in BWV 826: Finally, the episode covering the most dramatic revision in this source: Many thanks to Bonnie Barrett, Aaron Ross, the YASI team in NYC, and Armand Hirsch for their help in this release!We Rely On Listener Support! How to Donate to this Podcast:The best way to support this podcast, is to become a paid subscriber at wtfbach.substack.comMore paid subscribers = monthly merchandise giveaways = you in WTF Bach Swag.You can also make a one-time donation here:https://www.paypal.me/wtfbachhttps://venmo.com/wtfbachhttps://cash.app/$wtfbachThank 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
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  • Borges, Bach, Barthelme.
    Would you object to the comparison of Messiaen and Borges? I see both 20th century giants deeply steeped in the masters of the past, throughly conversant in the antique, and yet they bring something uniquely modern— magical. Borges’ stories have the ability to stun, to make one wonder, or in the case of the story I read today, elicit tears.After Shakespeare’s Memory, (1983) which I believe is his last published story, I offer my somewhat chaotic rendition of the Canonic Variations on Vom Himmel Hoch, BWV 769. Following this, Donald Barthelme, an exciting, quirky read: The School (1976.) The frontispiece of my Barthelme book is a painting by Kandinsky— perhaps this is the right metaphor. June 13th, episode 99, sees the release of volume 4 in my J.S. Bach Complete Keyboard Works series. You can save the release here in eager anticipation:https://modernclassicalx.lnk.to/BachCompleteKeyboardWorksVol4PartitasPtOne The two tracks I made for this episode are available as a free download. Here you are!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.comEnough paid subscribers = exclusive content, monthly merchandise giveaways!You can also make a one-time donation here:https://www.paypal.me/wtfbachhttps://venmo.com/wtfbachhttps://cash.app/$wtfbachThank you for listening! Thank you for your support. Get full access to WTF Bach at wtfbach.substack.com/subscribe
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  • Bach as A Minor in a minor.
    Yep. I based an entire episode on the pun. We study two works not usually heard in the organ repertoire, the Prelude (Fantasy) BWV 569 and the Prelude with Fugue BWV 551, both in a minor. These are not the best known pieces in the repertoire, but they command our attention—especially when you consider that one of them was written when Bach was just 14 years old.BWV 569, composed around 1708 when Bach was 23, is a single-rhythm experiment in modulation—akin to his Fantasy, BWV 922. On the page, it looks repetitive, but harmonically it’s anything but:I mentioned I’d link to my own recording of its sister piece, BWV 922 (this cover art: under appreciated.)The second piece, BWV 551, recently dated to around 1700, shows stunning compositional command for a young teenager. If Mozart and Mendelssohn are the poster children of musical precocity, Bach must now be added to the whizz-kid list. As Schweitzer puts it:“If ever a composer’s period of probation was short, it was his.” -Schweitzer, Vol. 2, p. 122. This piece, based on the keyboard toccatas of Johann Jakob Froberger (1616–1667) is an absolute blast. For our purposes, we can call it a double fugue. Look to the pedal line to identify both subjects, and imagine tap-dancing the 16th-note theme:The first time I played it, the ending is what had me cracking up (alone and in an organ loft.) Not only does the piece seem like it’s coming to a stop in d minor:But on the last bar, Bach adds the raised fourth degree! Exceptional. Performers in today’s episode:Rübsam, Koopman, Preston, Walcha, Hans Fagius.I read excerpts from:Pirsig, Robert M. Lila: An Inquiry into Morals. Bantam Books, 1991.Wolff, Christoph, and Markus Zepf. The Organs of J. S. Bach: A Handbook. Translated by Lynn Edwards Butler, University of Illinois Press, 2012.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.comMore paid subscribers = monthly merchandise giveaways. Rock WTF Bach Swag.You can also make a one-time donation here:https://www.paypal.me/wtfbachhttps://venmo.com/wtfbachhttps://cash.app/$wtfbachThank you for listening! Thank you for your support.Reach us at Bach (at) WTFBach (dot com)Concepts Covered:In this episode on early Bach organ works, we highlight two lesser-known compositions in A minor: the Prelude (Fantasy) BWV 569 and the Prelude with Fugue BWV 551. These pieces, rarely featured in standard organ repertoire, showcase the astonishing talent of young Johann Sebastian Bach. BWV 569, composed around 1708, reveals experimental rhythmic modulation reminiscent of BWV 922. Bach enthusiasts, organ music lovers, and anyone interested in the early genius of J.S. Bach, will be interested in the fugal analysis, the discussion on double fugues, the influence of Froberger, and Bach’s copy of Frescobaldi. Get full access to WTF Bach at wtfbach.substack.com/subscribe
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  • Alleluia! Bach's Jubilant Ululation.
    The oldest surviving (ca. 1100) German church melody is centered around Easter and the resurrection: Christ ist erstanden. Luther adapted this into Christ lag in Todesbanden. Both texts culminate in a triumphant “Hallelujah!”What kind of music could Bach compose for such a joyous word? In every instance, it demands a distinctly exalted treatment. We discuss the origins of the word Alleluia, and analyze the music when the word appears in his motets, cantatas and a four-part chorale. Plus, the story of the discovery of Bach’s personal bible, the Calov Bible.Here’s the word in the autograph of Singet dem Herrn ein neues Lied (can’t you feel his joy writing this?)Performers in today’s episode:BWV 225, Vocalconsort Berlin, Daniel ReussBWV 230, Le Petite Band, Sigiwald KokenBWV 140, Academy of Ancient Music, Choir of King's College, Stephen CleoburyBWV 4, Pigmaleon, Raphael PinchonBWV 276, Chamber Choir of Europe, Nichol MattBWV 143, Amsterdam Baroque Orchestra & Choir, Ton KoopmanWe 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.comMore paid subscribers = monthly merchandise giveaways. Rock WTF Bach Swag.You can also make a one-time donation here:https://www.paypal.me/wtfbachhttps://venmo.com/wtfbachhttps://cash.app/$wtfbachThank you for listening! Thank you for your support.Reach us at Bach (at) WTFBach (dot com)Concepts Covered: This study explores the origins of the German resurrection hymn Christ ist erstanden, transformed by Luther into Christ lag in Todesbanden, and how Bach distinctively set the jubilant "Hallelujah" across motets, cantatas, and a four-part chorale. It examines the etymology of "Alleluia," its liturgical role in the tempus clausum—when festive music ceased—and its observance under the Rule of Saint Benedict. The discussion concludes with the discovery of Bach’s annotated Calov Bible, offering insight into his theological and musical mindset. Get full access to WTF Bach at wtfbach.substack.com/subscribe
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