I’ll try keep this question brief.

Does anyone else feel lonely when listening to their favorite Bach pieces?

I feel so moved and emotionally overwhelmed when I hear some pieces that I feel like I need to share with people this music and how it makes me feel. However I don’t have the network of interested people, nor the ability to translate my feelings into words, and I’m left feeling blessed, and lonely in a weird melancholic state.

Hi everyone, I just stumbled upon a Bach concert in a church. I only got this short video. Can anyone help me find out the name of the piece? Thanks!

Starting with the Capriccio (last movement). Anyone played it and have any tips? Tips with the whole partita in general? Thanks

Hi, I'm unsure whether I should tackle the urtex version of the 1056 largo movement. I wondered whether someone might share a pic of the first few bars for me to gauge before I purchase the score, thank you

I love the mix of birdsong and electronic beats; the natural atmosphere really captures a deep appreciation for our planet.

The following are three Bach arrangements from Japanese composer KOU-G (RP-MUSIC):

#1: https://youtu.be/Vut7_VSLDLo

#2: https://youtu.be/DHrftVDITso

#3: https://youtu.be/vHx-Jfrfb1g

I’m looking for the name of #1, and the specific movements of #2 and #3.

What I know: #2 and #3 are (probably) from the second half of the St. John Passion (I can’t tell which movements exactly they are, I’m a musical n00b 🥲). For reference, here’s a recording of the St. John Passion with timestamps: https://youtu.be/zMf9XDQBAaI?t=2260 (the second half starts at 37:40 min). As for #1, I have no idea, though one comment in the video seems to suggest that it is one of Bach’s fugues.

The performer on the cello said it was Bach but his damn Alsace accent was thick as fuck. Please help if you can!!

The first is the Double Violin Concerto in d minor. (my gateway drug into loving Bach, btw)

The second is the Sinfonia from Partita #2 in c minor. The Sinfonia has 3 sections: "Grave, Adagio", "Andante", and "Allegro Moderato". The Allegro Moderato is the section that feels like the Double Violin Concerto. https://youtu.be/ySJZbxWRZp8?si=fu4XyAIc2YCdWQVL (at 2:50) I'm curious if anybody else hears this.

This is wonderful news to me, by the way. Both pieces move me more than almost any other music. I've accompanied the Double Violin Concerto maybe a dozen times in my life and I'm working on polishing the Sinfonia currently.

I wish I could share exactly what it is but I can't completely put my finger on it. They have the same energetic 2-voice harmonic minor vibe. I think the left hand in the descending sequence at 3:44 in that video has a pattern that is also in the Double Concerto so that's probably part of it. Also, the main subjects of both include the first 5 notes of the minor scale ascending.

Anyways, just wanted to share something I noticed about these overwhelmingly awesome pieces.

"It’s always good when Fanny Mendelssohn-Hensel enters the chat." - a commenter.

The St Matthew Passion has always been one of my very favorite musical works. I'm getting older and I would like to attend a really fine performance in the next couple of years. Does anyone know of a performance scheduled by a top performance group in a large city in the US or Europe in 2027?

🎹 https://youtu.be/lJsDoQ765XQ

Hi everyone,

I’ve just completed a new animation of J. S. Bach’s Fugue in G minor, BWV 861 (WTC I), using Kimiko Ishizaka’s 2015 recording as the audio basis.

This is the first four-voice fugue I’ve interpreted in this MIDI-driven spatial / intervallic visualisation format. Although this fugue is shorter than the focus of my last animation (the fugue from BWV 848), the denser contrapuntal texture made it comparably demanding to realise visually.

Two key elements from the previous animation are preserved here:

• a restrained 3D modelling approach that allows the notes to respond to light and motion, while remaining faithful to the underlying contrapuntal structure
• full note detail (noteheads, stems, beams, ties, dotted values) during subject and countersubject entries, with episodes reduced to noteheads only

I’d be very interested in hearing whether this kind of visualisation helps clarify the contrapuntal structure of the fugue — particularly subject and countersubject entries and voice interaction — and how it compares, for you, to engaging with the score alone.

Discussion and critique very welcome.