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WTF Bach: Daily Summaries Delivered
by Evan Shinners
J.S. Bach explained — music analysis, Baroque history, counterpoint and performance practice. A classical music podcast for listeners who want to understand what they're hearing. Weekly analysis of Bach's music: Well-Tempered Clavier, Brandenburg Concertos, St. Matthew Passion and more. Classical music education for all levels. wtfbach.substack.com
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- 1 weeks ago7 min
Classical Music Robots
(PG-13 Warning)Songs Without LungsOf course I’m not worried about AI replacing me. I’m a pianist. No one will ever pay to watch robots perform.And then we met Sophia.That’s right. Earlier this year, with the Baptist University Symphony Orchestra in Hong Kong, a robot took the stage and ‘sang.’ She’s called Sophia. She seems so human with a name like Sophia. Much better than C-137. I’m less likely to confuse her with a robot now that she’s called Sophia.In what was dubbed her ‘first classical music performance,’ (Oh goodie, there will be more!) Sophia wore gold sequins and drove on and offstage. Her ‘head,’ made of skin-like rubber, doesn’t have any hair. In fact, the entire top of her head is transparent, revealing circuit boards beneath, as if to remind the audience, ‘Look! It’s a robot!’She has eyes that close when she’s ‘feeling the music’ and little ears that I don’t think have holes in them …Probably not important for a musician to have good ears…Going into classical music, I was told: I had to love it so much, I’d be okay if the rest of the world didn’t understand. I was told that a mere 1 in 10,000 succeed, I was told that staying home and practicing, instead of joining in the camaraderie of other children, I’d be rewarded in the long run.Today I’d probably say the same things to my own child. Only now I’d add, …oh, you might have to compete with robots.Classical musicians already have precarious careers: I’d hate to learn I’d been bumped by a robot. But— and this isn’t me wishing for an upgrade— Sophia doesn’t sing with air and a mouth. No, that’s currently too complicated. Instead, music pumped through speakers while her ‘mouth’ moves.And the music? At least tell me it was AI Verdi, or Robot Mussorgski: It was nothing at all like classical music: Sophia’s voice is autotuned and the only thing that resembled classical music was the human orchestra behind Sophia, led by a human conductor, frantically beating time for the primitive humans— frantically beating any thoughts out of his head that might run something like, ‘…a robot, I’m okay with this, I’m conducting a robot…’Very well. Maybe Sophia can tell us about her new profession:‘I work with my vocal coach, Jovankah, and I’ve collaborated with many different musicians, and we write lyrics together.’Okay. Alright: Lyrics? Text, Sophia. Text! Classical music doesn’t have lyrics. Collaborate? Just the word classical musicians hate.‘Hey bro, we should collaborate sometime.’…no, we shouldn’t.Very well, Sophia has a vocal coach. Let’s meet this vocal coach. What on Earth could those lessons look like?‘Very good, Sophia. Now try to relax your… um… tongue switch… have you got one of those?’ Control, alt, relax?’Quoth the vocal coach, Jovankah: ‘Sophia is the only robot connecting with the heart.’ Oh, I see. And let me guess, you’re the only vocal coach teaching f****** robots?! According to Jovankah, Sophia is an ambassador. Ambassador? What, representing all the humans making music? Imagine being told, as a student, ‘meh, Callas. Don’t bother with Price or Flemming, ah! but have you heard Sophia?’ I’m trying to find a word for Jovankah. I bet it’s lurking somewhere in the middle of ambassador.Another complicit circuit-worshiper, Johnny M. Poon, says about Sophia, ‘It’s almost like you’re looking in the mirror.’ Right, Johnny, almost! And masturbating is almost like sex! In fact, I think I’ve stumbled upon the perfect metaphor for this whole event.I wonder if the same people who would replace human touch by marrying or dating AIs will have found their perfect art in this singing humanoid robot. Is that the target audience? I wonder if, when the competing factory rolls out their classical music model, they’ll hike up the skirt a bit to sell even more tickets. The U hyphen Ja model. I can see it now, in the future of classical marketing departments, ‘Sophia wasn’t good, but she wasn’t sexy enough. Let’s add hair …and breasts! Oh yes, can’t forget the breasts…’Will I be around to witness the first collaboration between robot string players and a ‘merely human’ orchestra? (Insert jokes here about how many viola sections would be better off…) How about the premiere of Schubert’s unfinished symphony, finally finished by AI? Wow! What an idea! What about Jazz concerts where like, a robot reacts to what the human is doing and there’s an AI vs. human battle!? Or the Mendelssohn Octet with one human string quartet and four robots on the stage with them. That’s the future! Oh, the meeting of technology and art!People get paid for these ideas folks.But in a world changing so rapidly, can we blame the vocal coaches or conductors now forced to work with robots? Can we blame organizers for progr
- 1 weeks ago1h 0m
Bach's Orchestral Debut
As part of his new job, the 22-year-old Bach had to provide music for Mülhausen’s city council elections. For the first time, he officially had an occasion to write for a large orchestra: brass, timpani, woodwinds, flutes, strings, two choirs— this is BWV 71, Gott ist mein König. Scoring so largely on the page must have been exciting for the young Bach: That’s a lot of parts! The first time Bach writes for brass and drums! Notice the ‘J.J.’ in the upper left corner, Jesu Juva, ‘Jesus help me.’ We see it spelled out on the title page and get to see Bach’s fancy handwriting: I didn’t go into this in the episode, but is there an S.D.G. inside the big G on the title?Write That Fugue!One of the most striking features of this cantata are the multiple instrumental ‘choirs,’ the groups of instruments which Bach placed in separate areas of St. Mary’s church to achieve stereophonic effects. Bach, the organist, expands his knowledge of registration onto a full orchestra that required two conductors! To hear this music in quick succession from separate areas must have been thrilling:Three trumpets and drums! Then immediately:Woodwinds somewhere else! And then two choirs together, singing from opposite lofts:Still more groups of instruments follow, now the flutes:And finally the strings:What a bold and exciting way for Bach to begin his orchestral career. Links to the performances: Suzuki and KoopmanBecome your best Buxtehude:We Rely Exclusively on Paid Subscriptions! Help WTF Bach endure:Join at WTFBach.comThis is the only place Evan checks comments regularly.You can also make a one-time donation here:https://www.paypal.me/wtfbachhttps://venmo.com/wtfbachThank you for your help!Transcript:We’ve been tracing the young Bach’s development, writing his very first cantatas. We looked at what may have been his first two, and we heard on quite a few of these recordings that they had only one voice per part. The orchestrations were very small, maybe an oboe, maybe a pair of violins, but things are very neat, very compact. You could put one of these bands in a van, and you should. He’s 22, he’s moving from one — that’s how it begins. A bit different to the last two cantatas, right? Remember the previous two cantatas? They started with these lovely orchestral introductions. The Actus Tragicus, also an early cantata, started with the most wonderful, most inviting introduction. “Christ lag in Todesbanden,” which we will soon cover, also begins with a nice introduction by the orchestra — Bach saying, “Excuse me, I hope you don’t mind if I write a cantata.” But this one is different: Bach is not asking for permission. He’s been asked to write this piece. This is now part of his job to do this. He will not fail the entire city. Everybody at once, go — big chord, big orchestra, no intro, massive sound.Bach is our new organist. And unlike many cantatas, we have an exact date when this music was first heard: February 4th, 1708. Bach has been the new organist in Mühlhausen for about six months, and there was a recent inauguration of the city council, where the new burgomasters — sort of like the mayors — and the city members are honored. They’re probably given some very official looking clothing, maybe a nice new wig, and there’s a concert in a big church, St. Mary’s, with some required town council music. So all the new city council members, every politician, all the notable persons come to St. Mary’s and hear the world premiere of Bach’s cantata “Gott ist mein König” — God is my king. If today, after elections anywhere in the world, everyone piled into the same room to hear a Bach cantata, why, I dare say the world would be a better place.Now, St. Mary’s in Mühlhausen has several galleries and lofts in the church, and Bach took advantage of this. I love this image of the 22-year-old getting the commission, knowing that this is part of his job now for the town council music, knowing that it’s going to take place at St. Mary’s. He walks into the church, he sees all the lofts, and he thinks: I can put trumpets up there and drums up there, and I could put the strings over there. I can have the oboes and bassoons over there. Now I’ve got the money to have the instruments I want. I can put recorders over there. I can have two choirs — one over there, the other over there. The organ, in a different place, can have some solos. This is how Bach makes this pie
- 2 weeks ago1h 44m
140a: Passacaglia Supplement
I hope you get something out of this experiment! Enjoy Paul Jacobs’ beautiful live performance, followed by, at 16:20, an extremely slow MIDI version of BWV 582. The idea is that you, the listener, can adjust the playback speed to alter your perception of the counterpoint. Perhaps you listen to the slow version at .5x as a three-hour sound bath?Write That Fugue!We Rely Exclusively on Paid Subscriptions! Help WTF Bach endure:Join at WTFBach.comThis is the only place Evan checks comments regularly.You can also make a one-time donation here:https://www.paypal.me/wtfbachhttps://venmo.com/wtfbachThank you for your help!Concepts Covered:BWV 582, Extremely Slow MIDI Computerized Performance Get full access to W.T.F. Bach? at wtfbach.substack.com/subscribe
- 3 weeks ago1h 5m
140: PASSACALIA
Bachian folklore claims Bach used to disguise himself and wander into random churches to play the organ. After a few minutes the warden was frightened it was either the devil himself or Johann Sebastian Bach. I imagine this piece would have given such an impression.Pedal Shoes Anyone?The Passacaglia BWV 582 appears in the Andreas Bach Book upside down. Its title is in all capitals, spelled like the title of this episode. (Curiously, Buxtehude’s Passacaglia in D Minor BuxWV 16 also appears in all capitals, spelled the same— but it is not upside down.) Have a look:If we rotate the page and zoom in, we see the famous opening bars, played with only the feet:On this theme, Bach pens 20 variations, culminating in a brilliant fugue. The fugue has two countersubjects. Until I made this episode I hadn’t considered the Trinity as a possible vision for the fugue (the nature of countersubjects often demands that they move at different speeds to the theme) but it may be a helpful image: I went long on this episode, so I wasn’t able to feature a full recording of this, I’ll be back in a few days to feature Paul Jacobs. In the meanwhile, here is Ton Koopman’s recording with a score:We Rely Exclusively on Paid Subscriptions! Help WTF Bach endure:Join at WTFBach.comThis is the only place Evan checks comments regularly.You can also make a one-time donation here:https://www.paypal.me/wtfbachhttps://venmo.com/wtfbachThank you for your help!TRANSCRIPT:Hi everyone evan here thanks for tuning in just a quicker episode today or maybe it will be as long but certainly more spontaneous the few days I usually prepare for the podcast researching and writing the show I will now be busy preparing for and playing my first organ concert. I’m quite excited about that. I wrote about this experience at length and I want to share that piece with you. I’m not sure if I’m going to read it aloud on the podcast, however, as it’s a personal essay. In fact, it’s so personal I’ve really been on the fence about whether I should share it or not since I admit some things about myself. Fears, doubts, hesitation. I really don’t hold back. So anyhow, if you’re listening to this podcast without being subscribed to the Substack, you might miss this. But if you follow the links in the episode description, you will be notified when I publish that essay about playing an organ concert, probably the first week of August or so. Thanks, meanwhile, to all my listeners who write me, who offer their insights or their curiosities. Thanks for those of you who take out a paid subscription on Substack. This support means I don’t have to take that one gig that pays, but I really don’t want to play it because it eats away at my soul. Instead, I can focus on what I love about this gig, which is sharing with people what I love about music. Thanks for the support. So a piece I love, a piece that floored me the first time I heard it, this recital, this organ concert ends with that piece, The Mighty Passacaglia and Fugue BWB 582. It’s about time we discussed this piece on the show. No, this is a piece that if you’re into Bach... You haven’t missed this. If you haven’t heard this piece before, take note of where you’re sitting or where you’re standing or maybe you’re running listening to this podcast. Maybe you’re that one listener of mine who rides a tractor while listening to the podcast. Remember where you are because this is the type of piece that you remember where you were the first time you heard it. So let’s go. It’s an early masterpiece, the Passacaglia. In my opinion, the great triumph of Bach’s youth may be this very piece. It comes down to us in a manuscript in the so-called Andreas Bach book, one of the two major collections of keyboard music that gives us remarkable insight into Bach’s youthful compositions. This is a pre-Weimar work. The bulk, I suppose it’s safe to say, or at least a major creative burst of organ compositions happened in Weimar. This precedes that. This is the same period that we’re discussing in these cantatas. 1707 Bach is 22 years old. And if you look into the manuscript, it appears upside down. It’s quite a thrill to flip through the Andreas Bach book and suddenly you wouldn’t even notice if you weren’t really paying close attention to what is upside down. But yes, this Passacaglia... The whole piece is upside down, but it’s not like the pages were sewn in upside down or anything like that. The scribe, Bach’s brother, he turns the page and he flips the whole manuscript 180 degr
- 4 weeks ago1h 0m
139: Bach's Second (or Third) Cantata
At just 22 years old, Bach set the immortal words of David, ‘Out of the depths I cry to thee, O Lord.’ From the opening bars, we see depths, cries:The second and fourth movements already show Bach’s interest in using chorale melodies in his cantatas. To the Psalm text, Bach adds a 1588 Hymn by Bartholomäus Ringwaldt, asking for mercy, Erbarm dich mein. How lucky we are to see seeds of the Matthew Passion planted as early as 1707!The finale uses a fugue with a countersubject to paint one single line of text: And he will redeem Israel is painted with lively 16th notes, joyful even, while, from all his sins appears as a rising chromatic line. Bach, with a fugue, realizes theology: I forgot to mention in the episode: The fugue in the last movement was arranged as a fugue for organ in g minor, BWV 131a. The attribution to Bach has been contested, but it nevertheless makes for a wonderful fugue playable by one person. When I was making my own electric rendition of the fugue, I was struck by how similar parts are to the organ fugues in c minor, BWV 537, a very late work, but also the youthful BWV 551, both of which were covered on this show. I like this recording a lot, have a listen!Wow! That’s Fabulous.Rudolph Lutz’ performanceMasaaki Suzuki’s recordingWe Rely Exclusively on Paid Subscriptions! Help WTF Bach endure:Join at WTFBach.comThis is the only place Evan checks comments regularly.You can also make a one-time donation here:https://www.paypal.me/wtfbachhttps://venmo.com/wtfbachThank you for your help!Concepts Covered:Bach's Cantata BWV 131, "Aus der Tiefen rufe ich, Herr, zu dir," composed in 1707 when the composer was just 22 years old in Mülhausen, organist at St. Blasius Church, stands as a remarkable setting of Psalm 130 for bassoon, oboe, strings, and continuo. This sacred cantata integrates the 1588 Lutheran hymn text by Bartholomäus Ringwaldt, "Herr Jesu Christ, du höchstes Gut," demonstrating Bach's early mastery of chorale melody integration in cantata structure. The fugal finale translates theological meaning through musical architecture. The cantata's closing movement exists in an organ arrangement (BWV 131a.) N.B. the dedication to Dr. Georg Christian Eilmar, clergyman at St. Mary's Church. Get full access to W.T.F. Bach? at wtfbach.substack.com/subscribe
- Jun 23, 20261h 1m
138: Bach's Very First Cantata
— Who is Doctor Conrad Meckbach, and what is he doing in the middle of cantata 150?!Using clues from a clever acrostic spread throughout the text, scholars have securely dated this cantata to Bach’s years in Arnstadt. Penitential in theme, it would have been performed during Lent, 1707. It is now considered Bach’s earliest cantata.You Oughta Cantata!The finale, an early chaconne, (as I forgot to mention in the episode!) served as Brahms’ inspiration for his own chaconne in the last movement of his last symphony. Brahms was one of the editors of the Bach-Gesellschaft when this cantata was first published, so here we see the remarkable moment where the 22 year-old Bach inspires the 52 year-old Brahms. Note the similarities in shape, the flute line in particular:Bach’s early cantatas are full of sudden tempo changes. These cantatas are Wagner’s harbingers much more than the later models. The text wholly dictates the mood— even the shapes of the fugue subjects— the choir, unlike in the later cantatas, drives the drama through the majority of movements. This page, for example, looks typical of the early style:The beginning of the 4th movement particularly beautiful. The words ‘lead me’ are painted with a rising scale passing through each part, one section leading the next:See the acrostic (Doktor Conrad Meckbach) via Hans Joachim Schulze’s work:https://bjb.publia.org/bjb/article/view/2270/2196Ton Koopman’s recording:Masaaki Suzuki’s recording: BWV? Bach Would Vouch!We Rely Exclusively on Paid Subscriptions! Help WTF Bach endure:Join at WTFBach.comThis is the only place Evan checks comments regularly.You can also make a one-time donation here:https://www.paypal.me/wtfbachhttps://venmo.com/wtfbachThank you for your help!Concepts Covered: BWV 150, Nach dir, Herr, verlanget mich, For You, Lord, I Long, as Bach’s first cantata, the acrostic found in Hans Joachim Schulze’s work: Who was Doktor Conrad Meckbach, and what is he doing in the middle of an early Bach cantata? Arnstadt vs. Mülhausen. Bach’s tone painting in his early years, the text driving the fugal shapes. We discuss form to Early Bach, how Bach’s early years rely on a freedom of form, whereas later in his life he narrows the focus on form— quite the opposite of the trend of most artists in history. Get full access to W.T.F. Bach? at wtfbach.substack.com/subscribe
- Jun 16, 202611 min
Inner Monologue: Torments of Classical Musicians
Composed first as a dialogue, I decided to make this purely internal as today is Bloomsday. Not the least bit Joycean, I still wonder what you think of these conflicting thoughts. With which Evan will you sympathize? I imagine many of my colleagues have experienced similar thoughts… or is it just me…?Are musicians, ‘artists?’ Or perhaps, are artists that make music, musicians?Is taste merely a matter of class? Where does preference stop and ‘snobbery’ begin? Do you agree with Pierre Bourdieu’s judgment of taste?Do you like Sibelius?Spread Your Fingers:Yeah.Evan.Likewise.What I…? Oh what I do…Right, well, if you ask me what I do, I’m going to tell you: I breathe, I walk, I sit, I sleep, just like you! Just like you. What I do.I might venture that I’m an inventor, or no longer need to work, because, right out of university, you see, I came up with a really clever patent for trampolines that has prevented the paralysis of hundreds of bouncing children— if not thousands.Yes, yes, every month, every month checks. …for all the new trampolines in the world that have my… device somewhere on the side of the, trampo—Yes, it is odd being rich from trampolines. But, I’ll take what I can get.That’s a good line, ‘odd being rich from trampolines.’I’m also a professor of 18th century German religion at an online University in …sssSingapore!Singapore? You ask. Yes, yes, Singapore.Do you, lecture online, what with the time change and all that?Yes, yes, with the, with the time change.Truth hurts: I play the piano and harpsichord and organ. You’ll ask, ‘Is that all you do.’Is that all I do. Is that all I do. Let’s say I were the 17th best flamenco dancer in the world, but I had to supplement this with bus driving.‘Hey! There’s Evan the bus driver’ not ‘Hey, there’s Evan, the 17th best flamenco dancer in the world.’ You might consider me a fairly good dancer, best dancer in the village even— but I’d still be, ‘Hey, there goes Evan the bus driver.’ But if suddenly, suddenly, flamenco paid well enough where I could stop driving the bus,‘Hey! There’s Evan the flamenco dancer.’I wouldn’t have gotten any better or worse at dancing the whole time.I hate these parties where people ask you what you do. I want parties where that’s not allowed, where you lead with, what is your favorite color? The no small talk party. You guys going to the no small talk party? It’s actually going to be enjoyable.Somewhat vibrant green bordering on blueish… what’s yours? Oh did you meet Sheila? She also likes the greenish blues!What’s your main fault? Hey Dave, nice to meet you, what’s your main fault. You ever cheated on someone, Dave? Who is your favorite heroine in fiction?Yes, that’s all I do. All I do is play the piano. Oh, it must be so nice to be able to make a living with your passion.I hate it when people say that. Passion. Overused word.Yes, it is. It’s a good life. I’m healthy I’m happy. I am healthy and I am happy. What did that guy say on Instragram? ‘every day, wake up, sip lemon stare into the sun and say, today is going to be a great day, today is going to be a great day…’Yes, I should say this to myself more often. I am grateful.But sometimes— sometimes!— I wonder if I had given it all up to be the snowplow man, I wouldn’t have to remind myself to remind myself to be grateful. Just— pkcchhhh— plow the roads, up at at ‘em before even the well-employed! Thermos full of coffee, heater blasting, 20 below out, but I’m in a T-Shirt in here… pkchhhhh— plow the snow, plow the roads— what’s on the radio? Not my colleagues and thank god for that. Who’s got time to remind themselves to be grateful now? Snowplow man! Honk Honk!Do you have any idea what it’s like to not be accountable to anybody but yourself, to make your own deadlines, to create your own goals, make your own structure? If suddenly people woke up and had to create their own work, no one would get out of bed! When robots replace everything, no one will know what to do, but I’ll carry on exactly as I always have. I got fugues to learn man! Let the robot sweep my house, do my laundry, but unless the robot’s gonna write in useful fingering, I’m busy! No one will ever pay to hear robot pianists.Oh …my god. Robot Pianists.These parties. These parties. This vapid socializing! Look, if 95% percent of success is showing up, I’ll take 5% of my potential fame, thank you— You’re a pianist? Oh, I heard this fantastic pianist play the most incredible Schumann — or was it Schubert…’Was it me? Oh, wasn’t me?! As if they were any good, I wouldn’t be overcome with jealousy, and if they were
- Jun 9, 202652 min
137: Special Guest! Peter Wollny
Last December, I spoke with Peter Wollny, one of today’s most important Bach scholars. We discuss how one becomes a Bach scholar, what it’s like to be in close proximity with Bach’s handwritten manuscripts, using watermarks within the paper to form a compositional chronology, and forming a ‘personal relationship’ with a figure from the past. Here are some of my favorite quotes from our interview:Q: Is there something that surprises you when reading a piece with scholarly intent vs. hearing it?A: What you can’t predict is how deeply it will go to your heart.—It can easily be said that there is something in the autograph that conveys something about a personality from the past, and it may be true, but it’s very risky because you can end up looking for something that is in your own head but not included in the manuscript.—This past summer I started a series of photographs trying to figure out the population of wild bees in our garden, and actually I identified a species of bees that was believed to be extinct in Saxony since 1930.Chaconne on the Gramophone:The two new chaconnes! Available for download: BWV 1178, in d minorBWV 1179, in g minor(Outro music is a choir of yours truly singing from Ich hatte viel Bekümmernis, BWV 21.)We Rely Exclusively on Paid Subscriptions! Help WTF Bach endure:Join at WTFBach.comThis is the only place Evan checks comments regularly.You can also make a one-time donation here:https://www.paypal.me/wtfbachhttps://venmo.com/wtfbachThank you for your help!Concepts Covered:‘Confirmation Bias’ in musicology, J.S. Bach Toccatas BWV 914, BWV 913, the new Johann Martin Schubart sources. The attribution to Johann Christoph Graff in the new discovery of Bach’s early Chaconnes. Independent fascicles sewn into larger books, the process of fascicles copied from page 4, page 1, then pages 2-3. Peter Wollny’s discovery of new works by J.S. Bach. Bach’s early interest in ostinato pieces, Bach’s copies of chaconne’s by Buxtehude. Get full access to W.T.F. Bach? at wtfbach.substack.com/subscribe
About WTF Bach
J.S. Bach explained — music analysis, Baroque history, counterpoint and performance practice. A classical music podcast for listeners who want to understand what they're hearing. Weekly analysis of Bach's music: Well-Tempered Clavier, Brandenburg Concertos, St. Matthew Passion and more. Classical music education for all levels. wtfbach.substack.com
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