beautiful Carmelo! a fitting conclusion to your journey through these pieces.  can't wait to see what's coming next

Thank you so much for your comment and support Budo !
A new, great adventure is about to begin, with a lot of piano work for me this hot Italian summer... I'm sure you'll enjoy it; I'll explore the possibilities and the answers of PT9 with a mammoth and challenging collection....
Stay tuned!
Carmelo

Thank you for sharing Carmelo! Great to hear your performance again!

Ken

Thank you so much for your comment and support Ken !
Greetings from Italy
Carmelo

Ken

carmelo.paolucci wrote:

Dear Friends,

In this video I'll play Bach Sinfonia n 15 in B minor BWV 801 on my piano Yamaha P125 with  Pianoteq as VST. This is a virtuosic sinfonia in 9/16, which ends this wonderful corpus. It is relatively simple in its contrapuntal texture, in its structure and its harmonic moves. It is quite remarkable for the ending sinfonia that in contrast to all other sinfonias, and especially to the
preceding one (Bƅ), its contrapuntal fabric is so much simpler: It is essentially a two-part invention (with few occasional simple harmonic doublings). The subject is of 3 bars and consists of two motifs that built up the whole work: a rising third (B – C# – D) and a rapid ending in
32nds on the notes of the tonic chord. Between the notes of the rising third we have, as if in parenthesis, a motif of a minor second (F#-G-F#). The accompaniment in the lower voice condenses in 16th notes the rising third and augments the minor second (B – A# - B). So, what is augmented in the upper voice is diminished in the lower one, and what is diminished in the upper is augmented in the lower. A rapid move of the 32nds in both hands leads to the relative major (D, 14) and from there to A (17) and back to B minor (26) and to the conclusion, in which the motif of the rising third is emphasized in all voices, and the work, concluding the whole of this magnificent corpus, humbly ends.
Enjoy your listening Bach from Italy

Carmelo
This video was recorded with these setting:
Played on Yamaha P125 piano stage, Tamara House.                                                                                                            Video Recording Samsung galaxy A54.
VST: Bösendorfer  VC 280 Pianoteq Stage 9
Editing: Wondershare Filmora
https://youtu.be/gPqGNyiCiNo

A nice performance again!
3rd bar is like a ringtone in my phone or like waves!
Still listening to this beautiful piece, we've gone back in time with this. And you play it so well. Too difficult for me.

Unique choice?  Bach use 9/16 as a rare exception in the collection, giving brilliant energy.
Someone said it demands strict finger independence, precise polyphonic control, and clean articulation. Not a problem for you carmelo - very well played! Thank you carmelo so much for sharing.

Best wishes,

Stig

Thank you very much for your comment, Stig!
I put a lot of work into this piece, and I'm really happy you liked it!!!!
Greetings from Italy,
Carmelo

Hello Carmelo,
A very beautiful composition by J. S. Bach. In your interpretation, you brought out the musical motifs in a very clear and transparent way. I really enjoyed it.
Thank you very much and best regards,
J. Unruh

Thank you so much for your comment and support Unruh !!!
Greetings from hot Italy today!
Carmelo

Dear Friends,

In this video I'll play Bach Sinfonia n 15 in B minor BWV 801 on my piano Yamaha P125 with  Pianoteq as VST. This is a virtuosic sinfonia in 9/16, which ends this wonderful corpus. It is relatively simple in its contrapuntal texture, in its structure and its harmonic moves. It is quite remarkable for the ending sinfonia that in contrast to all other sinfonias, and especially to the
preceding one (Bƅ), its contrapuntal fabric is so much simpler: It is essentially a two-part invention (with few occasional simple harmonic doublings). The subject is of 3 bars and consists of two motifs that built up the whole work: a rising third (B – C# – D) and a rapid ending in
32nds on the notes of the tonic chord. Between the notes of the rising third we have, as if in parenthesis, a motif of a minor second (F#-G-F#). The accompaniment in the lower voice condenses in 16th notes the rising third and augments the minor second (B – A# - B). So, what is augmented in the upper voice is diminished in the lower one, and what is diminished in the upper is augmented in the lower. A rapid move of the 32nds in both hands leads to the relative major (D, 14) and from there to A (17) and back to B minor (26) and to the conclusion, in which the motif of the rising third is emphasized in all voices, and the work, concluding the whole of this magnificent corpus, humbly ends.
Enjoy your listening Bach from Italy

Carmelo
This video was recorded with these setting:
Played on Yamaha P125 piano stage, Tamara House.                                                                                                            Video Recording Samsung galaxy A54.
VST: Bösendorfer  VC 280 Pianoteq Stage 9
Editing: Wondershare Filmora
https://youtu.be/gPqGNyiCiNo

A nice performance again!
3rd bar is like a ringtone in my phone or like waves!
Still listening to this beautiful piece, we've gone back in time with this. And you play it so well. Too difficult for me.

Unique choice?  Bach use 9/16 as a rare exception in the collection, giving brilliant energy.
Someone said it demands strict finger independence, precise polyphonic control, and clean articulation. Not a problem for you carmelo - very well played! Thank you carmelo so much for sharing.

Best wishes,

Stig

In this video I'll play Bach Sinfonia n 15 in B minor BWV 801 on my piano Yamaha P125 with  Pianoteq as VST. This is a virtuosic sinfonia in 9/16, which ends this wonderful corpus. It is relatively simple in its contrapuntal texture, in its structure and its harmonic moves. It is quite remarkable for the ending sinfonia that in contrast to all other sinfonias, and especially to the
preceding one (Bƅ), its contrapuntal fabric is so much simpler: It is essentially a two-part invention (with few occasional simple harmonic doublings). The subject is of 3 bars and consists of two motifs that built up the whole work: a rising third (B – C# – D) and a rapid ending in
32nds on the notes of the tonic chord. Between the notes of the rising third we have, as if in parenthesis, a motif of a minor second (F#-G-F#). The accompaniment in the lower voice condenses in 16th notes the rising third and augments the minor second (B – A# - B). So, what is augmented in the upper voice is diminished in the lower one, and what is diminished in the upper is augmented in the lower. A rapid move of the 32nds in both hands leads to the relative major (D, 14) and from there to A (17) and back to B minor (26) and to the conclusion, in which the motif of the rising third is emphasized in all voices, and the work, concluding the whole of this magnificent corpus, humbly ends.
Enjoy your listening Bach from Italy

Carmelo
This video was recorded with these setting:
Played on Yamaha P125 piano stage, Tamara House.                                                                                                            Video Recording Samsung galaxy A54.
VST: Bösendorfer  VC 280 Pianoteq Stage 9
Editing: Wondershare Filmora
https://youtu.be/gPqGNyiCiNo