Topic by carmelo.paolucci

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  • carmelo.paolucci
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Topic: New Video Bach Sinfonia No.5 in E? major, BWV 791 Pianoteq

Dear Friends,

This sinfonia is quite exceptional in the corpus in that the two upper voices make the contrapuntal texture, which often proceeds in parallel movement, while the lower one, in the left hand, participates in giving the harmonic base in broken chords. The harmony is quite rich and its pace proceeds mostly in two per bar. The main theme is 8 bars and consists of three descending thirds (Eƅ- D-C; F-Eƅ-D; G-F-Eƅ) and its main motif (in the two upper voices) is characterized by a dotted rhythm, ending with an appoggiatura. This persists throughout the work. As in many of Bach’s works there is a duality of the dominant between the relative parallel (13) and the V (e.g. (17). The relative parallel of a major is usually in the minor, but here it is sometimes in the major (e.g. 21), serving as V to II (f minor, 25). The repeat of the main theme, towards the end, is in IV (Aƅ, 29).
Enjoy your listening & Greetings 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 8.4
Editing: Wondershare Filmora
https://youtu.be/I5nlIj35KUA

Last edited by carmelo.paolucci (22-03-2026 11:43)

Reply by KloppartA

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  • KloppartA
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  • Registered: 12-11-2024
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Re: New Video Bach Sinfonia No.5 in E? major, BWV 791 Pianoteq

carmelo.paolucci wrote:

Dear Friends,

This sinfonia is quite exceptional in the corpus in that the two upper voices make the contrapuntal texture, which often proceeds in parallel movement, while the lower one, in the left hand, participates in giving the harmonic base in broken chords. The harmony is quite rich and its pace proceeds mostly in two per bar. The main theme is 8 bars and consists of three descending thirds (Eƅ- D-C; F-Eƅ-D; G-F-Eƅ) and its main motif (in the two upper voices) is characterized by a dotted rhythm, ending with an appoggiatura. This persists throughout the work. As in many of Bach’s works there is a duality of the dominant between the relative parallel (13) and the V (e.g. (17). The relative parallel of a major is usually in the minor, but here it is sometimes in the major (e.g. 21), serving as V to II (f minor, 25). The repeat of the main theme, towards the end, is in IV (Aƅ, 29).
Enjoy your listening & Greetings 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 8.4
Editing: Wondershare Filmora
https://youtu.be/I5nlIj35KUA

Dear Carmelo
It was religious, lively, and the expressive intonation of the melody was also fascinating.
Thank you for the wonderful performance. I hope you will continue to give us many more wonderful performances.
Arno