Bach Easter Video Sinfonia n 6 in E Major BWV 792 Pianoteq

Dear Friends,

Johann Sebastian Bach's Sinfonia n 6 in E Major BWV 792 ,  is again a vivid and fast sinfonia, somewhat in the spirit of No. 1. The main motif (middle voice of 1) is a scale-like ascent of two thirds ending with a turn leading to the second motif, which is a heavy and slow rise of a third, and a descent of a fifth back to e. The second motif serves as a sort of counter-subject to the main one which is taken by the upper voice (2) and then the lower one (3). The transition (11-16), after the exposition, from the relative parallel (C#) to the dominant (B), displays a somewhat new texture. In (17). Which except for the coda, is exactly the middle of the work, we have a sort of a declaration of the inverse of the subject. This inverse is used in an exchange between the direct theme and its
inverse in (22-29). In the sequel they appear sometimes in succession and sometimes together (22, 35, 37). In the Coda at the end (from 35) they sort of compete, and the direct one “wins” in a
move of parallel sixths in the two upper voices.
Enjoy your listening & A sincere wish for an Happy Easter to you and your families 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/mpIO4iBeSYk

carmelo.paolucci wrote:

Dear Friends,

Johann Sebastian Bach's Sinfonia n 6 in E Major BWV 792 ,  is again a vivid and fast sinfonia, somewhat in the spirit of No. 1. The main motif (middle voice of 1) is a scale-like ascent of two thirds ending with a turn leading to the second motif, which is a heavy and slow rise of a third, and a descent of a fifth back to e. The second motif serves as a sort of counter-subject to the main one which is taken by the upper voice (2) and then the lower one (3). The transition (11-16), after the exposition, from the relative parallel (C#) to the dominant (B), displays a somewhat new texture. In (17). Which except for the coda, is exactly the middle of the work, we have a sort of a declaration of the inverse of the subject. This inverse is used in an exchange between the direct theme and its
inverse in (22-29). In the sequel they appear sometimes in succession and sometimes together (22, 35, 37). In the Coda at the end (from 35) they sort of compete, and the direct one “wins” in a
move of parallel sixths in the two upper voices.
Enjoy your listening & A sincere wish for an Happy Easter to you and your families 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/mpIO4iBeSYk

Beautiful, elegant, joyful, touched with melancholy, simple and profound. You have such precision and feeling.
Many people play this piece too fast, but this tempo is the right one.
I am always impressed!!!
Thank you so much carmelo.

Best wishes,

Stig