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Hey Folks.  This is a sad day for me.  It is a day of mourning, a day of grief, a day of loss.  Intransigentia as she is known here, my partner in life, crime, and marriage for the last 15 years and I are parting ways today.  The house is sold, the belongings divvyed, the transition… moving… only forward now.

Way back when, in a different time, we were neophyte singers and we really enjoyed singing together.  This was the first duet we ever sang together, it was extra special because she to arranged the counter-melody and scored the music for us to make it a duet.  Her mother, a master pianist and accompanist played with us.   The Bach Gounod arrangement of Ave Maria is staggeringly beautiful, and I shall always remember singing it with her as one of the most treasured shared moments of our existence together.

If nothing else, we are the memories we make with the people we love.  I am grateful to have had the opportunity to share this musical experience with her, it means so much more now that things have changed so much.

So, I’m sharing this with all of you now, as a quasi memorial to what once was and the beauty and happiness that was once found there.

 

Life is change, whether we like it or not.  Our life transition has been in the works since the beginning of the year, and I’ve been slowly digesting and processing the new context of what life is going to look like.  Ultimately we’re both going to be okay and stuff so don’t worry about us.

 

Thank you for listening.   We’ll see you tomorrow.

The Arbourist

 

 

 

Around 250 organ works by Bach have been handed down, the most intriguing of which are works thought to have originated early on, but of which there is no surviving autograph. The speculations of Bach researchers all boil down to a single question: how early on can we determine signs of genius in his work?

In the Passacaglia in C minor, in any case, his genius is as clear as day. As a variation work, it surpasses anything Bach could have heard in his younger years. The ostinato, the repetitive bass line that forms the foundation of a passacaglia, is made up of eight bars, rather than the usual four. The work consists of twenty variations, rather than the usual five or six. And on top of its initial function, the bass line is then split up and treated as two separate themes that, accompanied by a third theme, form the material for an ingenious fugue.

The earliest copy of the Passacaglia was made between 1706 and 1713 by Bach’s elder brother Johann Christoph. In 1705, Bach paid an extended visit to Buxtehude, the man who undoubtedly had the greatest influence on his variation work, so it would be logical to conclude that Bach composed the Passacaglia shortly after returning from his journey.

Canadian Luc Beausejour’s rendition of BWV 582

Want to know moar?

It’s a repeat, but I like this performance better and really, no such thing as too much Bach. :)

This piece also falls into the almost doable category. We’ll have to see. :)

Looks easy-ish. Not.

 

Bach’s Cantata BWV 35, Geist und Seele wird verwirret (Soul and spirit become confused), is one of three alto solo works in Trinity Time of the third annual church cycle of 1726-27 that has an old established and much used text of Georg Christian Lehms. It employs obbligato organ in “conversational galant” manner and has two arias in dance style siciliano and menuet. Its origin and genesis derives from much earlier borrowed instrumental concertos and sonatas in Köthen and Weimar. Questions remain. Just how many of the movements are based on preexisting works? Why does Cantata 35 have two instrumental sinfonias introducing the two parts, performed before and after the sermon (a rare Bach form in Trinity Time)? Was the unfigured organ part for his adolescent first son Emmanuel or for himself? Was Bach motivated to compose so many solo cantatas in the third cycle because he lacked competent resources or was he returning to the Italian style, without biblical dictum and sometimes closing four-part chorales

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