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critique Leopold Augustus Bach

Havn't posted anything here in a while, so here's something. Working on a sequence, the life and death of Leopold Augustus Bach. The players here are Sebastian (JS Bach, 33); his wife, Maria Barbara; (34) Maria Barbara's elder sister, part of the household, Friedelena (43); his daughter Catherina (10); the three sons, Friedemann (9), Gottfried (5), and Carl (4); Duke Earnst August of Weimar (30) and Dutchess Wilhelmene, (23); and Leopold, Prince of Anhault Köthen (25). And i needed a midwife, Frau . . . and the first name that came to mind was.. . . Blüchermann. (Blame Mel Brooks, lol.) anyway: four pages.

EDIT: Have re-uploaded this several times, tweaking and tweaking, and this final version (actually, "final version" 16 now) is different from the previous ones in a small but I think important way. I had wanted this birth scene to be quick and light-hearted, but hadn't really acknowledged the seriousness of giving bifth at this time, 1718, always potentially life-threatening for both mother and child. And so, in addition to the little bit of comedy around Sebastian's "schedule" a bit of fear, just a hint. Friedelena, instead of ending her line with "it is time." Says, instead, "It will go well. I know it.," deepening a little, I think, both of their characters, he primarily concerned for Barbara, and she for both parents.

 
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Dang, Ms. Tobie Miller--the baroque hurdy-gurdy master!. I have to post one more, a better quality recording of the famous Cello suite Prelude. I don't know if this is peculiar to Bach, but I always think it's cool that, looking up any one piece of music on the you tube returns dozens of versions on dozens of different instruments and ensembles. Of course this is no great insight, is pretty obvious, but still I think worth noting--with Bach, I think, especially: the vehicle, the specific timbre, is inconsequential. The music exists in the architecture.

 
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