Bach's Bungalow

[AnotherSpin]

Atheism is the recognition that religion is man-made. For my part, people can believe in whatever religion they want, as long as they don't harm others in their belief in the infallibility of their own religion.

All is man-made, insofar as the subject retains the capacity to perceive the manifested world. Atheists seek to impose arbitrary limits on this capacity.

[prémont]

All is man-made, insofar as the subject retains the capacity to perceive the manifested world. Atheists seek to impose arbitrary limits on this capacity.

I'm an ateist. I don't impose anything upon anybody for that reason. As I wrote above: People are free to believe what they want, as long as they don't harm others.

[atardecer]

I'm not religious, but to me it seems there must be some kind of intelligence, or creative force, from our limited perspectives we are not able to understand it, and trying to systemize it or codify it is folly. There is so much we don't know. I think the truth is too big to fit into a religion or ideology.

As far as music I essentially am in agreement with these quotes:

"Music is the one incorporeal entrance into the higher world of knowledge which comprehends mankind but which mankind cannot comprehend." - Beethoven

"Music is a higher revelation than all wisdom and philosophy." - Beethoven

[AnotherSpin]

I'm an ateist. I don't impose anything upon anybody for that reason. As I wrote above: People are free to believe what they want, as long as they don't harm others.

I'm by no means trying to offend anyone's beliefs. Every person has the full and inalienable right to believe in whatever they happen to believe. After all, as I see it, there's no real choice in the matter. I'm not an atheist myself, but I don't follow any religion either.

[atardecer]

This piece makes me think of something ancient, becoming aware... it's hard to explain, but the music speaks to my soul.

Reitze Smits, organ
Instrument: Johann Heinrich Hartmann Bätz, 1762

"Ideology is a specious way of relating to the world. It offers human beings the illusion of an identity, of dignity, and of morality while making it easier for them to part with them." - Vaclav Havel

"Ideologies were invented so that men who do not think can give their opinions." - Nicolás Gómez Dávila

"True teaching is not an accumulation of knowledge, it is an awakening of consciousness which goes through successive stages." - Egyptian proverb

[AnotherSpin]

The main problems with all and each ideology stem from inherent limitations in human capacity to critically and objectively analyze or escape from ideology itself.

[atardecer]

I was listening to this BWV 537:

Erwin Wiersinga, organist
Organ: Christoph Treutmann, 1731

And came across this in the comments:

"The first 89 bars of the work were composed by Bach in Weimar, but the last 41 bars were composed by J.L. Krebs just after Bach's death in 1751. This fact explain the da capo form of this fugue (just as the mature "wedge" fugue BWV 548): it was the very best solution that the pupil could find to finish this early fugue of his great master. This explain why the themes are never combined as one would expext from Bach: he left the fugue unfinished and it was completed some decades later by his very best pupil."

This is an interesting theory, but not proven. I wonder if any Bach experts here have any thoughts on this?

Nothing sounds amiss to me in the last 41 bars, am I missing something? However there is one unusual thing about the ending, it ends on the minor chord, where Bach usually ends in major.

There is an interview with Erwin Wiersinga on this piece and he mentions nothing about sections possibly not being by Bach:

[Iota]

I was listening to this BWV 537:

Erwin Wiersinga, organist
Organ: Christoph Treutmann, 1731

And came across this in the comments:

"The first 89 bars of the work were composed by Bach in Weimar, but the last 41 bars were composed by J.L. Krebs just after Bach's death in 1751. This fact explain the da capo form of this fugue (just as the mature "wedge" fugue BWV 548): it was the very best solution that the pupil could find to finish this early fugue of his great master. This explain why the themes are never combined as one would expext from Bach: he left the fugue unfinished and it was completed some decades later by his very best pupil."

This is an interesting theory, but not proven. I wonder if any Bach experts here have any thoughts on this?

Nothing sounds amiss to me in the last 41 bars, am I missing something? However there is one unusual thing about the ending, it ends on the minor chord, where Bach usually ends in major.

Wow, what a wonderful performance and piece! Thanks for posting. I'm afraid I know nothing about your main reason for posting though.

[Mandryka]

It would be nice to have a few of Wiersinga's baroque recordings -- I've only heard the one with Doeselaar on MDG. There are some others though

https://www.france-orgue.fr/disque/index.php?zpg=dsq.fra.rch&org=Wiersinga&tit=&oeu=&ins=&cdo=1&dvo=1&vno=1&edi=&nrow=10&cmd=Retour

[prémont]

I was listening to this BWV 537:

"The first 89 bars of the work were composed by Bach in Weimar, but the last 41 bars were composed by J.L. Krebs just after Bach's death in 1751. This fact explain the da capo form of this fugue (just as the mature "wedge" fugue BWV 548): it was the very best solution that the pupil could find to finish this early fugue of his great master. This explain why the themes are never combined as one would expext from Bach: he left the fugue unfinished and it was completed some decades later by his very best pupil."

This is an interesting theory, but not proven. I wonder if any Bach experts here have any thoughts on this?

I know a bit about Bach and his organ works, but expert?? Hmmm.

The fugue BWV 537 is in ABA form with first fugue, second fugue and first fugue da capo. It is indeed unusual that the two fugue subjects aren't combined during the work, so the J.L.Krebs theory, whether it was Krebs or someone else, may be likely, but as you write it's not proven. The fugue sounds like Bach all through because the possible arranger hasn't added more than a few notes. We shall never get to know the truth, but I think this is rather unimportant.

[atardecer]

I know a bit about Bach and his organ works, but expert?? Hmmm.

The fugue BWV 537 is in ABA form with first fugue, second fugue and first fugue da capo. It is indeed unusual that the two fugue subjects aren't combined during the work, so the J.L.Krebs theory, whether it was Krebs or someone else, may be likely, but as you write it's not proven. The fugue sounds like Bach all through because the possible arranger hasn't added more than a few notes. We shall never get to know the truth, but I think this is rather unimportant.

Yes, it is hard to say for sure. I can see reasons for people formulating this theory, however it also seems odd to me that there would be a work like this from Bach's Weimar period left unfinished.

[prémont]

Maybe Bach didn't find the fugue substantial enough to elaborate it further. Maybe he was undecided as to how to do it. Maybe he simply forgot it. Maybe it only was preserved because someone else completed it. Thinking it over there are many posibillities.

[calyptorhynchus]

Maybe Bach didn't find the fugue substantial enough to elaborate it further. Maybe he was undecided as to how to do it. Maybe he simply forgot it. Maybe it only was preserved because someone else completed it. Thinking it over there are many posibillities.

Or maybe his careless sons lost the final pages from the MS, as they did with the Art of Fugue. 

[prémont]

Or maybe his careless sons lost the final pages from the MS, as they did with the Art of Fugue. 

Yes, maybe. But concerning the incomplete fugue a 4, which with some uncertainty is ascribed to The AoF, we actually don't know whether it ever was written down or only sketched out in Bach's mind.