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It’s amazing how Bach creates infinite depth with so few notes.❤️❤️ ✨🎶Daniil Trifonov – Bach: Cantata BWV 147: Jesu, Joy of Man’s Desiring (Transcr. Hess for Piano)

𝗧𝗶𝗺𝗲𝗹𝗲𝘀𝘀 𝗠𝘂𝘀𝗶𝗰 ✨🎵

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August Atkinson Illustration profil fotoğrafı

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@AnnaCountessK Very impressive

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A relaxing piano song just for you

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But there are like hundreds of notes there!

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Excelente!!!

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✌️🤞✌️🤞

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Beautiful

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A little masterpiece.

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Dinu Lipatti's poignant interview with François Magnenat on Radio Geneva, 27 July 1950, the eve of the 200th anniversary of Bach's death. Cortisone, then new and ruinously expensive, was paid for by friends including Menuhin, Stravinsky, Münch and Sacher. It bought Lipatti time for his last studio recordings, made in Geneva earlier that month. He died four months later of complications from Hodgkin's disease, aged 33. The Chopin and Bach/Busoni heard here are live radio performances, distinct from his EMI studio recordings of the same works, as Mark Ainley has written (see his article "Dinu Lipatti: The Hunt for Lost Recordings" which I will link to in reply). 0:00 Lipatti on his "recovery" and return to the concert stage 0:27 The recording sessions at Radio Geneva 1:59 Live in-studio performance: Chopin, Waltz No. 3 in A minor, Op. 34 No. 2 5:31 Lipatti on his approach to learning a new work 7:39 The famous Bach chorale (Myra Hess transcription) 7:50 Bach/Hess, "Jesu, Joy of Man's Desiring", BWV 147 (Lipatti plays opening) 8:01 Discussion of Bach 9:23 Live in-studio performance: Bach/Busoni, Chorale prelude "Ich ruf zu dir, Herr Jesu Christ", BWV 639

Dinu Lipatti's poignant interview with François Magnenat on Radio Geneva, 27 July 1950, the eve of the 200th anniversary of Bach's death. Cortisone, then new and ruinously expensive, was paid for by friends including Menuhin, Stravinsky, Münch and Sacher. It bought Lipatti time for his last studio recordings, made in Geneva earlier that month. He died four months later of complications from Hodgkin's disease, aged 33. The Chopin and Bach/Busoni heard here are live radio performances, distinct from his EMI studio recordings of the same works, as Mark Ainley has written (see his article "Dinu Lipatti: The Hunt for Lost Recordings" which I will link to in reply). 0:00 Lipatti on his "recovery" and return to the concert stage 0:27 The recording sessions at Radio Geneva 1:59 Live in-studio performance: Chopin, Waltz No. 3 in A minor, Op. 34 No. 2 5:31 Lipatti on his approach to learning a new work 7:39 The famous Bach chorale (Myra Hess transcription) 7:50 Bach/Hess, "Jesu, Joy of Man's Desiring", BWV 147 (Lipatti plays opening) 8:01 Discussion of Bach 9:23 Live in-studio performance: Bach/Busoni, Chorale prelude "Ich ruf zu dir, Herr Jesu Christ", BWV 639

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THE CONSTANT CURRENT AND THE SHIFTING RIVERBED: Decoding the Artistic Identity of the Prelude to Cello Suite No. 1 (BWV 1007) With just the first four notes of the Prelude BWV 1007, many recognize it instantly as Bach—yet very few can articulate why it possesses an identity so unmistakable from any other prelude by the composer himself. The answer does not lie in generalized concepts such as polyphony or the resonance of the instrument. Those are compositional methodologies and instrumental characteristics in a broad sense, not the unique identifier of this specific piece. One of the things that makes the Prelude BWV 1007 always feel extraordinary to the listener, from the perspective of this essay, lies in an architectural illusion: a structural pattern that remains nearly invariant on the surface, yet continuously generates harmonic shifts underneath—a vast polyphonic space born from a strictly monophonic line. In other words, it offers the sensation of a current that always flows in the exact same manner, while the riverbed beneath is in constant flux. While keyboard preludes like BWV 846 also utilize the repetition of an arpeggiated pattern to shift harmony, BWV 1007 exhibits a vital qualitative difference. In keyboard music, the majority of the harmonic structure is already directly present in the acoustic output, so the listener does not have to actively reconstruct it to the degree required when listening to BWV 1007. Here, Bach binds himself to a rigorous constraint: writing a continuous chain of arpeggios for a solo instrument that is inherently monophonic. At any given moment, only a single note sounds, requiring the brain to engage at a much higher level to co-create and complete the harmonic structure. To shape this structural signature, Bach establishes a wave-like, symmetrical arpeggio pattern on the auditory surface: ascending from the bass, peaking at the top, and curving back down, repeating steadily in a relentless stream of sixteenth notes. Maintaining this precise "footstep" so radically creates a surface illusion of stillness, lulling the listener into a state akin to stasis. Yet right within that surface stillness, the harmonic riverbed of G major underneath is constantly shifting through different harmonic degrees (from I to ii, V, vi, IV). The foundation speeds ahead while the external form remains completely unchanged. To allow the harmonic riverbed to shift continuously without shattering the serenity of the surface current, Bach employs the master tool of voice leading. Through it, Bach creates the sensation that each movement arises organically from the one preceding it. When moving between harmonic blocks, he always chooses the smoothest path: retaining the common tone, while the remaining voices move only by microscopic intervals—half steps or whole steps. This delicate voice-leading structure pairs perfectly with a highly transparent harmonic density and the natural breathing room of the cello's open registration. The piece demands absolute control over the continuity of the bow (legato) and leverages the deep resonance of the open strings (G - D - A). Ascending from the lowest open G string, the acoustic space opens up luminous, direct, and vast, ensuring that any micro-shift in the riverbed below becomes a major event to the ear. Why did Bach choose this specific mode of motion instead of creating dramatic narrative twists? The answer lies in the artistic intent of an opening movement. This Prelude was not built to surprise; it opens the entire cycle of Cello Suites as the most natural point of departure. Instead of ostentation on the surface, Bach places the entirety of the vital force into the subterranean shifting of the harmony. The listener is not dragged along by external incidents but is guided by the natural logic of unified causality. Because the piece is written as a sequence of single notes rather than a simultaneous presentation of chords, the listener's brain is forced into a task of "co-creation." The audience must hold the note that just sounded in short-term memory, connecting it to the next to deduce the harmonic block within the mind. The listener is not handed a fully built house; they construct it themselves from the bricks Bach offers at a flawless tempo. From this perspective, the composition evokes an inherent philosophical principle deeply rooted in the Baroque spirit: the creation of order within diversity, and movement within stillness. A current that continuously alters both its form and content becomes chaos; conversely, one that stands completely still becomes dead. Bach achieves the sublime because his musical architecture finds life precisely at the intersection: a current that can maintain its external form while constantly renewing itself from within. The tight fusion between this underlying harmonic structure, the characteristic warmth of the cello's timbre, the pristine opening interval of G major, and the generous resonance of the open strings are precisely what allow a mere few opening measures to summon the distinct artistic identity of BWV 1007. A steadfast imagery, born of a seemingly constant current and a riverbed always shifting from deep within a solo monophonic instrument.

THE CONSTANT CURRENT AND THE SHIFTING RIVERBED: Decoding the Artistic Identity of the Prelude to Cello Suite No. 1 (BWV 1007) With just the first four notes of the Prelude BWV 1007, many recognize it instantly as Bach—yet very few can articulate why it possesses an identity so unmistakable from any other prelude by the composer himself. The answer does not lie in generalized concepts such as polyphony or the resonance of the instrument. Those are compositional methodologies and instrumental characteristics in a broad sense, not the unique identifier of this specific piece. One of the things that makes the Prelude BWV 1007 always feel extraordinary to the listener, from the perspective of this essay, lies in an architectural illusion: a structural pattern that remains nearly invariant on the surface, yet continuously generates harmonic shifts underneath—a vast polyphonic space born from a strictly monophonic line. In other words, it offers the sensation of a current that always flows in the exact same manner, while the riverbed beneath is in constant flux. While keyboard preludes like BWV 846 also utilize the repetition of an arpeggiated pattern to shift harmony, BWV 1007 exhibits a vital qualitative difference. In keyboard music, the majority of the harmonic structure is already directly present in the acoustic output, so the listener does not have to actively reconstruct it to the degree required when listening to BWV 1007. Here, Bach binds himself to a rigorous constraint: writing a continuous chain of arpeggios for a solo instrument that is inherently monophonic. At any given moment, only a single note sounds, requiring the brain to engage at a much higher level to co-create and complete the harmonic structure. To shape this structural signature, Bach establishes a wave-like, symmetrical arpeggio pattern on the auditory surface: ascending from the bass, peaking at the top, and curving back down, repeating steadily in a relentless stream of sixteenth notes. Maintaining this precise "footstep" so radically creates a surface illusion of stillness, lulling the listener into a state akin to stasis. Yet right within that surface stillness, the harmonic riverbed of G major underneath is constantly shifting through different harmonic degrees (from I to ii, V, vi, IV). The foundation speeds ahead while the external form remains completely unchanged. To allow the harmonic riverbed to shift continuously without shattering the serenity of the surface current, Bach employs the master tool of voice leading. Through it, Bach creates the sensation that each movement arises organically from the one preceding it. When moving between harmonic blocks, he always chooses the smoothest path: retaining the common tone, while the remaining voices move only by microscopic intervals—half steps or whole steps. This delicate voice-leading structure pairs perfectly with a highly transparent harmonic density and the natural breathing room of the cello's open registration. The piece demands absolute control over the continuity of the bow (legato) and leverages the deep resonance of the open strings (G - D - A). Ascending from the lowest open G string, the acoustic space opens up luminous, direct, and vast, ensuring that any micro-shift in the riverbed below becomes a major event to the ear. Why did Bach choose this specific mode of motion instead of creating dramatic narrative twists? The answer lies in the artistic intent of an opening movement. This Prelude was not built to surprise; it opens the entire cycle of Cello Suites as the most natural point of departure. Instead of ostentation on the surface, Bach places the entirety of the vital force into the subterranean shifting of the harmony. The listener is not dragged along by external incidents but is guided by the natural logic of unified causality. Because the piece is written as a sequence of single notes rather than a simultaneous presentation of chords, the listener's brain is forced into a task of "co-creation." The audience must hold the note that just sounded in short-term memory, connecting it to the next to deduce the harmonic block within the mind. The listener is not handed a fully built house; they construct it themselves from the bricks Bach offers at a flawless tempo. From this perspective, the composition evokes an inherent philosophical principle deeply rooted in the Baroque spirit: the creation of order within diversity, and movement within stillness. A current that continuously alters both its form and content becomes chaos; conversely, one that stands completely still becomes dead. Bach achieves the sublime because his musical architecture finds life precisely at the intersection: a current that can maintain its external form while constantly renewing itself from within. The tight fusion between this underlying harmonic structure, the characteristic warmth of the cello's timbre, the pristine opening interval of G major, and the generous resonance of the open strings are precisely what allow a mere few opening measures to summon the distinct artistic identity of BWV 1007. A steadfast imagery, born of a seemingly constant current and a riverbed always shifting from deep within a solo monophonic instrument.

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Bach – Air on the G String (Orchestral Suite No. 3, BWV 1068) When a Moment Continues to Live Within the Flow of Time There are strange moments in life when time keeps moving, yet we feel as though we have remained where we are. The clock continues to tick. The light keeps changing. The world outside never stops moving. And yet, for a brief instant, the present seems deeper than usual. Not because time has stopped. But because we suddenly perceive more within that very moment. That is the experience Johann Sebastian Bach creates in Air from Orchestral Suite No. 3 in D major, BWV 1068. The wonder of this music does not lie in eliminating motion. Bach does something far more subtle: He allows time to keep moving, while enabling a single moment to remain alive longer within human perception. Not a Journey Forward, but a State Preserved Many great musical works are built as journeys. The music creates anticipation. It creates tension. It creates transformation. And eventually, it leads the listener toward resolution. Air offers a different kind of experience. It does not rely on dramatic events or powerful climaxes. From its very opening phrases, Bach does not give the impression of a melody eager to rush forward. Instead, he unfolds a continuous melodic line over harmonies that change with quiet patience. Each musical phrase exists not merely to lead into the next. It also creates a space in which the listener can remain and simply experience the present. Bach does not create depth by constantly changing states. He creates depth by allowing a single state enough time to reveal itself. Melody Creates Space What makes the melody of Air remarkable is that it is always moving without ever feeling driven. It does not resemble a straight line racing toward an ending. Instead, it unfolds like a space gradually opening before us. The violin's long, gentle phrases make time seem to expand. Yet this is not stillness. The melody continues to develop. It continues to change. It simply never gives the impression that it urgently needs to arrive somewhere. It allows the present to remain a little longer. The Bass: Time Continues Its Quiet Course Beneath the openness of the violin lies an uninterrupted current. The bass line continues its steady motion. It never demands attention. It never seeks to become the main character. Yet it is precisely this quiet movement that gives the entire work its stable flow. If the melody is the moment being expanded, then the bass is time itself continuing beneath that moment. Here lies the central paradox of Air: One musical layer seems to hold the moment in place. Another continues carrying time forward. Bach does not create peace by removing motion. He creates peace by placing different kinds of movement into perfect balance. Gentle Frictions: Where Structure Becomes Emotion The depth of Air does not arise only from the relationship between melody and bass. It also emerges through the smallest harmonic changes between the voices. Bach often allows one note to continue sounding while the harmony beneath it has already shifted. For a brief instant, the old sound has not completely disappeared, yet the new sound has already arrived. Two states exist simultaneously. This is where harmonic technique becomes human feeling. After all, change in life rarely happens in a single instant. A memory can remain even after the present has changed. An old emotion can still resonate within a new reality. Bach brings that fragile human experience into a musical structure of extraordinary balance. The String Ensemble: Where the Idea Becomes Sound Yet none of this would fully come alive without the unique color of the string ensemble. The strings' ability to sustain and subtly transform a single tone allows Bach's long melodic lines to be heard not merely as consecutive notes. They become a continuous stream of sound unfolding through time. A written note on the score is only a point. But through the violin's bow and the sustained voices of the string instruments, it becomes a space. That is what transforms the idea of "a moment preserved" from an abstract concept into a living musical experience. The Defining Seed of Air What makes Air truly distinctive does not lie in any single technique. Not simply because the bass keeps moving. Not because of its delicate suspensions. Not because of its beautiful melody. These are only the means. The essence lies in the principle that unites them: A moment does not need to stand still to become profound. It can continue to live even as time itself keeps moving. The melody opens the depth of the moment. The bass sustains the movement of time. The harmony creates subtle ripples of emotion. The strings transform all of these into a living sonic experience. That is why Air is not simply a slow piece of music. It is a unique way of experiencing time itself. A Distinctively Bachian Beauty Baroque composers discovered beauty through many different paths. Vivaldi often revealed the vitality and rhythm of nature. Handel explored the expressive and rhetorical power of music. Pachelbel found beauty in cyclical structures and balance. Bach, in Air, pursued something different. He showed that depth can arise not only from great transformations, but also from organizing the smallest movements into a perfectly balanced whole. Conclusion Air does not make time stop. Nor does it remove us from reality. What Bach achieves is something more subtle. He invites us to recognize that within every passing moment lies a depth we seldom notice. That is the enduring power of Air on the G String: Bach transforms a fleeting moment into a world spacious enough for the human spirit to dwell within.

Bach – Air on the G String (Orchestral Suite No. 3, BWV 1068) When a Moment Continues to Live Within the Flow of Time There are strange moments in life when time keeps moving, yet we feel as though we have remained where we are. The clock continues to tick. The light keeps changing. The world outside never stops moving. And yet, for a brief instant, the present seems deeper than usual. Not because time has stopped. But because we suddenly perceive more within that very moment. That is the experience Johann Sebastian Bach creates in Air from Orchestral Suite No. 3 in D major, BWV 1068. The wonder of this music does not lie in eliminating motion. Bach does something far more subtle: He allows time to keep moving, while enabling a single moment to remain alive longer within human perception. Not a Journey Forward, but a State Preserved Many great musical works are built as journeys. The music creates anticipation. It creates tension. It creates transformation. And eventually, it leads the listener toward resolution. Air offers a different kind of experience. It does not rely on dramatic events or powerful climaxes. From its very opening phrases, Bach does not give the impression of a melody eager to rush forward. Instead, he unfolds a continuous melodic line over harmonies that change with quiet patience. Each musical phrase exists not merely to lead into the next. It also creates a space in which the listener can remain and simply experience the present. Bach does not create depth by constantly changing states. He creates depth by allowing a single state enough time to reveal itself. Melody Creates Space What makes the melody of Air remarkable is that it is always moving without ever feeling driven. It does not resemble a straight line racing toward an ending. Instead, it unfolds like a space gradually opening before us. The violin's long, gentle phrases make time seem to expand. Yet this is not stillness. The melody continues to develop. It continues to change. It simply never gives the impression that it urgently needs to arrive somewhere. It allows the present to remain a little longer. The Bass: Time Continues Its Quiet Course Beneath the openness of the violin lies an uninterrupted current. The bass line continues its steady motion. It never demands attention. It never seeks to become the main character. Yet it is precisely this quiet movement that gives the entire work its stable flow. If the melody is the moment being expanded, then the bass is time itself continuing beneath that moment. Here lies the central paradox of Air: One musical layer seems to hold the moment in place. Another continues carrying time forward. Bach does not create peace by removing motion. He creates peace by placing different kinds of movement into perfect balance. Gentle Frictions: Where Structure Becomes Emotion The depth of Air does not arise only from the relationship between melody and bass. It also emerges through the smallest harmonic changes between the voices. Bach often allows one note to continue sounding while the harmony beneath it has already shifted. For a brief instant, the old sound has not completely disappeared, yet the new sound has already arrived. Two states exist simultaneously. This is where harmonic technique becomes human feeling. After all, change in life rarely happens in a single instant. A memory can remain even after the present has changed. An old emotion can still resonate within a new reality. Bach brings that fragile human experience into a musical structure of extraordinary balance. The String Ensemble: Where the Idea Becomes Sound Yet none of this would fully come alive without the unique color of the string ensemble. The strings' ability to sustain and subtly transform a single tone allows Bach's long melodic lines to be heard not merely as consecutive notes. They become a continuous stream of sound unfolding through time. A written note on the score is only a point. But through the violin's bow and the sustained voices of the string instruments, it becomes a space. That is what transforms the idea of "a moment preserved" from an abstract concept into a living musical experience. The Defining Seed of Air What makes Air truly distinctive does not lie in any single technique. Not simply because the bass keeps moving. Not because of its delicate suspensions. Not because of its beautiful melody. These are only the means. The essence lies in the principle that unites them: A moment does not need to stand still to become profound. It can continue to live even as time itself keeps moving. The melody opens the depth of the moment. The bass sustains the movement of time. The harmony creates subtle ripples of emotion. The strings transform all of these into a living sonic experience. That is why Air is not simply a slow piece of music. It is a unique way of experiencing time itself. A Distinctively Bachian Beauty Baroque composers discovered beauty through many different paths. Vivaldi often revealed the vitality and rhythm of nature. Handel explored the expressive and rhetorical power of music. Pachelbel found beauty in cyclical structures and balance. Bach, in Air, pursued something different. He showed that depth can arise not only from great transformations, but also from organizing the smallest movements into a perfectly balanced whole. Conclusion Air does not make time stop. Nor does it remove us from reality. What Bach achieves is something more subtle. He invites us to recognize that within every passing moment lies a depth we seldom notice. That is the enduring power of Air on the G String: Bach transforms a fleeting moment into a world spacious enough for the human spirit to dwell within.

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39,044 görüntüleme • 1 ay önce

Adversity, discomfort, struggles, difficulties, challenges, hardships, setbacks - these are gifts in your youth .. it helps you learn how to adjust, deal with, be adaptable and learn how to get inner-strength, for the best of the bunch it makes them so resilient & creates a inner love ❤️ that becomes unbearable - it’s how you actually build the purest form of confidence… and yet the last 30 years of parenting and societial norms have demonized “losing” … this video really matters to me .. it will lead to more people understanding this deep truth and ultimately mean that some young children today will end up happier versus more confused and indifferent! Pls share this with a parent that has a “competitive kid” … IT DOES MATTER - that’s the point! LIFES A GAME - the sooner you learn how to deal with losing the better - and the worst way to deal with losing is by believing “it doesn’t matter” 🔑🔑🔑🔑🔑✅❤️

Adversity, discomfort, struggles, difficulties, challenges, hardships, setbacks - these are gifts in your youth .. it helps you learn how to adjust, deal with, be adaptable and learn how to get inner-strength, for the best of the bunch it makes them so resilient & creates a inner love ❤️ that becomes unbearable - it’s how you actually build the purest form of confidence… and yet the last 30 years of parenting and societial norms have demonized “losing” … this video really matters to me .. it will lead to more people understanding this deep truth and ultimately mean that some young children today will end up happier versus more confused and indifferent! Pls share this with a parent that has a “competitive kid” … IT DOES MATTER - that’s the point! LIFES A GAME - the sooner you learn how to deal with losing the better - and the worst way to deal with losing is by believing “it doesn’t matter” 🔑🔑🔑🔑🔑✅❤️

Gary Vaynerchuk

65,233 görüntüleme • 1 yıl önce

khloé Kardashian and Kris Jenner talked about how much they loved and really enjoyed Justin Bieber performance at the Coachella and how they were so happy for Billie Eilish the moment he brought her out to perform his 2009 hit song, "One Less Lonely Girl"🥹❤️ “What an amazing night for him, everybody is so proud of him and he did such a great job, i watched the next day with billie eilish, that was the cutest, my cheeks hurts from smiling, girls were watching the livestream and people didn’t realize it’s billie eilish and they were like “i’m so pissed, i should be that girl, what fan is that girl” like they were like angry, then when they see it’s billie, everyone’s attitude and tone changes they were like billie and they were screaming and they were so happy for her, and her reaction, like her not being able to stand, her smiling, it was so cute and genuine”🥹❤️

khloé Kardashian and Kris Jenner talked about how much they loved and really enjoyed Justin Bieber performance at the Coachella and how they were so happy for Billie Eilish the moment he brought her out to perform his 2009 hit song, "One Less Lonely Girl"🥹❤️ “What an amazing night for him, everybody is so proud of him and he did such a great job, i watched the next day with billie eilish, that was the cutest, my cheeks hurts from smiling, girls were watching the livestream and people didn’t realize it’s billie eilish and they were like “i’m so pissed, i should be that girl, what fan is that girl” like they were like angry, then when they see it’s billie, everyone’s attitude and tone changes they were like billie and they were screaming and they were so happy for her, and her reaction, like her not being able to stand, her smiling, it was so cute and genuine”🥹❤️

flame⛧

11,248 görüntüleme • 5 ay önce

After 2 years in “stealth mode”, we’re finally sharing about Payam Music, starting with my role: I met Payam when he was running a small local piano school, and I saw its transformative impact on students, starting with my own son, Darius. The Payam Method works wonders, as we hear over and over from parents and in online reviews. It has just the right mix of elements to make students fall in LOVE with playing piano and writing their own music. Once I saw firsthand how much better learning can be with the Payam Method, I felt compelled to help spread it, leveraging my experience scaling to 100 million students. I joined as CEO two years ago, and we began hiring a team and recruiting support to help us scale. With the recent endorsement of world-famous composer Hans Zimmer, Payam Music is available in cities around the US and expanding rapidly. Our schools teach 1-on-1 lessons, in person and even online. We have limited spots, so if you or your child want to learn piano, sign up now! And if we don’t have a school near you, join our wait list, we’re growing fast. Fall in Love with Piano P.S. This week we’re announcing the amazing business leaders who are investors in Payam Music, to help us bring the joy of learning to more students everywhere, and also to provide children an alternative to screentime. If you’re worried about kids’ obsession with screens and social media, the solution is to give them a new obsession: piano. ❤️🎹❤️

After 2 years in “stealth mode”, we’re finally sharing about Payam Music, starting with my role: I met Payam when he was running a small local piano school, and I saw its transformative impact on students, starting with my own son, Darius. The Payam Method works wonders, as we hear over and over from parents and in online reviews. It has just the right mix of elements to make students fall in LOVE with playing piano and writing their own music. Once I saw firsthand how much better learning can be with the Payam Method, I felt compelled to help spread it, leveraging my experience scaling to 100 million students. I joined as CEO two years ago, and we began hiring a team and recruiting support to help us scale. With the recent endorsement of world-famous composer Hans Zimmer, Payam Music is available in cities around the US and expanding rapidly. Our schools teach 1-on-1 lessons, in person and even online. We have limited spots, so if you or your child want to learn piano, sign up now! And if we don’t have a school near you, join our wait list, we’re growing fast. Fall in Love with Piano P.S. This week we’re announcing the amazing business leaders who are investors in Payam Music, to help us bring the joy of learning to more students everywhere, and also to provide children an alternative to screentime. If you’re worried about kids’ obsession with screens and social media, the solution is to give them a new obsession: piano. ❤️🎹❤️

Hadi Partovi

57,930 görüntüleme • 4 ay önce

Exploring Bach’s BWV 1065: When a Musical Machine Begins to Beat with Life Some creations inspire awe not because they contain countless details, but because every detail within them works according to a precise order. A finely crafted mechanical clock is one such example. From the outside, we see only the hands moving quietly through time. Inside, however, an entire world is at work. Tiny gears transmit energy to one another. Different components perform different tasks. Some generate motion. Some regulate the rhythm. Some keep the entire mechanism in balance. The beauty of the clock does not lie in any single part. It lies in the way all of those small movements come together to create one continuous pulse. Johann Sebastian Bach’s BWV 1065 possesses a similar kind of beauty. From its very first notes, listeners sense more than the beginning of a melody. They sense a musical mechanism coming to life. Four harpsichords enter the conversation. Lines of music emerge, answer one another, and pass ideas seamlessly from one voice to the next. Each instrument resembles a moving gear within a larger system, where every motion contributes to a single, unified current. The Invisible Blueprint Behind the Music A finely made clock cannot function simply by placing many parts side by side. Its true secret lies in the design. The clockmaker must understand the distance between every component. The speed of every movement. The path by which energy travels from one part to another. These underlying principles transform separate pieces into one living mechanism. In BWV 1065, Bach builds his music according to the same kind of logic. He does not allow the four harpsichords to move in separate directions. Every voice has a role within the larger musical flow. An idea may first appear in one instrument. It is then taken up by another. From there it is developed, expanded, and carried forward in a new direction. What listeners hear is not simply four instruments performing together. They hear a conversation organized with astonishing precision. Behind the constant movement lies an invisible architecture, where Bach carefully determines how every musical voice meets, supports, and completes the others. Four Voices Moving with a Single Pulse One of BWV 1065’s greatest achievements is the balance it creates between independence and unity. Each harpsichord possesses its own personality. When listening closely, each musical line reveals its own distinct character. Yet when stepping back to hear the entire work, everything merges into one continuous flow of energy. It is much like watching a group of dancers on stage. Each performer moves differently. One steps forward. Another turns behind. A third quietly maintains the rhythm of the entire performance. The audience does not perceive four separate dances. They see one living form in motion. This is the essence of Bach’s contrapuntal art. Its richness does not come from adding countless unrelated ideas. It comes from allowing many independent voices to exist together within a perfectly ordered whole. When Brief Plucked Sounds Become a Continuous Stream of Energy The harpsichord possesses a unique character. Its notes speak with remarkable clarity, yet they fade almost immediately. Each sound resembles a brief flash of light before disappearing into silence. Bach transforms this very limitation into one of the instrument's greatest strengths. He does not rely on sustained tones. Instead, he creates momentum by placing every note at precisely the right moment. Imagine a wheel spinning at great speed. The eye no longer distinguishes each individual spoke. It perceives only one smooth and continuous rotation. The harpsichord works in much the same way. Every note exists for only an instant. Yet when hundreds of those fleeting moments are linked together, they become something greater than the individual sounds themselves—a powerful, uninterrupted stream of musical energy. This is one of the most beautiful paradoxes in Bach’s music: The smallest musical events create the strongest sense of life and motion. Netherlands Bach Society and Revealing the Music's Inner Architecture In the Netherlands Bach Society's performance, the beauty of BWV 1065 emerges through the remarkable clarity of its individual voices. The four harpsichords never dissolve into a single block of sound. Each instrument preserves its own distinct color, allowing listeners to follow every layer of movement unfolding within the music. This approach reveals one of Bach’s most remarkable artistic achievements: Every individual part has its own purpose, yet every part serves something greater than itself. Rather than simply enjoying the brilliance on the surface, listeners are invited to hear how the entire work has been constructed from within. When Precision Gives Birth to Life BWV 1065 may first astonish listeners with its speed and technical brilliance. Yet those qualities are only the surface. Its deeper achievement lies in Bach's ability to transform an exceptionally disciplined structure into something vividly alive. A masterfully crafted mechanical clock is not extraordinary simply because it contains many intricate parts. It becomes extraordinary because every tiny movement contributes to one unified pulse. Bach's music follows the same principle. Order does not suppress freedom. On the contrary, it is the precision of the structure that allows the music to move with complete naturalness. BWV 1065 is therefore far more than a concerto for four harpsichords. It stands as a testament to an art in which every detail, when placed exactly where it belongs, helps create a world of sound that is at once precise and profoundly alive. A musical machine. Yet within it, a living heartbeat never ceases.

Exploring Bach’s BWV 1065: When a Musical Machine Begins to Beat with Life Some creations inspire awe not because they contain countless details, but because every detail within them works according to a precise order. A finely crafted mechanical clock is one such example. From the outside, we see only the hands moving quietly through time. Inside, however, an entire world is at work. Tiny gears transmit energy to one another. Different components perform different tasks. Some generate motion. Some regulate the rhythm. Some keep the entire mechanism in balance. The beauty of the clock does not lie in any single part. It lies in the way all of those small movements come together to create one continuous pulse. Johann Sebastian Bach’s BWV 1065 possesses a similar kind of beauty. From its very first notes, listeners sense more than the beginning of a melody. They sense a musical mechanism coming to life. Four harpsichords enter the conversation. Lines of music emerge, answer one another, and pass ideas seamlessly from one voice to the next. Each instrument resembles a moving gear within a larger system, where every motion contributes to a single, unified current. The Invisible Blueprint Behind the Music A finely made clock cannot function simply by placing many parts side by side. Its true secret lies in the design. The clockmaker must understand the distance between every component. The speed of every movement. The path by which energy travels from one part to another. These underlying principles transform separate pieces into one living mechanism. In BWV 1065, Bach builds his music according to the same kind of logic. He does not allow the four harpsichords to move in separate directions. Every voice has a role within the larger musical flow. An idea may first appear in one instrument. It is then taken up by another. From there it is developed, expanded, and carried forward in a new direction. What listeners hear is not simply four instruments performing together. They hear a conversation organized with astonishing precision. Behind the constant movement lies an invisible architecture, where Bach carefully determines how every musical voice meets, supports, and completes the others. Four Voices Moving with a Single Pulse One of BWV 1065’s greatest achievements is the balance it creates between independence and unity. Each harpsichord possesses its own personality. When listening closely, each musical line reveals its own distinct character. Yet when stepping back to hear the entire work, everything merges into one continuous flow of energy. It is much like watching a group of dancers on stage. Each performer moves differently. One steps forward. Another turns behind. A third quietly maintains the rhythm of the entire performance. The audience does not perceive four separate dances. They see one living form in motion. This is the essence of Bach’s contrapuntal art. Its richness does not come from adding countless unrelated ideas. It comes from allowing many independent voices to exist together within a perfectly ordered whole. When Brief Plucked Sounds Become a Continuous Stream of Energy The harpsichord possesses a unique character. Its notes speak with remarkable clarity, yet they fade almost immediately. Each sound resembles a brief flash of light before disappearing into silence. Bach transforms this very limitation into one of the instrument's greatest strengths. He does not rely on sustained tones. Instead, he creates momentum by placing every note at precisely the right moment. Imagine a wheel spinning at great speed. The eye no longer distinguishes each individual spoke. It perceives only one smooth and continuous rotation. The harpsichord works in much the same way. Every note exists for only an instant. Yet when hundreds of those fleeting moments are linked together, they become something greater than the individual sounds themselves—a powerful, uninterrupted stream of musical energy. This is one of the most beautiful paradoxes in Bach’s music: The smallest musical events create the strongest sense of life and motion. Netherlands Bach Society and Revealing the Music's Inner Architecture In the Netherlands Bach Society's performance, the beauty of BWV 1065 emerges through the remarkable clarity of its individual voices. The four harpsichords never dissolve into a single block of sound. Each instrument preserves its own distinct color, allowing listeners to follow every layer of movement unfolding within the music. This approach reveals one of Bach’s most remarkable artistic achievements: Every individual part has its own purpose, yet every part serves something greater than itself. Rather than simply enjoying the brilliance on the surface, listeners are invited to hear how the entire work has been constructed from within. When Precision Gives Birth to Life BWV 1065 may first astonish listeners with its speed and technical brilliance. Yet those qualities are only the surface. Its deeper achievement lies in Bach's ability to transform an exceptionally disciplined structure into something vividly alive. A masterfully crafted mechanical clock is not extraordinary simply because it contains many intricate parts. It becomes extraordinary because every tiny movement contributes to one unified pulse. Bach's music follows the same principle. Order does not suppress freedom. On the contrary, it is the precision of the structure that allows the music to move with complete naturalness. BWV 1065 is therefore far more than a concerto for four harpsichords. It stands as a testament to an art in which every detail, when placed exactly where it belongs, helps create a world of sound that is at once precise and profoundly alive. A musical machine. Yet within it, a living heartbeat never ceases.

🎼🌺Music Love♥️

13,852 görüntüleme • 2 ay önce

9 years sober today for my wife, brittany horschel. Amazing to see the transformation over the last 9 years. So proud of her!! 💪❤️ The message I have for anyone who is struggling with addiction is, it’s possible. Millions of ppl have made the choice before you, that they are tired of letting their addiction ruin their life and that they want to live a sober lifestyle now. There’s groups, rehabs, therapists, wherever you live that will help you get sober. But you have to take the first step on the path of sobriety. Wherever I go, I come across people that let me know that they are sober. And they tell me it’s the best decision they ever made for themelves. They are living a healthier lifestyle, enjoying life now more than ever before. It’s amazing to hear their stories and how many days, months, years that they have been sober. So it’s possible! You and only you, can take that first step! Then there will be people willing to take the continuous steps with you after. HorschelFamilyFdtn

9 years sober today for my wife, brittany horschel. Amazing to see the transformation over the last 9 years. So proud of her!! 💪❤️ The message I have for anyone who is struggling with addiction is, it’s possible. Millions of ppl have made the choice before you, that they are tired of letting their addiction ruin their life and that they want to live a sober lifestyle now. There’s groups, rehabs, therapists, wherever you live that will help you get sober. But you have to take the first step on the path of sobriety. Wherever I go, I come across people that let me know that they are sober. And they tell me it’s the best decision they ever made for themelves. They are living a healthier lifestyle, enjoying life now more than ever before. It’s amazing to hear their stories and how many days, months, years that they have been sober. So it’s possible! You and only you, can take that first step! Then there will be people willing to take the continuous steps with you after. HorschelFamilyFdtn

Billy Horschel

754,417 görüntüleme • 1 yıl önce

If you see this please comment with Happy Eid so you can help me fight the algorithm‼️ A quick reminder that we’re here. When you celebrate your holidays, remember the people of Gaza too. This is one of my favorite videos despite how short it is. I tried to focus on the opinions of a few random, ordinary people, just to see what their traditions for this holiday look like. Each of them has a simple dream… a normal day, a normal joy, a holiday like anywhere else in the world. But in Gaza, even the simplest dreams can feel far away. Thank you for watching and Happy Eid❤️

If you see this please comment with Happy Eid so you can help me fight the algorithm‼️ A quick reminder that we’re here. When you celebrate your holidays, remember the people of Gaza too. This is one of my favorite videos despite how short it is. I tried to focus on the opinions of a few random, ordinary people, just to see what their traditions for this holiday look like. Each of them has a simple dream… a normal day, a normal joy, a holiday like anywhere else in the world. But in Gaza, even the simplest dreams can feel far away. Thank you for watching and Happy Eid❤️

SARA 𓂆

31,584 görüntüleme • 6 ay önce

PLAVE Dash 1st WIN Encore Speech in MusicCore 💙: Hello, we are PLAVE 🖤: To think that we won first place on Music Core with Dash ah... it’s just unbelievable. It truly feels like a dream & such an honor to have all the hard work we’ve put in rewarded in such an amazing way 🩷: Yes, we are always so grateful to our PLLIs, receiving such a precious award makes us feel the depth of the love you all send us more than ever ❤️: And while preparing for this album, our members worked so hard. Being together always makes me feel strong and happy. You all did so well truly thank yo 💜: And lastly, to our parents who have waited for us all this time & to our staff who worked hard alongside us thank you so much 💙: And to the MusicCore staff who created such an amazing stage for us thank you so much. And as we always have, we'll continue running toward our next chapter thank you 💙💜🩷❤️🖤: Thank you I love you PLLI~~!! #플레이브_음중일등은우리의것 #PLAVE_Dash_2ndWin

PLAVE Dash 1st WIN Encore Speech in MusicCore 💙: Hello, we are PLAVE 🖤: To think that we won first place on Music Core with Dash ah... it’s just unbelievable. It truly feels like a dream & such an honor to have all the hard work we’ve put in rewarded in such an amazing way 🩷: Yes, we are always so grateful to our PLLIs, receiving such a precious award makes us feel the depth of the love you all send us more than ever ❤️: And while preparing for this album, our members worked so hard. Being together always makes me feel strong and happy. You all did so well truly thank yo 💜: And lastly, to our parents who have waited for us all this time & to our staff who worked hard alongside us thank you so much 💙: And to the MusicCore staff who created such an amazing stage for us thank you so much. And as we always have, we'll continue running toward our next chapter thank you 💙💜🩷❤️🖤: Thank you I love you PLLI~~!! #플레이브_음중일등은우리의것 #PLAVE_Dash_2ndWin

nanas

14,349 görüntüleme • 1 yıl önce

“மியூசிக்கே ஒரு ஏமாற்று வேலைதானே!” 😄🎶 In an old interview with SPB, Ilaiyaraaja explains that once you sing the seven notes in order, it’s all about repeating and rearranging them in different permutations and combinations. And then he shares an example. For Apoorva Sagotharargal, Kamal Haasan gave him a reference song: “நான் பார்த்ததிலே அவள் ஒருத்தியைத்தான்…” Raja came back with: “புது மாப்பிள்ளைக்கு நல்ல நேரமடா…” 🎶 Kamal loved the song and asked him the idea behind it.. Raja simply replied, “Whatever you gave me, I just gave it back.” He then sang the old lyrics in his new tune, revealing the clever connection. You would probably never realise it unless Raja himself pointed it out. That’s the magic of the Maestro. He calls it “ஏமாற்று வேலை”; we call it genius. 🎼✨❤️ #Ilaiyaraaja #SPB #Kamal

“மியூசிக்கே ஒரு ஏமாற்று வேலைதானே!” 😄🎶 In an old interview with SPB, Ilaiyaraaja explains that once you sing the seven notes in order, it’s all about repeating and rearranging them in different permutations and combinations. And then he shares an example. For Apoorva Sagotharargal, Kamal Haasan gave him a reference song: “நான் பார்த்ததிலே அவள் ஒருத்தியைத்தான்…” Raja came back with: “புது மாப்பிள்ளைக்கு நல்ல நேரமடா…” 🎶 Kamal loved the song and asked him the idea behind it.. Raja simply replied, “Whatever you gave me, I just gave it back.” He then sang the old lyrics in his new tune, revealing the clever connection. You would probably never realise it unless Raja himself pointed it out. That’s the magic of the Maestro. He calls it “ஏமாற்று வேலை”; we call it genius. 🎼✨❤️ #Ilaiyaraaja #SPB #Kamal

Isaignani Addict

42,256 görüntüleme • 1 ay önce

Welcome back to our Weekly Tokimeki Question! Today, we’re looking a little closer at our workspaces: What’s one item on your desk that sparks Tokimeki for you? ✨ For Marie, it’s her trusted mechanical pencil, a series she’s been loyal to for over ten years. She loves its compact size, the perfect fit in her hand, the smooth grip, and the effortless way it writes. It’s a simple tool, but everything about it brings a sense of comfort and joy to her everyday work. It doesn't have to be fancy or extraordinary. So many of the objects supporting our daily flow often go unnoticed, yet they hold a quiet power to make work feel a little lighter and more grounded. Take a moment now to look at your desk. Pick up or look at that one item, and stay with the feeling for just a few seconds. Notice how it feels in your body. This is how we begin to cultivate our sensitivity to Tokimeki, by slowing down, noticing joy in the functional, and allowing ourselves to appreciate the everyday things that support us. What's yours? QRT with a photo of your item!

Welcome back to our Weekly Tokimeki Question! Today, we’re looking a little closer at our workspaces: What’s one item on your desk that sparks Tokimeki for you? ✨ For Marie, it’s her trusted mechanical pencil, a series she’s been loyal to for over ten years. She loves its compact size, the perfect fit in her hand, the smooth grip, and the effortless way it writes. It’s a simple tool, but everything about it brings a sense of comfort and joy to her everyday work. It doesn't have to be fancy or extraordinary. So many of the objects supporting our daily flow often go unnoticed, yet they hold a quiet power to make work feel a little lighter and more grounded. Take a moment now to look at your desk. Pick up or look at that one item, and stay with the feeling for just a few seconds. Notice how it feels in your body. This is how we begin to cultivate our sensitivity to Tokimeki, by slowing down, noticing joy in the functional, and allowing ourselves to appreciate the everyday things that support us. What's yours? QRT with a photo of your item!

The Art of Tokimeki

27,233 görüntüleme • 1 ay önce

Felix drops a bombshell 💣 He reveals how DMK & PEN are spending lakhs of rupees to create a negative impact against Vijay in Kerala. But one thing they need to remember — there might be a few in Tamil Nadu who’ll fall for your fake narrative (at least you can try), but you can’t do a thing with Keralites! ❤️ They love Vijay more than their own native stars. It’s not possible to shake that bond — so don’t even try and waste your money or time. 💪🔥

Felix drops a bombshell 💣 He reveals how DMK & PEN are spending lakhs of rupees to create a negative impact against Vijay in Kerala. But one thing they need to remember — there might be a few in Tamil Nadu who’ll fall for your fake narrative (at least you can try), but you can’t do a thing with Keralites! ❤️ They love Vijay more than their own native stars. It’s not possible to shake that bond — so don’t even try and waste your money or time. 💪🔥

Navaneeth

64,724 görüntüleme • 11 ay önce