#classicalmusic

Bach: Baroque Genius in Sound

Johann Sebastian Bach (1685–1750) was a German organist and composer whose music stands among the greatest achievements of Baroque art. Although known more as a virtuoso organist during his lifetime, his compositions—especially sacred cantatas, organ works, and concertos—have influenced countless musicians since. Pieces like the Mass in B minor and Brandenburg Concertos remain pillars of classical repertoire.

Key Facts

Bach lived and worked during the mature Baroque period (circa 1600–1750).

He was more famous as an organist than a composer during his life.

His works include sacred and secular pieces: cantatas, organ compositions, and orchestral suites.

Famous works include the Magnificat, Mass in B minor, and Brandenburg Concertos.

The well-known melody "Air on the G String" comes from his third orchestral suite.

Historical Context

Bach lived in Germany during a time when Baroque music flourished, characterized by ornate melodies and complex harmonies. His role as church organist and composer for courts reflected the era’s strong ties between music, religion, and aristocracy.

Historical Significance

Bach’s music synthesized complex counterpoint and emotional depth, deeply influencing classical music development. While his fame was limited during his life, his compositions became critical models of craftsmanship and musical beauty for later generations, securing his status as a towering figure in Western music history.

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ARVO PÄRT: Credo (Paavo Järvi - Estonian Festival Orchestra).

Arvo Pärt compuso Credo en 1968, en un momento crucial de su trayectoria. La obra, escrita para piano, coro mixto y orquesta, parte del Preludio en do mayor BWV 846 de Johann Sebastian Bach, que aparece desde el inicio como un espacio de claridad y equilibrio. El título (Credo, “creo”) señala de forma directa una afirmación de fe que, en el contexto cultural y político de la Estonia soviética, tuvo una resonancia profunda y delicada.

A diferencia de la música contemplativa que Pärt desarrollaría más adelante, Credo avanza mediante el contraste. La música de Bach, al comienzo serena y ordenada, se ve progresivamente alterada por pasajes de tensión y dureza sonora. Mientras el coro afirma “Credo in Jesum Christum”, el discurso musical se adentra en un clima de conflicto antes de regresar a su punto de partida. Esta trayectoria refleja una crisis personal y artística del compositor y marca el final de una etapa, previa a un largo periodo de silencio creativo.

Today, I focused on refining and finalising one of the key arrangements for my project. The session naturally divided into two distinct phases: one before and one after a break, which provided a useful reset and allowed me to return with a clearer perspective.

To begin, I worked on creating the string arrangements using Studio Cello and Studio Strings. I added a modulator to both instruments in order to enhance the realism of the sound. This gave the strings a more expressive and lifelike quality, helping them sit more naturally within the mix.

Next, I concentrated on assembling the full arrangement. I tested several instrument combinations, including a few familiar sounds, before deciding which to keep. After a break, I returned with the intention of shaping a more story-driven version of the track. I removed some elements such as the organ and shimmering glass, and reworked the cello, strings, beat patterns, crystalline voices, and arpeggiated synths. I also changed the meter at the bridge outro from 2/4 to 6/8, which improved the rhythmic flow in that section. The aim was to create a gradual buildup that would feel both subtle and intentional, allowing elements like the syncopated hi-hats to appear more naturally during the second pre-chorus. This version eventually became the final arrangement.

I then turned my attention to the mix. I addressed some issues with clipping and used EQ and a limiter to tidy up the low end, particularly following feedback I had received on a previous post. I removed a digital chord arpeggio that was crowding the bass frequencies and replaced it with a layer called “Film Memories”, which occupied more of the higher spectrum. I also refined the vocal elements and adjusted the placement of ambient sounds so they would only appear where necessary, reducing any sense of overcrowding.

To keep everything organised, I colour-coded the track sections and reordered them by group, placing the less frequently used instruments lower down in the track list. After finalising the mix and arrangement, I prepared both the audio and visual components for upload.

Overall, the process involved two major creative shifts (one before and one after the break) and I found that taking time away between stages helped me make clearer decisions with each fresh listen. The resulting version feels more cohesive, with a stronger narrative arc and more balanced production.

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While my first piece, Tsubaki, explored the process of letting go and finding strength through transformation, and my second piece, Hanae, reflected a quiet state of simply being, Mizuki marks a subtle but meaningful shift. The narrative follows the birth of a third neutron star, shaped like a moonflower: delicate yet resolute, emerging in the vastness of space. It represents realisation, clarity, and ownership. Mizuki is about realising that you are, and have always been, the author of your own life.

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The entire process took approximately eleven hours. The first phase focused on arrangement development and instrumentation, where I experimented with string layers and modulation to create an upbeat variation. After taking a break to reset, the second phase involved reshaping the piece with a clearer narrative flow, followed by detailed mixing, organisation, and final preparation for upload.

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