Excellent explanation.

beautiful!

Amazing!

The background music is way too loud! Please stop.

Honestly, this is a beautiful work

Wow, I just got finished reading a book that featured the Erlking and I did not look for this. What a captivating performance

I love listening to this melody, because it is so awesome and peaceful

A great privilege to listen and watch this Surprise Haydn performance. I strangely feel enlightened.

HUM 110 anyone?

byui.instructure.com/courses/141152/pages/w05-study-notre-dame-de-paris-videos?module_item_id=15938568 (part three is in this link but it only has access for BYUI students)

I watched it with headphones and I could hear it clearly; the sound is not well balanced but you can understand what he says if you wear headphones. Thanks for the video.

When talking about how bread is made I can't help but think of God. How we helps us become who we should and need to be.

I offer my deepest condolences to everyone's left ears

Beautiful video

Sublime

One of the best quotes 😊

The intro music needs to be turned down, but overal good - thank you!

Man, that was one self-centered king...

Great video! Thank you, brother! I came here from BYUI Online HUM 110!

You needed to have a mic near you. Thank you for sharing.

I had to watch this for my Humanities class, and though I am not one to listen to too much classical (I have one album and it's Tchaikovsky )....THIS IS ABSOLUTELY AMAZING! I may have to listen to more classical.

Can anyone point me in the direction of the name of the music playing in the first 23 seconds? Excellent series of videos! I have learned a great deal, more than I could have imagined possible!

whats the name of the song?

Awesome thanks!

Good gracious this music is so distracting. I can't hear anything you're saying

jumpscare warning!!! they don't call it surprise symphony for nothing

You da man!

Historical Excerpt about Joseph Haydn the composer of this piece: Haydn was always aware of the limitations of his audience, and he knew that after a long and complex first movement, people’s attention started to wander in the slower, more peaceful second movement. This piece is Haydn’s joke on them. But it is also a fine example of his consummate mastery of the theme and variation technique. The trick is to keep the tune apparent so everyone can hear it each time it is repeated, but not to let it get repetitive or boring.

Notes from my class: The toccata is the first part of the Toccata and Fugue in D minor. Notice that the music keeps starting and stopping, almost as if Bach is coming up with ideas and then setting them aside. Notice too that the organ has multiple keyboards, and that the organist changes from one keyboard to another (see #1). The organ is made up of hundreds of pipes of different shapes and sizes, some made out of wood and other made up of metal. This gives them different pitches, volumes, and timbres. The organist controls what pipes are played by pulling out or pushing in the stops that surround the keyboards. By setting stops for different keyboards the organist can select how loud or soft, how bright or dark, how light or heavy he wants the organ to sound. For this toccata, Bach keeps the organist's hands so busy that he needs an assistant to run the stops for him. (In Bach's day, the organist would also have needed a boy to pump the bellows that sent air through the pipes. Now they are run by an electric motor.) At the beginning of the fugue (#2), the subject is introduced in a single voice. A second voice then comes in (#3) and states the subject at a higher pitch. While the second voice plays the subject, the first voice plays something else, called a countersubject, that creates harmonic polyphony, or counterpoint, with the subject. The two voices play with each other for a few bars, and then a third voice enters (#4). The three voices play together long enough that we begin to think that this is going to be all there is, but then a fourth voice enters in the low bass pedals (#5). As an organist Bach was famous for his pedal work, and his works demand great facility with the feet. By the end of the exposition we are in the major key (#6). We start out with a short reference to the subject, but then it disappears altogether, and we run through a number of episodes (#7). The subject comes back for a moment (#8), and we might think we are at the recapitulation, but Bach does not follow through and there are more episodes. During all of this, notice how many times the organist and his assistant change keyboards and stops. As a young man Bach studied Vivaldi's concertos and acquired a taste for the contrast between the large and small groups of the orchestra and for the various instruments. Here Bach imitates that contrast in his organ. Soon we can see the organist's assistant pulling out stops (#9), and we can guess that something is in the air. We also hear the key heading for home. The recapitulation begins (#10), but now the voices don't wait politely for each voice to finish their turn at the subject. Instead, they pile up on top of each other in a style called stretto, which means "worried." The whole effect from here on out will be to drive the music to a dramatic ending. Fingers and feet are flying; we see the assistant pulling out the biggest stops (#11), the ones that will bring to bear the longest, lowest, and most powerful pipes in the organ. This is in preparation for a virtuosic pedal solo (#12). Bach also uses the pedal to repeat the tonic note over and over again (#13)-this is called a pedal tone-creating what seems like an irresistible force that drives all the disparate elements of the fugue towards an inevitable conclusion. Just when you think it's over (#14) Bach sounds a surprising chord (called a deceptive cadence) that deprives us of the ending, and Bach returns to the toccata style with more scales, arpeggios, and wild-sounding chords. This has the same effect as a cadenza in an operatic aria or concerto. It sounds improvisational and is the most virtuosic playing in piece. Finally it crashes to an end, a wild and almost frightening revelation of Bach's Dionysian side.

Notes from my class studying this music: The first movement of Spring begins with a spritely ritornello in two phrases, each played twice, that we will call a (#1) and b (#2). Notice that a and b are exactly the same length, and that a asks a question and b answers it. In music, this is called a parallel period. The a phrase is only played at the beginning of the concerto. Each time the ritornello comes back throughout the concerto we will only hear the b phrase. After the first ritornello, the two violin soloists play a little section (#3) that sounds like birds calling and responding to each other. The full orchestra comes in again for the ritornello (#4), and then we hear a new theme (#5), gentle as a spring breeze. Notice how busy and active the cellos are, and at one place they sound like the buzzing of bees (#6). Meanwhile Vivaldi has changed keys on us on our walk through the spring meadows, and the next ritornello (#7) is in the dominant. Then, just as our walk has taken us farthest from home, a thundershower begins. The low strings are the thunder (#8) while the high strings punctuate the rumbles with streaks of lightning (#9). Then the first violin plays a solo that represents the falling rain (#10). Totally soaked, the key moves to the minor for a dismal ritornello (#11). But then the sun starts to come out again (#12), and the soloists move us back home to the tonic key for one last major-key ritornello (#13).

thanks for sharing this tutorial

I like it

That drummer’s skills are insane!

Who played the arrangement given in the video of "Little" Fugue in G minor?

That ending caught me off guard. I think I'm dead

Play that funky music white boys

Oof that double chin tho

I had a triple meter with this piece Sir. thank you.

very great piece of work here sir. Fortissimo

anyone else here from foundation humanities?

this some fire shit

This clarinet playing would make Squidward cry in self pity.

Great tutorial! Thanks. Give us more please!

Nice

oops, no sound

I don't think Jon Linford or BYUI would have violated any such thing. Maybe the copyright holder should have contacted you or the school instead of disrupting our education.

Why did they have to mute the audio? I don't believe the school would have violated the copyrighted audio track. I believe this is a travesty.

Alerte du public ! Les Hautes-Corbières sont menacées par un projet éolien de 40 machines géantes de 150 m. de hauteur. La Haute-Vallée de l'Aude, le littoral et la plaine audoise sont gravement touchés... Rien ne justifie cette sottise car l'éolien ne peut pas remplacer nos 75 % de nucléaire. Il nécessitera des centrales thermiques (charbon-gaz-fioul) en soutien et entraînera davantage d'émissions de CO2. Les éoliennes ne sont qu'une histoire d'argent au profit de sociétés privées sur le dos du consommateur et du contribuable. Une histoire d'argent pour endormir les naïfs sous couvert d'une planète à sauver.... Pour davantage d'information : sanglier.villerouge.pagesperso-orange.fr/majeur/attache.html Merci de votre attention, Elodie D

I agree with that comment!

The music was so loud throughout this video that I found it hard to follow the dialog.