… is now posted for the holidays in the members’ webinars, concerning Joseph’s “discovery” in the score of Johann Sebastian Bach’s Prelude and Fugue in D Major, BWV 532, the “Prelude of the Eighteen Demons”. As far as Joseph knows, no one has ever made reference to the presence of this in the score.
I’ll be listening to this through ear buds while snow blowing the driveway!
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Oh, thank you so much - I’ve been looking forward to this !
If you enjoyed it please leave a comment on the site.
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Well it may end up being the last one… few comments so far.
I watched it last night and I will watch it again tonight - meanwhile i had to go back to the first one. I could have these lessons every day! thank you so much.
If you liked it maybe post a brief comment as to why in the comments section when you get a chance.
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My comment from the webinar comment section reproduced here:
Holy moly! What a tour de force of musicological analysis!! You need to get to work in your ample spare time to expand this into a full-blown article for publication in a major academic journal, especially if no other musicologist has expounded on the “Theory of the 18 Demons”,but even the rest of the presentation should be the basis of a collegiate level music seminar [back in the day I participated in a few of those 
] . When you first made reference to the E-B flat relationship in the middle of your presentation, I said “I think I know where he is going to go with the 18 demon concept” but did not anticipate the final piece of the puzzle fall into place with the 6-6-6 revelation. Bravo!
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Thanks knej6776…please post this as a comment in the actual comments section… more people will be driven to watch it.
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Woops pardon… I see that you did! Thanks for doing that!
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Thank you Joseph, so nice to see you and Bruno and I notice that you’re dressed for the occasion ;-). Regarding ‘Affektenlehre’, I hadn’t understood it as you explain here. I thought it referred more to descriptive music, such as Smetana’s ‘Moldau’, but it’s definately a ‘language’ that needs de-coding for the average ear. Bach and the organ become one. Your demonstration helps explain the symbolism, why and how it was written and the techniques performed to express Bach’s emotions and his skills as a composer and organist. Bach is truly a lifetime study. Thank you again for the tutorial and I’ll be listening in a different way now, with a different ‘ear’.
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