Search results
Results from the WOW.Com Content Network
The slow movements contain some of Bach's most beautiful and profound essays in serious, sad, or lamenting affects. — A History of Baroque Music, Buelow (2004 , p. 523) The first musical description of the sonatas for obbligato harpsichord and violin BWV 1014–1019 appeared in Spitta (1884) .
19th-century interpretations of the piece are exemplars of the romantic approach to Bach's works taken during that period. Felix Mendelssohn, the founder of the Bach revival, played this fantasy in February 1840 and 1841 in a series of concerts at the Leipzig Gewandhaus and delighted the audience. He attributed this effect to the free ...
For an overview of such resources used by Bach, see individual composition articles, and overviews in, e.g., Chorale cantata (Bach)#Bach's chorale cantatas, List of chorale harmonisations by Johann Sebastian Bach#Chorale harmonisations in various collections and List of organ compositions by Johann Sebastian Bach#Chorale Preludes.
In the aria, the lines of the alto soloist and organ weave around each in what Alfred Dürr has described as "undoubtedly one of the most inspired vocal pieces that Bach ever wrote ... a passionate submersion in heavenly love." Composer directing cantata from gallery in a church, engraving from Musicalisches Lexicon, Johann Gottfried Walther, 1732
Bach's chorale harmonisations are all for a four-part choir (SATB), but Riemenschneider's and Terry's collections contain one 5-part SSATB choral harmonisation (Welt, ade! ich bin dein müde, Riemenscheider No. 150, Terry No. 365), not actually by Bach, but used by Bach as the concluding chorale to cantata Wer weiß, wie nahe mir mein Ende, BWV 27.
Keyboard Sonatas, Free Fantasies, and Rondos (1787) – Fantasia for keyboard in B-flat major (Wq 61:3) H 290. Keyboard Sonatas, Free Fantasies, and Rondos (1787) – Rondo for keyboard in D minor (Wq 61:4) H 291. Keyboard Sonatas, Free Fantasies, and Rondos (1787) – Fantasia for keyboard in C major (Wq 61:6) H 292. Keyboard Sonatina in G ...
The surviving autograph manuscript of the sonatas and partitas was made by Bach in 1720 in Köthen, where he was Kapellmeister.As Christoph Wolff comments, the paucity of sources for instrumental compositions prior to Bach's period in Leipzig makes it difficult to establish a precise chronology; nevertheless, a copy made by the Weimar organist Johann Gottfried Walther in 1714 of the Fugue in G ...
Exact dates (e.g. for most cantatas) usually indicate the assumed date of first (public) performance. When the date is followed by an abbreviation in brackets (e.g. JSB for Johann Sebastian Bach) it indicates the date of that person's involvement with the composition as composer, scribe or publisher. 4 Name