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Compositions by Johann Sebastian Bach printed during his lifetime (1685–1750) include works for keyboard instruments, such as his Clavier-Übung volumes for harpsichord and for organ, and to a lesser extent ensemble music, such as the trio sonata of The Musical Offering, and vocal music, such as a cantata published early in his career.
The following works are some of the most universally respected and established cornerstones of the band repertoire. All have "stood the test of time" through decades of regular performance, and many, either through an innovative use of the medium or by the fame of their composer, helped establish the wind band as a legitimate, serious performing ensemble.
Some of his works' dates can be approximated due to their mention in his writings, necessitating them to have been written before that particular entry. For Blazhevich's more obscure works, such as Concerti No. 11, 12 and 13, they exist only in handwritten manuscript form, meaning their date of creation will never be known accurately. [1]
Below is a sortable list of compositions by Gustav Holst. The works are categorized by genre, H. catalogue number ( A Thematic Catalogue of Gustav Holst's Music by Imogen Holst, London, Faber Music Ltd., 1974), opus number , date of composition and title.
Alborada [n 1] ¡Adelita! (Mazurka) Capricho árabe (Arabian Caprice) Danza mora (Moorish Dance) Gran jota Aragonesa (Grand jota) [n 2] El columpio (The Swing)
Version – the number of version as it pertains to works or vocal settings that have more than one existing version Notes – any additional information concerning the work: alternate titles, completeness, relation to other works, authorship, etc.
This is a list of compositions by Carl Philipp Emanuel Bach. It is sorted by H (Helm) numbers, but the corresponding Wq. (Wotquenne) numbers are also shown. C. P. E. Bach's works have been catalogued in different ways. The first comprehensive catalogue was that by Alfred Wotquenne first published in 1905, [1] and this led to Wq. numbers being ...
A chronology of works is especially difficult because of missing and sometimes misleading dates; [1] as Elliott Carter put it in 1939: "[Ives] has rewritten his works so many times, adding dissonances and polyrhythms, that it is impossible to tell just at what date the works assumed the surprising form we know now." [2]