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Leonore No. 3 Overture, Op. 72b (1806); one of a series of overtures composed for the opera Leonore, later renamed Fidelio. Leonore No. 3 is well known for portraying some of the major events of the plot in a condensed, purely orchestral form, most notably the distant trumpet fanfares of the finale.
"Cor meum conturbatum" in g minor for choir and orchestra "Ecce enim veritatem" in G major for bass, three violas, double-bass and organ "Fremat tirannus" in C major, motet for soprano, choir and orchestra (1778) "Magna est virtus" - lost - "Misericordius Dominus" in E-flat major, duet for soprano, bass, violine and orchestra
Gavotte from J.S. Bach's French Suite No. 5. A suite, in Western classical music, is an ordered set of instrumental or orchestral/concert band pieces. It originated in the late 14th century as a pairing of dance tunes; and grew in scope so that by the early 17th century it comprised up to five dances, sometimes with a prelude.
Overture (from French ouverture, lit. "opening") is a music instrumental introduction to a ballet, opera, or oratorio in the 17th century. [1] During the early Romantic era, composers such as Beethoven and Mendelssohn composed overtures which were independent, self-existing, instrumental, programmatic works that foreshadowed genres such as the symphonic poem.
English Suites, BWV 806–811; French Suites, BWV 812–817; Partitas for keyboard, BWV 825–830; Overture in the French style, BWV 831; Other: Miscellaneous suites, BWV 818–824; Miscellaneous suites and suite movements, BWV 832–845
Op. 73: Solemn Overture for orchestra (1900) Op. 76: March on a Russian Theme in E ♭ major (1901) Op. 78: Ballade in F major for orchestra (1902) Op. 79: From the Middle Ages, suite in E major for orchestra (1902) Op. 81: Dance-Scene in A major for orchestra (1904) Op. 84: The Song of Destiny, dramatic overture in D minor for orchestra (1908)
Scholars believe that Bach did not conceive of the four orchestral suites as a set (in the way he conceived of the Brandenburg Concertos), since the sources are various, as detailed below. The Bach-Werke-Verzeichnis catalogue includes a fifth suite, BWV 1070 in G minor. However, this work is highly unlikely to have been composed by J. S. Bach. [2]
The first movement contains a quotation from the Passacaglia in the Suite in G minor for harpsichord, HWV 432. [3] The less played fuga is borrowed from the second movement of Handel’s Concerto Grosso Op. 6, No. 11. HWV 307 – The last movement is based on La Coquette from Suite No.6 of Componimenti musicali by Gottlieb Muffat.