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The first biographer of Bach, Johann Nikolaus Forkel, wrote: "I have expended much effort to find another piece of this type by Bach. But it was in vain. This fantasy is unique and has always been second to none." [1] 19th-century interpretations of the piece are exemplars of the romantic approach to Bach's works taken during that period.
In the fourth volume of Charles Burney's General History of Music there is an account of J. C. Bach's career. [9] There are two others named Johann Christian Bach in the Bach family tree, but neither was a composer. In 1764, Bach met with Wolfgang Amadeus Mozart, who was aged eight at the time and was in London during the Mozart family grand ...
Fair copy in Bach's own hand of the revised version of the St Matthew Passion BWV 244 that is generally dated to the year 1743–46. The St Matthew Passion is the second of two Passion settings by Bach that have survived in their entirety, the first being the St John Passion, first performed in 1724.
The Prelude in F minor of The Well-Tempered Clavier book 1, in the BGA known as Vol. 14, p. 44, over eighty years before it was given the number 857 in the Bach-Werke-Verzeichnis. In the 2nd half of the 19th century the Bach-Gesellschaft (BG) published all Bach's works in around 50 volumes, the so-called Bach Gesellschaft Ausgabe (BGA). [3]
The Bach-Werke-Verzeichnis (BWV; lit. ' Bach works catalogue ' ; German: [ˈbax ˈvɛrkə fɛrˈtsaeçnɪs] ) is a catalogue of compositions by Johann Sebastian Bach . It was first published in 1950, edited by Wolfgang Schmieder .
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.
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
The combined length of the fantasia and the fugue is about eight minutes; [6] the fantasia is written in 6/4 time, while the fugue is in 2/2. The fantasia of the piece is quite lush and very ornate, consisting of two unequal halves that both feature the same two basic musical ideas, an imitative dotted-rhythm tune, and a leaping eighth-note form, which is also in imitation, initiated by the ...