97:
143:, received from Frederick a long and complex musical theme on which to improvise a three-voice fugue. He did so, but Frederick then challenged him to improvise a six-voice fugue on the same theme. Bach answered that he would need to work the score and send it to the king afterwards . Bach instead chose a different theme and, again completely extempore, executed a six-voice fugue on it with the same virtuosity as he had done the three-voice one, greatly impressing all in attendance. He later returned to Leipzig to write out the
150:
693:
306:
499:). The performer(s) is/are supposed to interpret the music as a multi-part piece (a piece with several intertwining melodies), while solving the "riddle". Some of these riddles have been explained to have more than one possible "solution", although nowadays most printed editions of the score give a single, more or less "standard" solution of the riddle, so that interpreters can just play, without having to worry about the Latin, or the riddle.
2095:
195:. Sassoon notes that "Handel's theme is much shorter than the King's, but its musical 'architecture' is uncannily similar: jumps followed by a descending chromatic scale." He also elaborates on their additional similarities, which led Sassoon to suggest that Bach used Handel's A minor fugue as a structural model or guide for the
565:
in the religious sense of the word. Marissen also points out that, canonic procedures often evoking the rigorous demands of the Mosaic Law, the ten canons likely allude to the Ten
Commandments. Marissen believes that Bach was trying to evangelize Frederick the Great, pointing him to the demands of
581:. There are several Biblical citations hidden in this movement, and their discovery is made especially difficult by various compositional maneuvers. The unique formal structure of the fugue provides a clue: certain anomalies and apparent inconsistencies point to external, nonmusical influences.
1629:
877:, Gottfried von der Goltz, Petra Mullejans, Martin Jopp, Daniela Helms, Christian Gosses (Violin / Viola), Karl Keiser (flute), Ekkehard Weber (viola da gamba), Kristin von der Goltz (cello) and Michael Behringer (harpsichord / forte piano (BWV 1079) (Hanssler Edition CD92.133. 1999)
1622:
535:'s draws attention to the possibility of theological connotations. Marissen sees an incongruity between the official dedication to Frederick the Great and the effect of the music, which is often melancholy, even mournful. The trio sonata is a contrapuntal
1615:
522:
The canon per tonos (endlessly rising canon) pits a variant of the king's theme against a two-voice canon at the fifth. However, it modulates and finishes one whole tone higher than it started out at. It thus has no final cadence.
640:
1423:
1296:
451:, the pieces have few indications of which instruments are meant to play them, although there is now significant support for the idea that they are for solo keyboard, like most of Bach's other published works.
1463:
169:. Bach inscribed the piece "Regis Iussu Cantio Et Reliqua Canonica Arte Resoluta" (the theme given by the king, with additions, resolved in the canonic style), the first letters of which spell out the word
199:
s
Ricercar a 6, and that its musical concepts may also have influenced Bach's development of the Ricercar a 3. Nevertheless, the Ricercar a 6 is longer and incomparably more complex than Handel's fugue.
1646:
1765:
1709:
639:
96:
740:(1980). Orchestrated in an arrangement similar to Webern's, the theme is deconstructed note by note through a series of variations and reconstructed as a Russian Orthodox hymn.
1638:
510:, the length of the notes gets longer), is inscribed "Notulis crescentibus crescat Fortuna Regis" (may the fortunes of the king increase like the length of the notes), while a
454:
The ricercars and canons have been realised in various ways. The ricercars are more frequently performed on keyboard than the canons, which are often played by an ensemble of
1491:
381:
363:
345:
327:
1853:
1714:
1642:
584:
Among Bach's duties during his tenure at
Leipzig (1723–50), was teaching Latin. Ursula Kirkendale argued for a close connection with the twelve-volume rhetorical manual
635:
style (i.e. melody lines are passed on from one instrument to another after every few notes, every note receiving the "tone color" of the instrument it is played on):
1958:
461:
As the printed version gives the impression of being organised for convenient page turning when sight-playing the score, the order of the pieces intended by Bach (
2115:
1533:
1265:
514:
canon which ends a tone higher than it starts is inscribed "Ascendenteque
Modulatione ascendat Gloria Regis" (as the modulation rises, so may the king's glory).
2072:
1134:
893:
1889:
670:
produced a realization for three orchestral groups and, for the sonata movements, solo quartet (violin, flute, cello, and harpsichord), written in 1949–50.
1833:
1666:
1393:
1318:
1002:
1782:
1848:
1843:
1838:
1272:
380:
362:
344:
326:
1770:
1693:
1727:
372:
354:
336:
318:
1878:
1094:
987:
485:
are represented in the original score by no more than a short monodic melody of a few measures, with a more or less enigmatic inscription in
82:
as the most significant piano composition in history (partly because it is one of the first). This ricercar is also occasionally called the
1511:
1607:
828:
573:
has pointed out, the authorial injunction to seek (Quaerendo invenietis) does not only relate to the riddle canons but to the six-part
706:
composed Königliches Thema for Solo Violin, a passacaglia on the Thema Regium with Asian and Twelve-tone influences, written in 1970.
1795:
1790:
1755:
1750:
1744:
1739:
1722:
1253:
962:
1540:
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used one of the canons (originally "for two violins at the unison") as an introduction to their performance of the standard song "
2125:
808:
784:
2135:
1800:
1681:
1676:
1671:
1596:
1386:
1322:
678:
1058:
600:, for whom Bach composed a cantata in 1729, published a substantial Quintilian edition with a long footnote in Bach's honor.
1972:
1441:
1428:
922:
1813:
1343:
2085:
153:
1913:
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131:, which had been invented some years earlier. The king owned several of the experimental instruments being developed by
1939:
770:
184:
2130:
1826:
1379:
616:
in his "Les Adieux de la Grande
Duchesse de Russies," written in about 1784, upon his departure from the court of
1805:
1495:
736:
211:
124:
108:
78:, a six-voice fugue which is regarded as the high point of the entire work, was put forward by the musicologist
1873:
790:
743:
646:
2030:
1946:
623:
The "Ricercar a 6" has been arranged on its own on a number of occasions, the most prominent arranger being
2099:
2012:
1993:
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868:
838:
818:
617:
609:
597:
188:
48:
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there was an intended order) remains uncertain, although it is customary to open the collection with the
1979:
1818:
1651:
1586:
1403:
140:
71:(King Frederick II of Prussia), to whom they are dedicated. They were published in September 1747. The
60:
608:
The "thema regium" appears as the theme for the first and last movements of Sonata No. 7 in D minor by
165:
Four months after the meeting, Bach published a set of pieces based on this theme which we now know as
874:
1952:
1474:
1452:
880:
814:
686:
507:
132:
1109:
183:
Humphrey F. Sassoon has compared the theme issued by
Frederick II to the theme of an A minor fugue (
2058:
2044:
1932:
1688:
1458:
1446:
692:
674:
593:
554:
546:
68:
2006:
1159:
927:
632:
613:
511:
156:
1524:
1282:: A Musical Pedagogical Workshop by J. S. Bach, or The Musical Geometry of Bach's Puzzle Canons"
1050:
1043:
766:
570:
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1303:
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1151:
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1064:
1054:
1034:
1020:
983:
958:
854:
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727:
203:
127:
was employed there as court musician. Frederick wanted to show the elder Bach a novelty, the
2120:
2051:
1905:
1499:
1486:
1209:
1143:
898:
850:
824:
800:
776:
537:
532:
1314:
980:
Evening in the Palace of Reason: Bach meets
Frederick the Great in the Age of Enlightenment
1292:
950:
858:
834:
716:, which were published in 1978 as a special holiday supplement to the Dutch music journal
667:
430:
64:
783:: Stanislav Duchoň, Karel Bidlo, Jiří Baxa, Josef Vlach, Václav Snítil, Jaroslav Motlík,
1277:
1965:
1333:
1195:
1114:
794:
661:
448:
2109:
1550:
1038:
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235:
116:
104:
79:
52:
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1591:
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864:
804:
780:
754:
721:
682:
657:
624:
17:
115:
The collection has its roots in a meeting between Bach and
Frederick II on May 7,
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379:
361:
343:
325:
2000:
709:
550:
410:
285:
1986:
589:
396:
260:
214:, on the orders of the king, as a well-prepared trap to embarrass J. S. Bach.
128:
1155:
861:(viola da gamba), Robert Kohnen (harpsichord) (Deutsche Harmonia Mundi, 1994)
1068:
703:
628:
562:
645:
Webern's arrangement was dedicated to the BBC music producer and conductor
612:, written in about 1788, and also as the theme for elaborate variations by
541:, whose style was at odds with Frederick’s secular tastes. The inscription
1184:
231:
171:
73:
136:
120:
111:
accompanying him on a harpsichord-shaped piano by
Gottfried Silbermann.
1163:
417:, an instrument which Frederick played, consisting of four movements:
444:
406:
1371:
107:, 1852, depicts Frederick playing the flute in his music room, with
1147:
691:
486:
435:
425:
420:
414:
95:
56:
807:: Stanislav Duchoň, Karel Bidlo, Václav Snítil, Jaroslav Motlík,
793:, Otto Büchner, Kurt Guntner, Siegfried Meinecke, Fritz Kiskalt,
561:(“offering”), makes it possible for the cycle to be viewed as an
1611:
1375:
1089:. Bach Studies 2. Cambridge University Press. pp. 85–106.
1326:
1225:
Das musikailische Opfer, transcribed for Organ by Jean
Guillou
458:, with instrumentation comparable to that of the trio sonata.
689:(piano) weaving the two imitative contrapuntal voices above:
596:
admired. Philologist and Rector of the Leipzig Thomasschule,
1045:
Style and idea : selected writings of Arnold Schoenberg
304:
259:
2 Canons a 2 (the first representing a notable example of a
750:, which he orchestrated and conducted in Finland in 1990.
1715:
Sonatas for viola da gamba and harpsichord, BWV 1027–1029
1128:
Kirkendale, Ursula (Spring 1980). "The Source for Bach's
155:
Audio playback is not supported in your browser. You can
1534:
Ueber Johann Sebastian Bachs Leben, Kunst und Kunstwerke
1464:
Canonic Variations on "Vom Himmel hoch da komm' ich her"
787:, František Pošta, Viktorie Švihlíková (Supraphon, 1959)
531:
Among the theories about external sources of influence,
443:
Apart from the trio sonata, which is written for flute,
135:. During his anticipated visit to Frederick's palace in
1115:
Bach. The Journal of the Riemenschneider Bach Institute
119:. The meeting, taking place at the king's residence in
1771:
Canonic Sonata for oboe, violin and continuo, BWV 1040
681:". The Royal Theme is played on the double bass, with
2083:
1710:
Six Sonatas for Violin and Harpsichord, BWV 1014–1019
1049:. Berkeley: University of California Press. p.
489:
above the melody. These compositions are called the
2022:
1924:
1888:
1864:
1781:
1702:
1667:
Sonatas and Partitas for Solo Violin, BWV 1001–1006
1659:
1510:
1412:
27:
Collection of compositions by Johann Sebastian Bach
1243:Die Kunst des Rätselkanons im 'musikalischen Opfer
1082:Michael Marissen (1995). Daniel R. Melamed (ed.).
1042:
193:Six fugues or voluntarys for organ or harpsichord
712:composed three new canons on the Royal Theme of
660:in an arrangement for organ by the musicologist
206:, in his 1950 essay on Bach, suggested that the
940:
938:
811:, František Pošta, Josef Hála (Supraphon, 1966)
757:transcribed the entire work for organ in 2005.
469:, and play the trio sonata toward the end. The
1018:and the Source of Its Theme: Royal Peculiar."
2073:List of compositions by Johann Sebastian Bach
1623:
1442:Picander's 1728–29 cycle of cantata librettos
1387:
1135:Journal of the American Musicological Society
894:List of compositions of Johann Sebastian Bach
883:(Orfeo 676071, 2008) (all movements on piano)
273:Canon a 2, per augmentationem, contrario motu
8:
1766:Sonata for two flutes and continuo, BWV 1039
139:, Bach, who was well known for his skill at
42:
36:
1814:Sinfonia for violin and orchestra, BWV 1045
1319:The Chamber Music Society of Lincoln Center
1110:"The Sacred Codes of the Six-Part Ricercar"
577:as well, whose archaic title also means to
1630:
1616:
1608:
1394:
1380:
1372:
1084:The theological character of J. S. Bach's
1014:Humphrey F. Sassoon (2003). "J. S. Bach's
1005:Notes on the Program, p. 31, December 2018
923:"Best Piano Composition; Six Parts Genius"
1854:For two harpsichords in C minor, BWV 1060
1273:International Music Score Library Project
545:, found over Canon No. 9, alludes to the
518:Canon per tonos (endlessly rising canon)
2090:
1546:(Vol. I: 1873; Vol. II: 1880)
1132:: The Musical Offering of Quintilian".
910:
627:, who in 1935 made a version for small
495:(or sometimes, more appropriately, the
355:3rd part: Allegro (fin), Andante (4:46)
1424:Printed during the composer's lifetime
394:
2116:Compositions by Johann Sebastian Bach
1879:Orchestral Suite in G minor, BWV 1070
7:
1796:Violin Concerto in E major, BWV 1042
1791:Violin Concerto in A minor, BWV 1041
1350:"Johann Sebastian Bach (1685–1750),
256:Canones diversi super Thema Regium:
241:a Ricercar a 3 (a three-voice fugue)
982:. Harper Perennial. pp. 9–11.
847:, Linde-Consort (EMI-Reflexe, 1981)
829:Academy of St. Martin in the Fields
179:Possible origin of the King's Theme
1801:Concerto for Two Violins, BWV 1043
473:are also usually played together.
395:Problems playing these files? See
244:a Ricercar a 6 (a six-voice fugue)
175:, a well-known genre of the time.
51:1079, is a collection of keyboard
25:
1834:Keyboard concertos, BWV 1052–1065
2093:
1874:Orchestral Suites, BWV 1066–1069
1694:Partita for Solo Flute, BWV 1013
1332:Phillips, Tony (March 1, 1999).
638:
377:
359:
341:
323:
290:Canon a 2 "Quaerendo invenietis"
123:, came about because Bach's son
63:, all based on a single musical
1597:Johann Sebastian Bach Institute
1323:Isabella Stewart Gardner Museum
1024:, vol. 144, no. 1885, pp. 38–39
679:Softly, as in a Morning Sunrise
296:Canon perpetuus, contrario motu
270:Canon a 2, per motum contrarium
88:, a name used by Bach himself.
1496:Bach-Gesellschaft edition
746:produced a new realisation of
101:The Flute Concert of Sanssouci
1:
1959:Everything's Gonna Be Alright
1344:American Mathematical Society
1207:This features on their album
957:. W. W. Norton. p. 224.
797:(DGG/Archiv Produktion, 1963)
218:Structure and instrumentation
59:and other pieces of music by
506:, "in augmentationem" (i.e.
152:
1973:Jesu, Joy of Man's Desiring
1689:Cello Suites, BWV 1007–1012
1342:What's New in Mathematics:
1227:, vol. ED 9804, Schott
841:(Archiv Bach Edition, 1979)
771:Stuttgart Chamber Orchestra
664:, then based in Stuttgart.
549:(“Seek and ye shall find”,
409:sopr'il Soggetto Reale – a
210:was created by Bach's son,
2152:
1849:No. 4 in A major, BWV 1055
1844:No. 2 in E major, BWV 1053
1839:No. 1 in D minor, BWV 1052
1334:Feature Column: "Math and
1315:Performance of Trio Sonata
1118:, vol. 42/1 (2011), 46–69.
471:Canones super Thema Regium
387:Recorded in 1930, in Paris
234:, written down on as many
2068:
1577:
1295:has some of the music of
978:Gaines, James R. (2006).
656:was published in 1942 by
604:Adaptations and citations
1223:Bach, Johann Sebastian,
730:used the Royal Theme of
373:4th part: Allegro (3:11)
337:2nd part: Allegro (4:12)
2126:Compositions in C minor
1305:Das Musikalisches Opfer
734:in her violin concerto
652:Another version of the
157:download the audio file
147:("theme of the king"):
2136:Music with dedications
2013:A Whiter Shade of Pale
1994:Sheep may safely graze
1560:Bach-Werke-Verzeichnis
1453:Clavier-Übung III
869:Le Concert des Nations
819:Concentus Musicus Wien
700:
610:Friedrich Wilhelm Rust
598:Johann Matthias Gesner
481:Some of the canons of
319:1st part: Largo (3:53)
309:
222:In its finished form,
189:George Frideric Handel
112:
44:Das Musikalische Opfer
43:
37:
2007:Trio Sonata, BWV 525a
1820:Brandenburg Concertos
1652:Johann Sebastian Bach
1587:Neue Bachgesellschaft
1543:Johann Sebastian Bach
1447:Clavier-Übung II
1366:ClassicalÀlacarte.com
1041:; Black, Leo (1985).
1003:New York Philharmonic
695:
527:Theological character
308:
238:as there are voices:
178:
99:
61:Johann Sebastian Bach
2031:Bach's Greatest Hits
1953:Bach-Busoni Editions
1899:The Musical Offering
1756:in E major, BWV 1035
1751:in E minor, BWV 1034
1745:in C major, BWV 1033
1740:in A major, BWV 1032
1723:in B minor, BWV 1030
1469:The Musical Offering
1437:Clavier-Übung I
1336:The Musical Offering
1298:The Musical Offering
1280:The Musical Offering
881:Konstantin Lifschitz
815:Nikolaus Harnoncourt
748:The Musical Offering
732:The Musical Offering
714:The Musical Offering
698:The Musical Offering
588:of the Roman orator
543:Quaerendo invenietis
483:The Musical Offering
276:Canon a 2, per tonos
224:The Musical Offering
212:Carl Phillip Emanuel
167:The Musical Offering
133:Gottfried Silbermann
125:Carl Philipp Emanuel
32:The Musical Offering
2059:Switched-On Bach II
2045:Jazz Sebastian Bach
1933:Air on the G String
1459:Goldberg Variations
1440:(1726–1730; 1731);
1431:Gott ist mein König
1360:Musikalisches Opfer
1352:L'Offrande musicale
1286:Schillerinstituttet
1267:Musikalisches Opfer
955:The New Bach Reader
839:Musica Antiqua Köln
675:Modern Jazz Quartet
618:Catherine the Great
594:Frederick the Great
586:Institutio Oratoria
557:). The main title,
547:Sermon on the Mount
69:Frederick the Great
38:Musikalisches Opfer
18:Musikalisches Opfer
1563:(1950; 1990; 1998)
1492:Four-part chorales
1035:Schoenberg, Arnold
928:The New York Times
761:Notable recordings
718:Mens & Melodie
701:
654:Ricercare a 6 voci
633:Klangfarbenmelodie
614:Giovanni Paisiello
569:In a recent study
310:
113:
2131:1747 compositions
2081:
2080:
1605:
1604:
1582:Bach Gesellschaft
1475:Schübler Chorales
1248:, 1991, 2 vols.,
1178:Universal Edition
1096:978-0-521-47067-4
1021:The Musical Times
989:978-0-00-715392-3
921:(18 April 1999).
855:Sigiswald Kuijken
845:Hans-Martin Linde
728:Sofia Gubaidulina
685:(vibraphone) and
456:chamber musicians
382:
364:
346:
328:
284:Fuga canonica in
204:Arnold Schoenberg
197:Musical Offering'
161:
16:(Redirected from
2143:
2098:
2097:
2096:
2089:
2052:Switched-On Bach
1907:The Art of Fugue
1733:
1732:
1654:
1643:orchestral works
1632:
1625:
1618:
1609:
1500:New Bach Edition
1487:The Art of Fugue
1406:
1396:
1389:
1382:
1373:
1356:Musical Offering
1310:PianoSociety.com
1271:: Scores at the
1246:
1241:Reinhard Boess:
1229:
1228:
1220:
1214:
1205:
1199:
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1130:Musical Offering
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1086:Musical Offering
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1031:
1025:
1016:Musical Offering
1012:
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994:
993:
975:
969:
968:
951:Wolff, Christoph
945:David, Hans T.;
942:
933:
932:
915:
899:Perpetuum mobile
875:Hanssler Edition
871:(Alia Vox, 1999)
851:Barthold Kuijken
825:Neville Marriner
801:Milan Munclinger
777:Milan Munclinger
642:
631:, noted for its
566:the Mosaic Law.
538:sonata da chiesa
533:Michael Marissen
384:
383:
366:
365:
348:
347:
330:
329:
307:
265:canon cancrizans
67:given to him by
46:
40:
21:
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2141:
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2106:
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2100:Classical music
2094:
2092:
2084:
2082:
2077:
2064:
2018:
1920:
1884:
1860:
1822:, BWV 1046–1051
1807:Triple Concerto
1777:
1734:major, BWV 1031
1730:
1729:
1698:
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1636:
1606:
1601:
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1515:
1506:
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1293:Mutopia Project
1262:
1244:
1238:
1236:Further reading
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907:
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859:Wieland Kuijken
835:Reinhard Goebel
831:(Philips, 1974)
809:František Sláma
785:František Sláma
767:Karl Münchinger
763:
668:Igor Markevitch
606:
529:
520:
479:
477:Musical riddles
402:
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281:Canon perpetuus
220:
191:, published in
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28:
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22:
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11:
5:
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1966:Feel My Rhythm
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1719:Flute Sonatas
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1672:Partita No. 1
1663:
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1657:
1656:
1647:transcriptions
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1260:External links
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1234:
1231:
1230:
1215:
1200:
1196:Edition Peters
1188:
1169:
1148:10.2307/831204
1120:
1102:
1095:
1074:
1059:
1039:Stein, Leonard
1026:
1007:
995:
988:
970:
963:
947:Mendel, Arthur
934:
919:Rosen, Charles
909:
908:
906:
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878:
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862:
848:
842:
832:
822:
821:(Teldec, 1970)
812:
798:
795:Hedwig Bilgram
788:
774:
762:
759:
662:Hermann Keller
605:
602:
528:
525:
519:
516:
478:
475:
449:basso continuo
441:
440:
439:
438:
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428:
423:
413:featuring the
392:
386:
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154:
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93:
90:
85:Prussian Fugue
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
2148:
2137:
2134:
2132:
2129:
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2124:
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1981:
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1762:Trio Sonatas
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1639:Chamber music
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1551:Bach-Jahrbuch
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1536:
1535:
1530:
1527:
1526:
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1498:(1851-1899);
1497:
1494:(1765–1787);
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1254:3-7959-0530-3
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1142:(1): 99–141.
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773:(Decca, 1955)
772:
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764:
760:
758:
756:
753:The organist
751:
749:
745:
744:Leslie Howard
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504:riddle canons
502:One of these
500:
498:
497:riddle canons
494:
493:
492:riddle fugues
488:
484:
476:
474:
472:
468:
464:
459:
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126:
122:
118:
110:
109:C. P. E. Bach
106:
105:Adolph Menzel
102:
98:
91:
89:
87:
86:
81:
80:Charles Rosen
77:
75:
70:
66:
62:
58:
54:
50:
45:
39:
34:
33:
19:
2057:
2050:
2043:
2038:Back to Bach
2036:
2029:
1906:
1898:
1897:
1819:
1806:
1592:Bach Archive
1567:Bach Digital
1558:
1557:Schmieder's
1549:
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1523:
1485:
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1473:
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1422:
1413:Music /
1407:publications
1365:
1359:
1355:
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1077:
1044:
1029:
1019:
1015:
1010:
998:
979:
973:
954:
926:
913:
865:Jordi Savall
805:Ars Rediviva
791:Karl Richter
781:Ars Rediviva
755:Jean Guillou
752:
747:
742:
735:
731:
726:
722:Het Spectrum
720:(publisher:
717:
713:
708:
702:
697:
683:Milt Jackson
672:
666:
658:C. F. Peters
653:
651:
647:Edward Clark
644:
637:
625:Anton Webern
622:
607:
585:
583:
578:
574:
571:Zoltán Göncz
568:
558:
542:
536:
530:
521:
508:augmentation
503:
501:
496:
491:
490:
482:
480:
470:
467:Ricercar a 3
466:
462:
460:
453:
442:
264:
223:
221:
208:Thema Regium
207:
202:
196:
192:
182:
170:
166:
164:
145:Thema Regium
144:
114:
100:
84:
83:
72:
31:
30:
29:
1925:Adaptations
1914:discography
1516:scholarship
1502:(1954–2007)
737:Offertorium
710:Bart Berman
696:Canon from
551:Matthew 7:7
411:trio sonata
314:Trio Sonata
286:Epidiapente
226:comprises:
141:improvising
2110:Categories
1987:Lady Lynda
1909:, BWV 1080
1901:, BWV 1079
1881:(doubtful)
1809:, BWV 1044
1747:(doubtful)
1736:(doubtful)
1569:(2010–...)
1554:(1904–...)
1482:After 1750
1269:, BWV 1079
1060:0520052862
905:References
857:(violin),
687:John Lewis
590:Quintilian
512:modulating
397:media help
261:crab canon
129:fortepiano
1947:Ave Maria
1783:Concertos
1541:Spitta's
1531:Forkel's
1512:Biography
1362:BWV 1079"
1321:from the
1185:461971074
1156:0003-0139
853:(flute),
704:Isang Yun
629:orchestra
563:Offertory
555:Luke 11:9
293:Canon a 4
232:Ricercars
35:(German:
1940:Alphabet
1731:♭
1703:Ensemble
1645:by, and
1525:Nekrolog
1490:(1751);
1472:(1747);
1466:(1747);
1462:(1741);
1456:(1739);
1450:(1735);
1434:(1708);
1429:cantata
1210:Concorde
1198:No. 4528
1176:Vienna:
1069:12105620
953:(1999).
888:See also
575:ricercar
187:609) by
172:ricercar
74:Ricercar
2121:Riddles
1649:after,
1514: /
1213:(1955).
592:, whom
436:Allegro
431:Andante
426:Allegro
137:Potsdam
121:Potsdam
92:History
2086:Portal
2023:Albums
1866:Suites
1537:(1802)
1528:(1754)
1478:(1748)
1415:lyrics
1329:format
1252:
1183:
1164:831204
1162:
1154:
1093:
1067:
1057:
986:
961:
445:violin
407:Sonata
251:Canons
236:staves
57:fugues
53:canons
1890:Fugal
1827:No. 5
1682:No. 3
1677:No. 2
1245:'
1160:JSTOR
559:Opfer
487:Latin
421:Largo
415:flute
65:theme
2001:They
1728:in E
1660:Solo
1641:and
1404:Bach
1291:The
1250:ISBN
1181:OCLC
1152:ISSN
1091:ISBN
1065:OCLC
1055:ISBN
984:ISBN
959:ISBN
673:The
579:seek
447:and
249:Ten
230:Two
117:1747
55:and
1980:Joy
1327:MP3
1325:in
1317:by
1144:doi
1051:394
724:).
263:or
185:HWV
103:by
76:a 6
49:BWV
47:),
41:or
2112::
1484::
1444:;
1427::
1364:,
1358:,
1354:–
1340:,
1308:,
1284:,
1158:.
1150:.
1140:33
1138:.
1112:,
1063:.
1053:.
1037:;
949:;
937:^
925:.
867:,
837:,
827:,
817:,
803:,
779:,
769:,
649:.
620:.
553:,
463:if
405:A
253::
2088::
2015:"
2011:"
2003:"
1999:"
1996:"
1992:"
1989:"
1985:"
1982:"
1978:"
1975:"
1971:"
1968:"
1964:"
1961:"
1957:"
1949:"
1945:"
1942:"
1938:"
1935:"
1931:"
1631:e
1624:t
1617:v
1395:e
1388:t
1381:v
1368:.
1338:"
1288:.
1278:"
1166:.
1146::
1099:.
1071:.
992:.
967:.
931:.
399:.
267:)
159:.
20:)
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