Organ Sonatas (Bach) - Knowledge (XXG)

3140:: "Ich will aber zuvörderst von den dreystimmigen und vierstimmigen Sonaten reden, davon die ersten insgemein Trios, die letztern aber Quadros genennet werden, hernach aber auch die übrigen etwas erläutern. Beyde Arten von Sonaten, von welchen ich zuerst reden will, werden eigentlich auf zweyerley Art eingerichtet, nämlich als eigentliche Sonaten, und dann auch auf Concertenart ... "Das eigentliche Wesen dieser Stücke aber ist überhaupt dieses, daß in allen Stimmen, vornehmlich aber in den Oberstimmen ein ordentlicher Gesang, und eine fugenmäßige Ausarbeitung seyn muß. Wenn sie nicht auf Concertenart eingerichtet werden: so darf man wenig kräuselnde und verändernde Sätze anbringen, sondern es muß durchaus eine bündige, fließende und natürliche Melodie vorhanden seyn ... "Die Ordnung aber, die man in diesen Sonaten insgemein zu halten pfleget, ist fol- gende. Zuerst erscheint ein langsamer Satz, hierauf ein geschwinder oder lebhafter Satz; diesem folget ein langsamer, und zuletzt beschließt ein geschwinder und munterer Satz. Wiewohl man kann dann und wann den ersten langsamen Satz weglassen, und so fort mit dem lebhaften Satze anfangen. Dieses letztere pflegt man insonderheit zu thun, wenn man die Sonaten auf Concertenart ausarbeitet ... "Der nunmehro folgende geschwinde oder lebhafte Satz wird insgemein auf Fugenart ausgearbeitet, wo er nicht selbst eine ordentliche Fuge ist ... Wenn das Trio concerten- mässig seyn soll: so kann auch ein Stimme stärker, als die andere, arbeiten, und also mancherley kräuselnde, laufende und verändernde Sätze hören lassen. Die Unterstimme kann auch in diesem Falle nicht so bündig, als in einer andern ordentlichen Sonate, gesetzet werden." 749:. They conform to Scheibe's description in two ways: the role and style of the bass part; and the three-movement format. Firstly the limitations on pedalboard technique dictated that the bass line in the pedal had to be simpler than the two upper parts in the manuals. Even so, Scheibe's analysis only applies in its strict form to half the movements: the starting fast movements of all but the first sonata; the slow movements of all but the first and fourth sonatas; and the whole of the third sonata BWV 527. In all the other movements—in particular in the entire first sonata BWV 525 and in all the final fast movements—the theme passes to the pedal, usually in simplified form stripped of ornaments; thus even in these movements the bass line is less elaborate than the upper parts. 2507: 2050: 1230: 165: 255: 2447: 1218: 491:. In the two chorale preludes of Bach, the organ trio became fully developed into a concerto-like fast movement: they are written in ritornello form, with the theme in the bass as well as the upper parts, which are written imitatively with virtuosic episodes. The first version of the slow movement of BWV 528 also dates from roughly the same period: instead of the larger scale structure of the two chorale preludes, the musical material is broken up into imitative two bar phrases, often of bewitching beauty. Although no longer having any liturgical references (in particular no 580: 2288: 698: 427: 2178:

beat, followed by entries in the upper manual and then lower manual. The latter is accompanied by an angular version of the semiquaver counter-subject in the pedal which leads on to a further statement of the head motif. In bars 89–97 the first fugue subject and modified counter-subject are heard in the two upper voices in the key of D minor. In bars 97–111, there is another episode with the pedal playing three statements of the chief motif below semiquavers in the upper parts which culminate in six bars of imitative

2635: 149: 90: 2623: 877: 2764:) in the servants' quarters on the third floor of the Arnstein family mansion "auf dem Graben". He remained there for eleven months: his letter to his father of 10 April concerning van Zwieten's Sunday salons dates from that period. Wolff considers it likely that Mozart's involvement in van Zwieten's salon came about through Fanny van Arnstein; and that, while lodging with her, Mozart would have had access to her library and in particular the Bach manuscripts on which K. 404a is based. 2690: 2034: 2304: 2212: 1992: 1732: 1549: 1313: 1132: 977: 793: 243: 1934:

the ritornello is never divided up, in contrast to the intervening bars which are developed from demisemiquaver figures spun out into long phrases which are freely permuted. The long demisemiquaver phrases are themselves developed from distinct "motif-cells" of four demisemiquavers—these can be seen in the last quaver of bar 4, the first quaver of bar 13 and the last quaver of bar 16. None of these occur in the ritornello segment and are examples of what

2538: 497:), the sonatas BWV 525–530 preserve the concerto-like quality of the two Weimar chorale preludes; like them the manual and pedal parts are written within an idiom particular to the organ rather than that of solo instruments like the violin or flute. On the other hand, there is very little similarity between the compositional style of the organ sonatas and that of Bach's organ transcriptions of instrumental concertos by Vivaldi and other composers. 2187: 2085: 2172: 596: 1415: 688: 2120:, second subject, bars 29–59. The second subject is heard in the tonic key in the upper keyboard, answered by the lower keyboard and then the pedal an octave lower. At bar 39, it is heard in the lower manual in A minor, answered in the upper manual with the lower manual in parallel thirds. The first subject is then heard again with its countersubject in A minor, starting in the lower manual. At bar 51 section 2679: 1868: 893: 2773: 370:. The two hands are not merely imitative but so planned as to give a curious satisfaction to the player, with phrases answering each other and syncopations dancing from hand to hand, palpable in a way not quite known even to two violinists. Melodies are bright or subdued, long or short, jolly or plaintive, instantly recognizable for what they are, and so made (as the ear soon senses) to be 643: 1983: 1540: 1723: 239:

last movement of BWV 529 probably also falls into this category but might be a transcription of a lost instrumental trio sonata from Bach's periods in Cöthen and Weimar. Although Hans Eppstein has suggested that several movements might be transcriptions of lost chamber works, the writing for organ is often so idiosyncratic that his hypothesis can apply to at most a few movements.

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hand there is the broad binary structure of a dance-form: the first part comprising bars 1–73 with the first and second subject followed by a short coda in the dominant key of G major; then the second part, bars 73–163, in which the reprise of the first subject has the form of a development section, followed by the second subject and the coda in the tonic key of C major.

846: 810: 442: 2479:, Nägeli showed precocious musical skills. In 1790 he moved to Zurich where he took lessons with the Swiss pianist Johann David Brünings, who introduced him to the music of Bach. A year later he set up a music shop and in 1794 a publishing house. Corresponding with Breitkopf and the widow of C.P.E. Bach, he was able to acquire Bach manuscripts, including that of the 680:, a former pupil of Bach, was one of the first people in Germany to describe musical genres, such as the sonata, concerto and sinfonia. He had mixed views on Bach's compositions. He was extremely critical of some of Bach's organ works because of their complexity, comparing Bach's "artful" counterpoint unfavourably with the "natural" melodies of the organist-composer 4979: 1348: 357:

sixth sonatas where the bulk of composing corrections occur have a concerto-like form, with contrasting tutti and concertato sections in the opening movements and fugal final movements. Even in the second "fair copy" produced by Wilhelm Friedemann and Anna Magdalena, Bach made corrections in three movements (in the first, fifth and sixth sonatas).

5915: 1366: 1330: 820: 2247: 838: 802: 2265: 2229: 2660:. van Swieten, an avid collector of music, knew Kirnberger and Princess Anna Amalia from Berlin and had brought back to Vienna several hand copies of Bach manuscripts of keyboard and organ works, including a transcription of the organ sonatas for two keyboards: van Swieten's large collection of musical manuscripts is now preserved in the 28: 2582:

Mendelssohn; there was also a copy of the two harpsichord arrangement of the organ sonatas in the Itzig household, belonging to Sara's sister Fanny. Sara also commissioned works, including C. P. Bach's final composition, the Double concerto for harpsichord and fortepiano (1788). Her salon attracted the Berlin intelligentsia, including

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imitatively between the two manuals. That material is then repeated in the dominant key with the upper parts exchanged. There is a short "development" episode of 14 bars where for 7 bars the material of the opening segment is permuted between the parts—at one stage over a long pedal point—and then repeated with the manual parts

1566: 1185: 1149: 1030: 994: 321:, designated BWV 528a, is a reconstruction of an entire trio sonata for the same combination of instruments using the remaining two movements. The lost work is thought to date to Bach's period in Weimar. Pieter Dirksen's edition allows the performers a choice of three possible keys: G minor; E minor; or a mixture of the two. 1659:: although similar in shape to the flourish opening of the main theme, it involves scale figures in contrast to arpeggios. The fugue subject is freely developed in exchanges between the upper parts before fragments of the main theme of increasing length begin to be heard, starting with the opening flourish. In the central 1340: 1358: 1322: 2239: 2257: 2221: 2393:

Ich gehe alle Sonntage um 12 uhr zum Baron von Suiten—und da wird nichts gespiellt als Händl und Bach.— ich mach mir eben eine Collection von den Bachischen fugen.— so wohl sebastian als Emanuel und friedemann.— Dann auch von den händlishcen ... Sie werden auch wissen daß der Engländer Bach gestorben

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in the twentieth century, was challenged in the 1960s due to problems in authenticating the authorship of the newly composed slow movements preceding the fugal movements. In addition it was assumed that the sources for the organ sonatas used in the transcriptions were those brought back to Vienna by

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Prelude and Fugue in G major, BWV 541. It is now thought that these pairings originated in Bach's Leipzig period. One problem in deciding how the collection came about is that many instrumental works on which the organ sonatas might have been based have been lost. Such chamber works are mentioned by

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Some individual movements were associated with other organ works of Bach: the earlier version of the slow movement of BWV 529—the most elaborate and skilfully written of the slow movements—was paired with the Prelude and Fugue in C major, BWV 545; and the last movement of BWV 528 was paired with the

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had moved to Vienna in 1776 following her marriage to the Viennese banker Adam Nathan Arnstein. She attended the musical salons of Baron van Swieten and brought with her from Berlin her extensive personal collection of Bach family manuscripts. These included the arrangement of the organ sonatas for

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At noon every Sunday I go to the Baron van Swieten's where nothing but Handel and Bach is played. I am making a collection of Bach fugues, not only of Sebastian but also of Emanuel and Friedemann. Then also those of Handel ... Have you also heard that the English Bach has died? What a shame for the

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aspects of the movement are manifested in the first and last sections in A minor, which frame the middle section, comprising bars 13–40, that starts with new musical material in the relative major key of C major. In the movement the seven bar fugal melody segment (bars 1–7, 21–27, 41–47) that forms

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The fast or lively movement that follows is usually worked out in fugal style, if it is not in fact a regular fugue. Should the trio be concerto-like, one part can be worked out more fully than the other, and thus a number of convoluted, running, and varied passages may be heard. In this case the

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I will first discuss three- and four-part sonatas, of which the former are usually called "trios," the latter "quartets"; then I will comment upon the others. Both types of sonatas that I will discuss first are properly arranged in one of two ways, namely as proper sonatas or as sonatas in concerto

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to suggest that the sonatas were composed in their final state in two distinct groups. The first group, consisting of the first, third and fourth sonatas, has first and last movements which have a fugal character and as close stylistic relation. The second group, consisting of the second, fifth and

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Two main sources are known for the collection of sonatas. The first autograph score—possibly not the original composing score—is on paper with a watermark that allows it to be dated to the period 1727–1730. The second "fair copy" was started by Wilhelm Friedemann and completed by Bach's second wife

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and was large enough to accommodate a chamber orchestra. With the help of Wilhelm Friedemann and Carl Philipp Emanuel, Sara also built up a significant library of hand copies of Bach manuscripts. Her collection included Bach's organ sonatas, which eventually were passed on to her grandnephew Felix

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Although the chief motif in the fugue subject is unaltered, the semiquaver counter-subject is freely modified. The fugue subject is heard first in the upper keyboard, then in the lower keyboard, and finally in the pedal in bar 79. Without a break in bar 81 the pedal repeats the chief motif off the

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discusses the "ingenious" structure of the movement which he describes as "bright, extrovert, tuneful, restless, intricate": there is "inventive" semiquaver passagework in the manuals matched by "instructive" or challenging footwork in the pedal. The structure can be seen on two levels. On the one

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The ordering that one usually observes in these sonatas is the following. First a slow movement appears, then a fast or lively one; this is followed by a slow movement, and finally a fast and cheerful movement concludes. But now and then one may omit the first, slow movement, and begin immediately

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Some of the movements had precursors either as organ works or chamber works: only the last sonata BWV 530 had all its movements newly composed. The only other movements that are known with certainty to have been newly composed are the slow movement of BWV 525 and the first movement of BWV 529; the

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From the two main sources, from Bach's knowledge of works by other composers and from his own compositions for organ and instrumental ensemble that predate the collection, it is possible to gain a partial idea of how the collection was put together and how the genre of the Bach organ trio evolved.

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Six sonatas or trios for two keyboards with obbligato pedal. Bach composed them for his eldest son, Willhelm Friedemann, who, by practising them, prepared himself to be the great organist he later became. It is impossible to say enough about their beauty. They were written when the composer was in

1905:, bars 21–32. Return of the first fugal subject in C major in the first eight bars, swapped between the manual parts, with the lower manual falling silent in the eighth bar; chromaticism is not used during the counterpoint. This is followed by a reprise of bars 15–18 with the upper voices swapped. 2001: 1862:

tinged with melancholy. In the opening bars the first fugal subject and counter-subject are heard in the manuals over the continuo bass. The elegiac passage with the lyrical subject and counter-subject in counterpoint is heard several times, scarcely altered, during the movement. It is instantly

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The opening two bars of the A section comprise a solo semiquaver flourish in one of the manuals followed by a tutti response in quavers. It recurs throughout the movement, marking the beginning of new episodes. In the first sixteen bar segment it alternates with semiquaver scale passages played

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The proper essence of is above all the presence of a regular melody in all parts, especially the upper voices, and a fugal working out. If they are not arranged in concerto style, one may introduce few convoluted and varied passages; rather, there must be a concise, flowing, and natural melody

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pedal. The collection was put together in Leipzig in the late 1720s and contained reworkings of prior compositions by Bach from earlier cantatas, organ works and chamber music as well as some newly composed movements. The sixth sonata, BWV 530, is the only one for which all three movements were

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Sechs Sonaten oder Trio für zwey Claviere mit dem obligaten Pedal. Bach hat sie für seinen ältesten Sohn, Wilh. Friedemann, aufgesetzt, welcher sich damit zu dem großen Orgelspieler vorbereiten musste, der er nachher geworden ist. Man kann von ihrer Schönheit nicht genug sagen. Sie sind in dem

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in an autograph manuscript which Bach scholars have dated to a period roughly between 1727 and 1730. Apart from the heading with the numbering of the six sonatas and an indication of where the manuscript ends, Bach himself left no further specifications. After Bach's death, the musician Georg

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advertised the collection on their lists. After Bach's death the organ sonatas entered the standard repertoire of German organists, although more as a benchmark for the mastery of technique than for public performance. The organ sonatas were also disseminated amongst musical amateurs in more

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while movements from the instrumental sonatas can be diffuse and expansive—possibly because more musical textures are available—movements in the organ sonatas are in general less concerned with texture, clearer in form, and more concise and succinct, sometimes to the extent of seeming like

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for private performance in the home: an arrangement for two harpsichords, with each player taking an upper part and the bass line, was probably first copied by Wilhelm Friedemann Bach or Carl Philipp Emanuel Bach and might have originated from domestic music-making in the Bach household.

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Probably the closest similarities between the instrumental sonatas and the organ sonatas occur in their fugal final movements in every aspect—texture, melody and structure. The distinction between sonata types was subsequently delineated by Scheibe, who introduced the term

2080:. In BWV 529 the pedal also participates as a third voice in the fugue: the quaver chief motif of the first fugue subject (the first six notes) fits well with the pedal; and later on in the second subject the semiquavers in the manuals are also taken up in the pedal part. 1950:.) Thus the lyrical thematic material of the ritornello melody is kept distinct from that of the freely developed demisemiquaver episodes it frames. In this way Bach pushed his system of "composing through motifs" even further than he did in the chorale preludes of the 5189: 340:

has suggested this might reflect the fact that, after Bach's death, his vocal works passed to Wilhelm Friedemann and Carl Philipp Emanuel who guaranteed their survival; while the chamber works, very few of which survive, were mostly inherited by Bach's younger sons

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Arrangement of early versions of BWV 525/1, BWV 1032/2 and BWV 525/3 for violin, cello and continuo from mid 18th century sources; in his commentary on sources, Klaus Hofmann and other Bach scholars have questioned the authenticity of this arrangement (see also

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The development section (bars 73–119) is formed of four parts. In the first tersely scored part, bars 73–89, the first subject is heard modulating through different minor keys with an almost constant stream of semiquavers running through the three parts.

684:, another musical commentator who since 1730 had become a staunch critic of Bach. In 1737 Scheibe wrote that Bach "deprived his pieces of all that was natural by giving them a bombastic and confused character, and eclipsed their beauty by too much art." 2664:, which he directed from 1777 onwards. In late eighteenth century Vienna renewed interest amongst the musical intelligentsia in the "old music" of Bach had given rise to weekly meetings of a musical salon run by van Swieten; in 1782 the young 5182: 1828:

to a new level of eloquence "with a lyricism found only before in vocal music"; the style was "smoother and clearer" than that of earlier composers, "giving a feeling of spaciousness and breadth that happily reinforced the greater length".

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style of writing, popular among Krebs' generation, can be discerned in some movements of BWV 525–530, for example the slow movement of the fourth sonata. Several organ trios written by Bach's students survive and are discussed in detail in

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With their chamber music quality, the organ sonatas have clear affinities with Bach's sonatas for obbligato harpsichord and solo instrument—violin, viola da gamba and flute, also composed or compiled in Leipzig. They are all written in

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style for two flutes and continuo. The range of the keyboard parts, however, is beyond that of such instruments; and the succinct and idiomatic keyboard writing with intricate development sections are typical of the organ sonatas. The

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became an active participant. In both Berlin and Vienna it had become fashionable to play Bach in arrangements more suited for domestic performance. Mozart himself made string quartet arrangements of some of the fugues in

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Although Bach created a unique compositional genre in this collection of sonatas, the roots of the organ trio can be traced back to the works of earlier composers and some of Bach's own earlier compositions for organ.

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These lead seamlessly into the fourth part, bars 111–119, a 7 bar reprise of the first fugue subject (starting in the last three bars above) in the subdominant key of F major, which concludes the development section.

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the instrumental sonatas do not preserve a strict equality between the upper part—there is often a distinction between material for the melody instrument and the keyboard part, which can play a purely continuo-like

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The organ sonatas represent the culmination of Bach's collections of keyboard works with a partly didactic purpose, from the point of both playing and composition. Although intended initially for Bach's eldest son

829: 1880:, bars 1–12. Fugal 3-bar subject in A minor in the upper manual with a continuo accompaniment in crotchets and quavers in the pedal. A bar before the entry of the subject in the lower manual a fourth below, the 847: 811: 1884:

counter-subject starts in the upper manual. In the last 5 bars 8–12 there is counterpoint between the keyboards derived from figures in the chromatic counter-subject, partly in sequence and partly in imitative

226:) and Bach's renewed interest in the obbligato organ in his third cycle of cantatas—the date when the collection was compiled can be roughly set at a time between 1727 and 1730, although without any precision. 2573:, she took lessons from him and provided him with some financial support in his old age. After her marriage to the banker Samuel Salomon Levy in 1784, she ran a weekly musical salon in their residence on the 5373: 2614:

instrumental concerts: both BWV 525 and BWV 526 were included in the concert programme. The collections of Bachiana of Sara Levy and C. P. E. Bach became part of the Sing-Akademie's library, now held in the

218:. From these surviving manuscripts of the collection and the circumstances surrounding its composition—including Wilhelm Friedemann's future career (as a law student in Leipzig and then as organist of the 1911:, bars 33–40. Second subject (bars 13–14) slightly altered in dominant key of D minor; then reprises of bars 9–12 in D minor followed by a reprise of bars 15–16 modulating back to the home key of A minor. 2418:

In the eighteenth century in Germany, the organ sonatas were transmitted through hand copies made by Bach's pupils and circle, although no copies of the complete collection survive from students such as

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and exchanged between the parts in the next bar. After a two bar interlude with contrary motion between the parts and further demisemiquaver figures, the imitative phrases in the episode from section

214:. In addition, there are numerous other later copies by the circle of Bach, including copies of the first movement of BWV 527 and the slow movement of BWV 529 made by Bach's former pupil from Weimar, 1349: 541:(see below), but there are as many exceptions to the rule as adherences. Commentators agree that the collection of organ sonatas marks one of the later stages in Bach's development of the trio form. 1367: 1331: 2471:

The first printed score for organ only appeared in the early nineteenth century and was also derived from the autograph manuscript. It was published around 1815 in Zürich by the Swiss musicologist

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has suggested that Mozart's special circumstances in Vienna in 1782 point with high probability to a quite different version of events, which makes Mozart's authorship of K. 404a far more likely.

2248: 2266: 2230: 467:, BWV 655a. Both these chorale preludes were written towards the end of Bach's years in Weimar. Both BWV 664a and BWV 655a follow the pattern of the Italian trio sonata for two violins involving 2936:

There are numerous recorded performances of the organ sonatas by chamber groups involving different combinations of instruments and sometimes involving transposition of Bach's individual parts.

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episode, two 4 bar reprises of the main theme encase 4 bars where elements of both themes are heard simultaneously, alternating between the manuals. There are significant modulations in section

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recognizable each time it returns and plays the role of a ritornello. The second subject starts at bar 13 and illustrates the other groups of musical figures that Bach employs in the movement.

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for two manuals and pedal, with distinctive registrations for each manual keyboard. Bach's sonatas however, with their binary or ritornello form, owe very little to these French organ trios.

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The fugal last movement of BWV 529—in contrast to the more forward-looking first movement—follows established patterns. The opening theme—the first subject—is similar to that of the earlier

1750: 1168: 1013: 2010: 1567: 1186: 1150: 1031: 995: 753: 506: 76:. The collection of sonatas is generally regarded as one of Bach's masterpieces for organ. The sonatas are also considered to be amongst his most difficult compositions for the instrument. 1785:, show that this movement was often performed as an intermediate movement between the Prelude and Fugue in C major for organ, BWV 545. It is thought to have been originally composed in 4261:

Bach und Corelli: Studien zu Bachs Rezeption von Corellis Violinsonaten op. 5 unter besonderer Berücksichtigung der "Sogenannten Arnstädter Orgelchoräle" und der langsamen Konzertsätze

2675:; and three of the movements in the string trios for violin, viola and cello, K. 404a, are transcriptions of movements from the organ sonatas (BWV 527/ii, BWV 526/ii and BWV 526/iii). 290:

The slow movement of the BWV 527 is a reworking of a lost instrumental work which was also re-used later in the slow movement of the triple concerto for flute, violin and harpsichord,

4628:, Neue Ausgabe Sämtlicher Werke. Hrsg vom Johann-Sebastian-Bach-Institut Göttingen und vom Bach-Archiv Leipzig. Serie IV: Orgelwerke (in German), vol. Band 7, Kassel: Bärenreiter 2144:, first subject, bars 73–119. An extended and complex development section, which modulates through various minor keys and is divided into four parts; it is described in detail below. 2439:

made copies of individual movements that might predate the manuscript. In 1764 handwritten copies of three movements of the sonatas were also available from the Leipzig publisher

4893: 1810:. The style is exemplified in the "embellished" slow movements of Corelli's violin sonatas Op. 5, in which the range of musical motifs is widely varied, both through rhythm and 5709: 1323:

Adagio – Vivace This movement is a transcription from the 8th movement of Die Himmel erzählen die Ehre Gottes, BWV 76. It was scored there for Oboe d'amore and Viola da gamba.

5789: 5199: 5041: 2114:. At bar 21 the counterpoint in the upper voices continues over three statements (bars 21, 23 and 25) of the chief motif of the fugue subject before the concluding cadence. 4159:[A lost chamber music work by Johann Sebastian Bach: On the genesis of the organ sonata in E-flat major (BWV 525) and the sonata in A major for flute and harpsichord ( 5729: 4157:"Ein verschollenes Kammermusikwerk Johann Sebastian Bachs: Zur Fassungsgeschichte der Orgelsonate Es-Dur (BWV 525) und der Sonate A-Dur für Flöte und Cembalo (BWV 1032)" 5852: 772:

form in the slow movements, where the upper part in the obbligato harpsichord part can be divided into two voices; and where the violin can fill out the harmonies with

5386: 5745: 5315: 2128:: the upper voices alternate in playing the semiquaver chief motif of the second subject over four statements of the chief motif of the first subject in the pedal. 1891:, bars 13–20. Section with second subject in C major. In the first bar there are sequences of demisemiquavers in the upper part and semiquavers in the lower part, 306: 247: 5882: 5301: 4362: 3967:

Trio Sonata in G minor for oboe d'amore [oboe], viola da gamba [viola] and continuo [realised]. Reconstruction based on BWV 76/8 and 528

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seems to have involved a similar survey, recording all possible ways of writing for the instrumental combination. There are, however, significant differences:

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Johann Sebastian Bach. Neue Ausgabe Sämtlicher Werke. Serie IV – Band 7. Sechs Sonaten und verschiedene Einzelwerke. Kritischer Bericht (Critical commentary)

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sections the pedal part includes a walking bass in quavers as well as pedal points; many of the pedal motifs are derived from figures in the keyboard parts.

560:. One of the only features that Telemann adopted from the older French tradition of the trio sonata was the adaptability of the instrumentation. Telemann's 5641: 5628: 5594: 5581: 5496: 5483: 68:. Commentators have suggested that the collection might partly have been intended for private study to perfect organ technique, some pointing out that its 5892: 5654: 5549: 5536: 5509: 5364: 64:

specially composed for the collection. When played on an organ, the second manual part is often played an octave lower on the keyboard with appropriate

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Bach departs from the strict three movement structure only in the brief slow introduction in the first movement of BWV 526, originally the sinfonia in

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have noted that the compass of the keyboard parts of Bach's BWV 525–530 rarely go below the tenor C, so they could have been played on a single manual

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comments, the movement's "lively continuity is aided throughout by the tied notes and suspensions typical of the first subject in all three parts."

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fugues bound with fugues by Bach's two eldest sons. In August 1781 Mozart took up lodgings with his fortepiano in "a very prettily furnished room" (

2751:—the "London Bach"—who befriended the family during their visit. In 1781 in Vienna he came into contact with the Itzig family. Sara's older sister 760:

melodies for the solo violin. This style of writing would not have translated well to the organ: indeed Bach reserved such lines for the elaborate

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Secondly the limitation to three movements, omitting a first slow movement, was perhaps a conscious decision of Bach. In the earlier collection of

2610:, another devotee of Bach who later became Mendelssohn's teacher and mentor. Zelter ensured that Bach's organ works featured in the institution's 513:

the organ sonatas are conceived more in concerto form with three movements, whereas the instrumental sonatas have four or more movements like a

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The Sonatas make a world of their own, as distinctive and accomplished as the first movements of Leipzig cantatas or the preludes and fugues of

5684: 5296: 5247: 3061:, The Art of Samuel Feinberg, Vol. 3, BWV 528/2, Classical Records (Feinberg playing his own arrangement, also recorded by many other pianists) 2785: 4885: 2049: 5845: 5667: 5621: 5614: 5607: 5574: 5567: 5529: 5522: 5476: 5469: 5450: 5306: 5282: 5277: 5272: 5267: 5257: 5252: 5242: 5237: 3608: 3571: 3433: 3249: 3127: 2702: 2661: 1837: 4646:

Dirksen, Pieter (2003), "Ein verschollenes Weimarer Kammermusikwerk Johann Sebastian Bachs? Zur Vorgeschichte der Sonate e-Moll für Orgel",

2506: 1679:

returns in A minor with interjections of the main theme in G major, F major, D minor and C major, in anticipation of the reprise of section

471:. In a more rudimentary form, trios of this kind already appeared in German organ music in a few of the freely composed chorale preludes of 5001: 2784:, Arranged for piano duet (three hands) and available as six separate works, this was the first time all six sonatas had been published. 716:(1740-1745), Scheibe gave the following description of this musical genre, distinguishing between the a proper or genuine sonata and one 5441: 5434: 5427: 2909: 2781: 1229: 4764: 5738: 4834: 4666: 4584: 4495: 4399: 4122: 3073:

The Brook Street Band: Rachel Harris, Farran Scott (violins), Tatty Theo (cello) and Carolyn Gibley (harpsichord), AVIE Records, 2010.

2519: 776:. In the organ sonatas the harmonies are provided by the pedal and the two manual parts, which play single melodic lines throughout. 5027: 4958: 4940: 4852: 4792: 4774: 4736: 4566: 4438: 4350: 4332: 4304: 4286: 4250: 4232: 4202: 2110:

role with its own fragmented motifs. An episode begins at bar 13 with semiquaver passagework alternating between the manuals over a

1921:, but now with the accompanying counter-subject in the lower manual from the start. Coda in the last two bars with a cadence in the 3769:, p. 80), Mozart and van Swieten's paths had previously intersected in 1768 in Vienna at a private rehearsal of the ill-fated 5859: 4012:, Wolfgang Amadeus Mozart. Neue Ausgabe sämtlicher Werke (NMA) (in German), vol. X/28/3-5, 2, Bärenreiter, pp. XV–XVI, 2744: 2553:, banker to Frederick the Great and his father, also provided a cultural milieu for musical connoisseurs: four of his daughters, 2106:, first subject, bars 1–29. The fugal subject is heard in the manuals followed by a semiquaver countersubject; the pedal plays a 4861:

Whiteley, John Scott (2016), "Historische Belege zur Registrierungspraxis in den Sechs Sonaten BWV 525-530. Eine Neubewertung",

5722: 5356: 5287: 456: 346: 185: 164: 126: 2160:, coda, bars 149–163. As in the first coda, but again with the upper parts switched and an adjustment for the closing cadence. 5782: 5767: 4813: 4754: 4695: 4611: 4548: 4463: 4420: 4268: 4143: 4080: 4054: 2603: 2500: 2458:

Later in the eighteenth century publishers could supply hand copies of the entire collection: in 1799 the Viennese publisher

1655:

structure, made up of 21 bars, 12 bars and 21 bars. A fugue subject in semiquavers is introduced at the beginning of section

1942:(Examples of freely developed material occur already in bar 8 (and later in bar 48), which serves as a linking passage: the 572:

gives the following example from the second half of the second movement of Concert IV for flute and harpsichord in E minor,

254: 4413:

The Organ Music of J. S. Bach: Volume 1, Preludes, Toccatas, Fantasias, Fugues, Sonatas, Concertos and Miscellaneous Pieces

2446: 4408: 564:(1715–1720) could be played on two or three instruments (with an optional viola da gamba or cello). Some movements in the 5905: 2756:

two harpsichords; and the Itzig family collection of manuscripts in Berlin frequently had volumes containing fugues from

5689: 5678: 5421: 5320: 5161: 3090: 2440: 1947: 396: 199: 93:

Covering page for the autograph manuscript of the organ sonatas, written some years later by the musician Georg Poelchau

579: 5802: 4105: 3719: 1217: 5167: 5009: 5005: 4989: 2715:

of 2010. Their previous inclusion in the catalogue of Mozart's works, following the assessments of the musicologists

5809: 5694: 5223: 3884:. Johann Sebastian Bach. Neue Ausgabe sämtlicher Werke (NBA) (in German). Vol. VI/5. Bärenreiter. p. 98. 3041:

Alfredo Bernardini (oboe d'amore). Cassandra Luckhardt (viola da gamba) and Pieter Dirksen (harpsichord), BWV 528,

1846:

as a movement with two voices in dialogue over a continuo bass combining aspects of three different musical forms:

708:

About the trio sonatas, however, Scheibe had only praise as he considered that they fitted into his theory of the

5762: 5325: 3007: 2977:, J. S. Bach: The Concertante Organ, Sinfonias, sonatas & concertos, La Dolce Volta: LDV1180, 2013, 3-CD set. 2671: 2531: 2485: 2424: 2076: 2055: 549: 327: 190: 4783:

Ollesen, Philip (2000), "Samuel Wesley and the music profession", in Christina Bashford; Leanne Langley (eds.),

2287: 1899:

are heard again, before a reprise in reverse order of the two opening bars of demisemiquaver/semiquaver figures.

524:

in the instrumental sonatas, either part can be divided, with the addition of an extra voice or double stopping;

5406: 4539:

Yearsley, David (1998), "The Organ Music of J. S. Bach", in Thistlethwaite, Nicholas; Webber, Geoffrey (eds.),

4295:

Stauffer, George B. (2016), "Miscellaneous organ trios from Bach's Leipzig workshop", in Dirst, Matthew (ed.),

2740: 2591: 2436: 1935: 1778: 697: 426: 3975: 3944: 2844: 1686:

Throughout the movement the pedal part plays the role of a continuo, in a particularly simple form in section

854: 352:

Corrections in the autograph manuscript and a detailed analysis of stylistic elements in the sonatas have led

2495:

in 1802. His interests later turned to pedagogy and singing: in Zurich he set up an institute similar to the

5703: 4801: 4005: 2984: 2697:

part with end of BWV 526/ii and start of BWV 526/iii in arrangement for two harpsichords from collection of

2665: 2645: 2599: 2566: 2496: 2428: 2403: 1629: 468: 371: 305:

The first movement of BWV 528 is a transcription of the sinfonia that begins the second part of the cantata

177: 157: 148: 99:

reifsten Alter des Verfassers gemacht, und können als das Hauptwerk desselben in dieser Art angesehen werden

89: 5940: 5919: 5867: 3067:(violin), Georges Janzer (viola), Eva Czako (cello), Mozart's Preludes and Fugues for String Trio, K404a, 2905: 2777: 2653: 2595: 2583: 1675:

is in C major with interjections in F major and A minor; and then an inversion of the material of section

545: 133: 108: 40: 4709:

Johann Sebastian Bach: Concerto (Triosonate) für Violine, Violoncello und Basso continuo C-dur (BWV 525a)

5459: 5411: 5378: 5335: 5208: 4509: 4470: 4186: 3953: 3873: 3100:

Rebecca Cypess (harpsichord) and Yi-heng Yang (fortepiano), "In Sara Levy's Salon", BWV 526, Acis, 2017.

3021: 2748: 2657: 2638: 2607: 2515: 1806:—shows the influence of the so-called "Corelli style," an Italian sonata style refined and perfected by 677: 342: 44: 5773: 3957: 2634: 180:, they also became part of the staple repertoire of his students. The keyboard collections include the 2689: 2622: 2565:), were all keyboard players. Sara was the most gifted harpsichordist, of professional standard. When 2033: 5829: 5416: 5348: 4164: 3965: 3909: 3715: 2616: 2587: 2472: 2451: 2420: 1782: 1774: 1577: 1573: 1234: 1196: 1192: 1037: 691: 215: 65: 4729:

The Creative Development of Johann Sebastian Bach, Volume II: 1717–1750: Music to Delight the Spirit

5715: 5057:

on various 18th-century organs: either search for individual works or download the whole collection

4724: 4225:

The Creative Development of Johann Sebastian Bach, Volume I: 1695–1717: Music to Delight the Spirit

4220: 2968: 2711: 2649: 2527: 2432: 621: 449: 435: 211: 2895: 876: 595: 4528: 4379: 4310: 4089: 3017: 2955: 2945: 2852: 2752: 2698: 2682: 2558: 1373: 544:

One of the main composers to develop the purely instrumental trio sonata was Bach's contemporary

476: 472: 4924:

Ein förmlicher Sebastian und Philipp Emanuel Bach-Kultus: Sara Levy und ihr musikalisches Werken

4008:(2010), "Vorwort", in Berke, Dietrich; Bödeker, Anke; Ferguson, Faye; Leisinger, Ulrich (eds.), 455:

Earlier models for Bach's type of organ trio occurred in the first versions of the trios in the

404: 332: 299: 259: 242: 5110:, Yi-heng Yang (fortepiano) and Rebecca Cypess (harpsichord), "In Sara Levy's Salon", event at 4902: 2303: 4954: 4936: 4848: 4830: 4809: 4788: 4770: 4750: 4732: 4712: 4704: 4691: 4687: 4679: 4662: 4638: 4607: 4580: 4562: 4544: 4491: 4459: 4434: 4416: 4395: 4346: 4328: 4300: 4282: 4264: 4246: 4228: 4208: 4198: 4139: 4118: 4076: 4050: 4013: 3992: 3980: 3948: 3885: 2869: 2863: 2732: 2562: 2537: 2523: 2292: 2071: 2038: 1892: 1807: 1419: 881: 480: 400: 295: 145:

Poelchau's commentary on the covering page is a direct quotation of this passage from Forkel.

4561:, New perspectives in music history and criticism, vol. 10, Cambridge University Press, 4156: 4032:(1999), "Bachs berufliche Basis. Die Orgelmusik: Freie Orgelwerke", in Küster, Konrad (ed.), 2606:

in 1791 until her retirement in 1810. Fasch's successor as director of the Sing-Akademie was

5340: 5130: 4518: 4371: 4190: 4101: 3048: 3042: 2816: 2491: 2186: 2067: 1951: 1943: 1824: 681: 663: 514: 391:

Bach had in his possession many organ works by seventeenth century French organists such as

181: 56: 5060: 2534:

as court harpsichordist, she was a keen amateur musician, composing and playing the organ.

2084: 294:. This arrangement has been ascribed to the period 1729–1740 when Bach was director of the 266:

There are six movements known with reasonable certainty to date from earlier compositions.

5064: 4881: 4621: 4447: 4172: 4168: 4131: 4068: 3923: 3064: 3058: 3035: 3031: 2879: 2772: 2720: 2480: 2272: 773: 765: 733:

with the lively one. One does this particularly if composing sonatas in concerto style...

17: 4716: 2921: 2549:

The royal court was not the only place in Berlin where Bach was performed. The family of

1795:

notes that this movement—like many other instrumental slow movements by Bach such as the

745:

comments, Scheibe regarded Bach's organ sonatas as his main contribution to the genre of

408: 310: 5839:

major ("St. Anne"), BWV 552, Chorale preludes, BWV 669–689, Duets, BWV 802–805

3525:, pp. 26–32) of how the instrumental works of Corelli were transmitted in Germany ( 3051:, for alto recorder, violin, viola da gamba and harpsichord, BWV 525, 528, 529 and 530, 3028:, 1981 (available as CD 15 of Rampal's Complete Recordings for Erato, Vol.3, 1970–1982). 5085: 4243:

The English Bach awakening: knowledge of J. S. Bach and his music in England, 1750–1830

4037: 3094: 3076: 2980: 2974: 2925: 2885: 2832: 2736: 2407: 2308: 2276: 2171: 2107: 314: 4451: 687: 5929: 4863: 4648: 4322: 4182: 4152: 4064: 3877: 3530: 3052: 3025: 2990: 2949: 2840: 2812: 2574: 1922: 761: 553: 493: 484: 219: 195: 168: 153: 69: 4314: 3913: 2678: 2138:

version of the first subject leading to a reprise of the episode starting at bar 13.

757: 666:, by moving the left hand down an octave, a customary practice in the 18th century. 374:. Probably the technical demands on the player also contribute to their unique aura. 5054: 4919: 4577:

Music for a Mixed Taste: Style, Genre, and Meaning in Telemann's Instrumental Works

4504: 4029: 3080: 3003: 2859: 2716: 2627: 2550: 2459: 2179: 2111: 1881: 1867: 1855: 624:

show a clear influence of Bach and closely imitate his style; conversely the newer

1813: 1632:. A brief 5 bar coda reprising the imitative semiquaver scales leads into section 892: 4299:, Bach Perspectives, vol. 10, University of Illinois Press, pp. 39–59, 2522:, which contained an exceptional number of Bach manuscripts. Bach's former pupil 2264: 2246: 2228: 2008: 1748: 1565: 1365: 1347: 1329: 1184: 1166: 1148: 1029: 1011: 993: 845: 827: 809: 125:

Poelchau (1773–1836) produced a covering page for the collection (along with the

5102: 4822: 4675: 3775: 3534: 3011: 2964: 2929: 2836: 2542: 2154:

but now with the upper parts interchanged and in the subdominant key of F major.

1414: 769: 502: 488: 52: 2747:. In his second recital he was requested to perform compositions by Bach's son 642: 5157: 5153: 5149: 5143: 5139: 5135: 5126: 5122: 5118: 5107: 5098: 5094: 5090: 5081: 5077: 5074: 2915: 2578: 2554: 2025: 1982: 1851: 1765: 1722: 1588: 1539: 1388: 1207: 1052: 866: 568:

occasionally show similarities in texture and form with Bach's organ sonatas:

73: 31:

Autograph manuscript of first page of last movement of organ sonata 5, BWV 529

4212: 2074:'s Op. 5 and that of the later four-part fugue in A-flat major in Book II of 2041:'s Op.5, first published in Rome in 1700 and later in Amsterdam in 1710 with 4360:

Swack, Jeanne R. (1993), "On the Origins of the "Sonate auf Concertenart"",

4097: 3971: 3940: 1822:

explains, this style is distinguished by its lyricism: Corelli elevated the

1398: 1041: 897: 768:. In the sonatas for violin and harpsichord, Bach does not adhere to strict 60: 4263:, Musikwissenschaftliche Schriften (in German), vol. 36, Katzbichler, 2514:

There are also later copies of the autograph manuscript in Vienna, made by

737:

lowest part can be composed less concisely than in another, regular sonata.

646:

J. Verscheure Reynvaan: engraving of an eighteenth-century pedal clavichord

441: 4886:"A Bach cult in late-eighteenth-century Berlin: Sara Levy's musical salon" 4523: 4477:

Wolff, Christoph (2012a), "Mozart 1782, Fanny Arnstein und viermal Bach",

4001:, designated BWV 525/1a, BWV 517/1a, BWV 528/2a, BWV 528/2b and BWV 529/2a 3998: 2731:

Mozart's contacts with the Bach circle date back to the concert tour with

2431:. A copy made by Kittel of part of the autograph manuscript survives; and 1946:

there are similar to those Bach used later in the opening Fantasia of the

756:, mostly composed in four movements, the opening slow movements have long 298:

in Leipzig, an association of town musicians that mounted concerts in the

4160: 2959: 2901:

Arrangements of BWV 530/1 and BWV 530/3 for two pianos, Alexej Parussinof

2808: 2743:

from April 1764 until July 1765. The eight year old Mozart played before

2476: 1796: 291: 2891:

Arrangement of BWV 525–530 for piano solo, Bernhard Kistler-Liebendörfer

2053:

Autograph manuscript of fugue in A-flat major, BWV 886, from Book II of

141:

his full maturity and can be considered his principal work of this kind.

4194: 3068: 2828: 2570: 2135: 1667:

particularly in the interjections of the main theme: the first section

1597: 1403: 1377: 557: 505:

form with binary and ritornello movements. Moreover, the collection of

223: 121: 112: 5374:

Canonic Variations on "Vom Himmel hoch da komm' ich her", BWV 769

4951:

Sex, Death, and Minuets: Anna Magdalena Bach and Her Musical Notebooks

4785:

Music and British Culture, 1785-1914: Essays in Honor of Cyril Ehrlich

4532: 4383: 3136:(1740), a revised and expanded version of what he originally wrote in 2443:, who also produced librettos of Bach's cantatas during his lifetime. 5112:

Sara Levy’s World: Music, Gender, and Judaism in Enlightenment Berlin

4134:(1989), "Bach in the eighteenth century", in Franklin, Don O. (ed.), 3526: 3459: 2824: 1859: 1800: 1786: 1612: 626: 392: 48: 5050: 4686:, translated by John Hargraves, Houghton Mifflin Harcourt, pp. 4488:

Mozart at the Gateway to His Fortune: Serving the Emperor, 1788-1791

4356:, Chapter VII, "Aspects of Reception from Bach's Day to the Present" 2993:, Complete Organ Works of Bach, Deutsche Grammophon Archiv, E4637122 2483:, which he eventually published. His Bach publications started with 2097:

On the other hand, there is a more detailed division into sections:

1639:

In conformity with the whole movement, the main development section

286:

Two movements are known to be transcriptions of instrumental trios:

27: 5008:

external links, and converting useful links where appropriate into

4375: 3960:(English translation—commentary in paperback original is in German) 3132:

This is Zohn's translation of the following passage from Scheibe's

2914:

Suite No.5 (BWV 529/1, BWV 528/2, BWV 530/1) for string orchestra,

5068: 4010:

Bearbeitungen und Ergänzungen von Werken verschiedener Komponisten

2688: 2677: 2633: 2598:. Sara herself performed in public, including performances at the 2505: 2302: 2286: 1847: 1413: 1397: 1228: 1216: 891: 875: 696: 686: 641: 578: 253: 163: 147: 88: 26: 4575:

Zohn, Steven (2008), "Telemann and the Sonate auf Concertenart",

2526:

was music teacher to Anna Amalia: like her flute-playing brother

2124:

concludes with an eight-bar coda similar to the close of section

1611:

form. In structure and texture it resembles a trio sonata in the

583:

Harpsichord part of second half of second movement of Telemann's

246:

Autograph manuscript of sinfonia starting second part of cantata

4637:, EMB Study Scores, vol. Z.400949, Editio Musica Budapest, 3939:, Complete Organ Works (Breitkopf Urtext), vol. 5 EB 8805, 2820: 5171: 4507:(1993), "Sara Levy and the Making of Musical Taste in Berlin", 2134:, coda, bars 59–73. In the dominant key of G major, there is a 507:

six sonatas for obbligato harpsichord and violin, BWV 1014–1019

4972: 4324:

The reception of Bach's organ works from Mendelssohn to Brahms

4115:

Engaging Bach: The Keyboard Legacy from Marpurg to Mendelssohn

2904:

Arrangements of BWV 525–530 for piano duet (3 hands), 1809–10

1620:

section is 50 bars long. After the 54 bar development section

573: 4343:

J. S. Bach at His Royal Instrument: Essays on His Organ Works

269:

Four movements have previous versions as organ compositions:

2210: 1990: 1730: 1596:

This brightly scored and skillfully composed movement has a

1547: 1311: 1130: 975: 791: 754:

sonatas for violin and obbligato harpsichord (BWV 1014–1019)

4635:

Sämtliche Orgelwerke: Triosonaten, Trios, Concerti (9–10)

1938:

termed "varied figures" in his 1708 theoretical treatise

2150:, second subject, bars 119–149. As in the first section 105:

Ueber Johann Sebastian Bachs Leben, Kunst und Kunstwerke

4997: 4992:

may not follow Knowledge (XXG)'s policies or guidelines

4747:

On the Publishing and Dissemination of Music, 1500-1850

4606:, Oxford monographs on music, Oxford University Press, 3086:

Stefan Palm (pedal harpsichord), Amphion Records, 2001.

2709:

The string trios K. 404a have not been included in the

2475:. The son of a musically inclined Protestant pastor in 3714:

the former Amalienbibliothek, now incorporated in the

1873:

The detailed structure of the movement is as follows:

336:

and many are thought to have been composed in Cöthen.

59:, with three independent parts in the two manuals and 5903: 4894:

Bulletin of the American Academy of Arts and Sciences

2875:

Arrangement of BWv 529–530 for solo piano, Fred Davis

5108:

Performance of BWV 526 on fortepiano and harpsichord

2811:/2 and BWV 525/3 as trio sonata in B-flat major for 2788:

had previously published BWV 525 in 1799 as part of

2652:

was probably disseminated through Bach's biographer

5819: 5755: 5399: 5216: 2577:: the concert room housed both a harpsichord and a 4279:Bach and the Pedal Clavichord: an Organist's Guide 1789:and reworked for the collection of organ sonatas. 120:The organ sonatas were first gathered together in 5288:Eight Short Preludes and Fugues, BWV 553–560 4933:Bach's Feet: The Organ Pedals in European Culture 3537:) at the time of their publication. Sackmann and 2894:Arrangement of BWV 525 for piano duet (3 hands), 5846:Concerto transcriptions, BWV 592–596 and 972–987 5263:Fantasia and Fugue in G minor ("Great"), BWV 542 5253:Toccata and Fugue in D minor ("Dorian"), BWV 538 4543:, Cambridge University Press, pp. 236–249, 4241:Olleson, Philip (2004), Kassler, Michael (ed.), 4138:, Cambridge University Press, pp. 281–296, 3201: 2626:Wolfgang Amadeus Mozart, unfinished portrait by 132:The sonatas were described by Bach's biographer 5746:Capriccio on the departure of a beloved brother 5316:Prelude (Toccata) and Fugue in E major, BWV 566 5283:Prelude and Fugue in E minor ("Wedge"), BWV 548 4633:Bach, J. S. (1991), Zászkaliczky, Tamás (ed.), 3987:Bach, J. S. (2014), Stauffer, George B. (ed.), 3915:Practische Orgelschule enthaltend Sechs Sonaten 2932:, Pieter Dirksen, 2013, Breitkopf & Härtel. 2518:in the 1760s, and in Berlin, in the library of 1836:harvtxt error: no target: CITEREFWilliams1985 ( 722: 701:Title page of the revised edition of Scheibe's 587:engraved in Hamburg in 1734 by Telemann himself 364: 138: 96: 5321:Fantasia ("Pièce d'Orgue") in G major, BWV 572 4659:Charles Valentin Alkan: His Life and His Music 3607:harvnb error: no target: CITEREFWilliams1985 ( 3570:harvnb error: no target: CITEREFWilliams1985 ( 2016:Hans Otto, Silbermann Organ, Großhartmannsdorf 1756:Hans Otto, Silbermann Organ, Großhartmannsdorf 712:—"sonatas in concerto style". In his treatise 5883:List of compositions by Johann Sebastian Bach 5302:Toccata, Adagio and Fugue in C major, BWV 564 5183: 4579:, Oxford University Press, pp. 283–334, 4363:Journal of the American Musicological Society 4345:, Oxford University Press, pp. 108–111, 3822: 3820: 2920:Reconstruction of BWV 528 as trio sonata for 2776:Title page of BWV 525 in the 1809 edition of 2656:and the Austrian Ambassador to Berlin, Baron 8: 5888:List of fugal works by Johann Sebastian Bach 4808:(2nd revised ed.), Kahn & Averill, 4433:(2nd ed.), Cambridge University Press, 2463:accessible arrangements as chamber works or 1221:Silbermann organ, 1738–41, Großhartmannsdorf 4787:, Oxford University Press, pp. 25–38, 4604:Arcangelo Corelli: New Orpheus of Our Times 3595: 3593: 3591: 3589: 2884:Arrangement of BWV 525–526 for piano solo, 2858:Arrangement of BWV 525–530 for two pianos, 2790:"An Essay on Practical Musical Composition" 307:Die Himmel erzählen die Ehre Gottes, BWV 76 248:Die Himmel erzählen die Ehre Gottes, BWV 76 5893:List of concertos by Johann Sebastian Bach 5190: 5176: 5168: 4845:Bach and the riddle of the number alphabet 4626:Sechs Sonaten und verschiedene Einzelwerke 4392:Richard Wagner's Zurich: The Muse of Place 3964:Bach, J. S. (2013), Dirksen, Peter (ed.), 3935:Bach, J. S. (2010), Dirksen, Peter (ed.), 3857: 3855: 3517: 3515: 3248:harvnb error: no target: CITEREFBach2004 ( 3126:harvnb error: no target: CITEREFZohn2015 ( 1948:third keyboard partita in A minor, BWV 827 5331:Passacaglia and Fugue in C minor, BWV 582 5224:Fugue in G minor, BWV 131a 5046:International Music Score Library Project 5028:Learn how and when to remove this message 4522: 4458:, Harvard University Press, p. 263, 3167: 3079:(pedal harpsichord), Essential Classics, 2878:Arrangement of BWV 529/2 for piano solo, 1842:gives a broad musical description of the 659: 262:in Mizler's Musikalische Bibliothek, 1754 3989:Six Trio Sonatas and Miscellaneous Trios 3788: 3688: 3660: 3649: 3643: 3615: 3602: 3578: 3565: 3522: 3506: 3494: 3415: 3403: 3374: 3368: 3345: 3339: 3316: 3299: 3276: 3233: 3207: 3180: 3161: 2771: 2762:ein recht hüpsches eingerichtetes zimmer 2621: 2536: 2445: 2197: 2090: 2048: 2032: 1940:Praecepta der musicalischen Composition. 1917:, bars 41–54. Repeat of opening section 1832: 1792: 655: 632: 620:. Later organ sonatas by Bach's student 569: 440: 425: 379: 241: 5910: 3861: 3847: 3766: 3739: 3655: 3550: 3432:sfn error: no target: CITEREFZohn2015 ( 3151: 3114: 2868:Arrangement of BWV 530 for solo piano, 1819: 5685:Fantasia and Fugue in C minor, BWV 906 5297:Fantasia and Fugue in C minor, BWV 562 5248:Fantasia and Fugue in C minor, BWV 537 3834: 3829: 3812: 3751: 3745: 3733: 3700: 3629: 2725: 2023: 1763: 1586: 1386: 1205: 1050: 864: 5451:Overture in the French style, BWV 831 5412:English Suites, BWV 806–811 5407:Inventions and Sinfonias, BWV 772–801 5307:Toccata and Fugue in D minor, BWV 565 5278:Prelude and Fugue in C minor, BWV 546 5273:Prelude and Fugue in B minor, BWV 544 5268:Prelude and Fugue in A minor, BWV 543 5258:Toccata and Fugue in F major, BWV 540 5243:Prelude and Fugue in D major, BWV 532 5238:Prelude and Fugue in C major, BWV 531 4711:(in German). Breitkopf & Härtel. 4559:Bach and the meanings of counterpoint 3800: 3694: 3538: 3474: 3446: 3385: 3288: 3282: 2394:ist?— schade der Musikalischer Welt! 785:Sonata No. 1 in E-flat major, BWV 525 742: 609: 353: 337: 7: 5417:French Suites, BWV 812–817 5326:Fugue in G minor ("Little"), BWV 578 5101:on organ of Waalse Kerk, Amsterdam, 4684:Johann Sebastian Bach: Life and Work 4541:The Cambridge Companion to the Organ 4469:(a reprint of a 1985 publication in 4185:(in German). Vol. 85. Leipzig: 4049:(2nd ed.), Dover Publications, 3673: 3480: 3427: 3390: 3380: 3351: 3322: 3293: 3262: 3244: 3221: 3195: 3121: 676:The music theoretician and organist 636: 613: 318: 152:Silbermann Organ (1718–1720) in the 5389:Wo Gott der Herr nicht bei uns hält 2685:, lithograph by Louis Pereira, 1819 2561:and Bella (maternal grandmother of 2406:, Vienna, 10 April 1782, letter to 604:Some of the other movements of the 5739:Aria variata alla maniera italiana 5460:Well-Tempered Clavier, BWV 846–893 5051:Free downloads of the Trio Sonatas 4875:Royal College of Organists Journal 1858:. Together these create a mood or 1671:is in the key of C major; section 1624:, it is reprised in its entirety. 1387:Problems playing these files? See 1206:Problems playing these files? See 1051:Problems playing these files? See 865:Problems playing these files? See 465:Herr Jesu Christ, dich zu uns wend 25: 5146:on pedal harpsichord, Stefan Palm 4657:Eddie, William Alexander (2007), 4456:Bach: Essays on His Life and Work 4281:, University of Rochester Press, 4075:(Revised ed.), W.W. Norton, 2454:, published in Zürich around 1815 5936:Sonatas by Johann Sebastian Bach 5913: 4977: 4827:César Franck: His Life and Times 3930:(in German), Kassel: Bärenreiter 3888: 9790006545254. BA 5295-41. 3541:discuss their influence on Bach. 3010:(harpsichord), BWV 525 and 529, 2958:, Complete Organ Works of Bach, 2262: 2244: 2226: 2204:Sonata No. 6 in G major, BWV 530 2185: 2170: 2083: 2024:Problems playing this file? See 2006: 1981: 1866: 1764:Problems playing this file? See 1746: 1721: 1587:Problems playing this file? See 1563: 1538: 1505:Sonata No. 5 in C major, BWV 529 1363: 1345: 1327: 1305:Sonata No. 4 in E minor, BWV 528 1182: 1164: 1146: 1124:Sonata No. 3 in D minor, BWV 527 1027: 1009: 991: 967:Sonata No. 2 in C minor, BWV 526 843: 825: 807: 594: 55:. Each of the sonatas has three 5790:Prelude, Fugue and Allegro in E 5690:Toccatas, BWV 910–916 5422:Partitas, BWV 825–830 5358:Great Eighteen Chorale Preludes 4953:, University of Chicago Press, 4481:, Bärenreiter, pp. 141–148 4094:Mozart: A Documentary Biography 2802:Arrangements and transcriptions 461:Allein Gott in der Höh' sei Ehr 457:Great Eighteen Chorale Preludes 446:Allein Gott in der Höh' sei Ehr 347:Johann Christoph Friedrich Bach 129:) with a title and commentary. 127:Great Eighteen Chorale Preludes 5061:Piano arrangement of BWV 529/2 4935:, Cambridge University Press, 4847:, Cambridge University Press, 4452:"Bach's Leipzig Chamber Music" 4415:, Cambridge University Press, 4117:, Cambridge University Press, 3718:; not to be confused with the 3202:David, Mendel & Wolff 1998 2719:in the nineteenth century and 2604:Carl Friedrich Christian Fasch 2501:Carl Friedrich Christian Fasch 276:the first movement of BWV 527; 273:the first movement of BWV 525; 1: 4431:The Organ Music of J. S. Bach 3882:Verschiedene Kammermusikwerke 3773:, Mozart's first attempts at 3093:(harpsichords), BWV 525–530, 3024:, for flute and harpsichord, 2807:Reconstruction of BWV 525/1, 857:, Silbermann organ, Fraureuth 282:the slow movement of BWV 529. 279:the slow movement of BWV 528; 186:two and three part inventions 5679:Chromatic Fantasia and Fugue 4806:Alkan: The Man, The Musician 4045:Crocker, Richard L. (1986), 3876:. "Critical commentary". In 2441:Bernhard Christoph Breitkopf 2037:Allegro from Sonata No.3 of 448:, BWV 664a, in hand copy by 72:allows it to be played on a 5803:Prelude in C minor, BWV 999 5336:Concertos, BWV 592–597 4769:, Oxford University Press, 4763:Little, William A. (2010), 4731:, Oxford University Press, 4327:, Oxford University Press, 4227:, Oxford University Press, 4108:, Stanford University Press 3999:Early variants of movements 3720:Duchess Anna Amalia Library 3296:, preface by Pieter Dirksen 1773:Manuscript copies, made by 368:The Well-Tempered Clavier I 5957: 5853:Klavierbüchlein W. F. Bach 5810:Fugue in G minor, BWV 1000 5710:Harpsichord solo concertos 5114:, Rutgers University, 2014 4486:Wolff, Christoph (2012b), 4259:Sackmann, Dominik (2000), 4047:A History of Musical Style 4023:Books and journal articles 3991:, Wayne Leupold Editions, 3956:(in German and English) • 1802:Ich hatte viel Bekümmernis 1643:has a symmetrical da capo 562:Six Concerts et Six Suites 18:Organ sonatas, BWV 525–530 5878: 5783:Suite in C minor, BWV 997 5768:Suite in E minor, BWV 996 5763:Suite in G minor, BWV 995 4766:Mendelssohn and the Organ 4715: 979-0-004-16727-4. 4479:Mozart-Jahrbuch 2009–2010 4341:Stinson, Russell (2012), 4321:Stinson, Russell (2006), 3937:Sonatas, Trios, Concertos 2758:The Well-Tempered Clavier 2672:The Well-Tempered Clavier 2602:, from its foundation by 2541:Portrait of Sara Levy by 2532:Carl Philipp Emanuel Bach 2486:The Well-Tempered Clavier 2450:Title page of edition of 2425:Johann Friedrich Agricola 2402: 2384:German-speaking countries 2077:The Well-Tempered Clavier 2056:The Well-Tempered Clavier 550:Carl Philipp Emanuel Bach 328:Carl Philipp Emanuel Bach 191:The Well-Tempered Clavier 5833:: Prelude and Fugue in E 5367:Sei gegrüßet, Jesu gütig 4949:Yearsley, David (2019), 4931:Yearsley, David (2012), 4926:, Breitkopf & Härtel 4745:Lenneberg, Hans (2003), 4680:"The Sonatas and Suites" 4557:Yearsley, David (2002), 4429:Williams, Peter (2003), 4277:Speerstra, Joel (2004), 3521:There is an overview in 2898:, Editio Musica Budapest 2872:, Editio Musica Budapest 2592:Friedrich Schleiermacher 2437:Johann Gottfried Walther 1799:from the Weimar cantata 1023:Allegro BWV 526/3 • 4:29 764:parts in his ornamental 747:Sonaten auf Concertenart 710:Sonaten auf Concertenart 671:Sonaten auf Concertenart 47:are a collection of six 5698:, BWV 933–938 4901:: 25–31, archived from 4113:Dirst, Matthew (2012), 3951: 979-0-004-18366-3 2666:Wolfgang Amadeus Mozart 2646:Wilhelm Friedemann Bach 2600:Sing-Akademie zu Berlin 2567:Wilhelm Friedemann Bach 2497:Sing-Akademie zu Berlin 2429:Johann Christian Kittel 2404:Wolfgang Amadeus Mozart 618:Sonate auf Concertenart 552:and his predecessor as 535:Sonate auf Concertenart 469:invertible counterpoint 430:Start of Versus III of 178:Wilhelm Friedemann Bach 160:became organist in 1733 158:Wilhelm Friedemann Bach 5868:Twelve Little Preludes 5084:on pedal harpsichord, 4602:Allsop, Peter (1999), 4390:Walton, Chris (2007), 4063:David, Hans Theodore; 3976:Breitkopf & Härtel 3945:Breitkopf & Härtel 3874:Bach, Johann Sebastian 2906:Charles Frederick Horn 2845:Breitkopf & Härtel 2793: 2778:Charles Frederick Horn 2706: 2686: 2654:Johann Nikolaus Forkel 2644:The fair copy made by 2641: 2631: 2596:Johann Gottlieb Fichte 2584:Alexander von Humboldt 2546: 2511: 2455: 2312: 2296: 2215: 2059: 2046: 1995: 1735: 1552: 1423: 1407: 1316: 1238: 1222: 1135: 980: 901: 885: 796: 739: 705: 694: 647: 588: 546:Georg Philipp Telemann 487:, Bach's teacher from 452: 438: 421:trios à trois claviers 385: 263: 251: 172: 161: 143: 134:Johann Nikolaus Forkel 118: 109:Johann Nikolaus Forkel 94: 32: 5209:Johann Sebastian Bach 5160:, David Ponsford and 5129:on pedal clavichord, 4843:Tatlow, Ruth (1991), 4510:The Musical Quarterly 4187:Neue Bachgesellschaft 4165:Schulze, Hans-Joachim 3138:Der critische Musikus 3022:Robert Veyron-Lacroix 2998:Selected arrangements 2775: 2749:Johann Christian Bach 2692: 2681: 2658:Gottfried van Swieten 2639:Gottfried van Swieten 2637: 2625: 2608:Carl Friedrich Zelter 2569:moved to Berlin from 2540: 2516:Johann Christoph Oley 2509: 2449: 2306: 2290: 2214: 2052: 2036: 1994: 1734: 1551: 1417: 1401: 1315: 1232: 1220: 1134: 979: 895: 879: 855:Johannes-Ernst Köhler 795: 700: 690: 678:Johann Adolph Scheibe 645: 582: 537:to contrast with the 444: 429: 361:Origins of organ trio 343:Johann Christian Bach 257: 245: 230:Genesis of collection 167: 151: 92: 45:Johann Sebastian Bach 30: 5382:, BWV 1090–1120 5233:Sonatas, BWV 525–530 5042:Organ Sonatas (Bach) 4998:improve this article 4725:Jones, Richard D. P. 4620:Bach, J. S. (1984), 4315:10.5406/j.ctt18j8xkb 4221:Jones, Richard D. P. 3908:Bach, J. S. (1815), 3716:Berlin State Library 3105:Notes and references 2617:Berlin State Library 2588:Wilhelm von Humboldt 2520:Princess Anna Amalia 2510:Princess Anna Amalie 2421:Johann Peter Kellner 2379:Reception and legacy 2275:, Silbermann Organ, 1576:, Silbermann Organ, 1376:, Silbermann Organ, 1195:, Silbermann Organ, 1040:, Silbermann Organ, 692:Johann Adolf Scheibe 651:Performance practice 216:Johann Caspar Vogler 188:, the first book of 85:Instructional manual 5860:Notebook A. M. Bach 5716:Goldberg Variations 5696:Six Little Preludes 5380:Neumeister chorales 5010:footnote references 4829:, Scarecrow Press, 4749:, Pendragon Press, 4641: 9790080400944 4524:10.1093/mq/77.4.651 4090:Deutsch, Otto Erich 4073:The New Bach Reader 4016: 9790006546978 3995: 9790800017025 3406:, pp. 388, 394 3134:Critischer Musikus, 3124:, pp. 286, 566 3089:David Ponsford and 3049:Le Concert Français 2969:Deutsche Grammophon 2940:Selected recordings 2724:Baron van Swieten. 2712:Neue Mozart-Ausgabe 2650:Anna Magdalena Bach 2528:Frederick the Great 2433:Johann Ludwig Krebs 2045:or "embellishments" 622:Johann Ludwig Krebs 616:as examples of the 608:have been cited by 450:Johann Tobias Krebs 436:Dieterich Buxtehude 80:Origins and purpose 5360:, BWV 651–668 5352:, BWV 645–650 5344:, BWV 599–644 5198:Compositions for 4705:Hellmann, Diethard 4297:Bach and the Organ 4195:10.13141/bjb.v1999 4189:. pp. 67–79. 4179:Bach Yearbook 1999 4174:Bach-Jahrbuch 1999 4040:, pp. 678–688 3910:Nägeli, Hans Georg 3902:Published editions 3754:, p. 663, 667 3742:, p. 8–9, 183 3553:, pp. 303–304 3449:, pp. 371–372 3018:Jean-Pierre Rampal 2956:Bernard Foccroulle 2946:Marie-Claire Alain 2853:Concerto, BWV 525a 2794: 2707: 2699:Fanny von Arnstein 2687: 2683:Fanny von Arnstein 2642: 2632: 2547: 2512: 2456: 2313: 2307:Village church of 2297: 2216: 2060: 2047: 1996: 1736: 1553: 1424: 1408: 1402:Village church of 1374:Christoph Albrecht 1317: 1239: 1233:Village church of 1223: 1136: 981: 902: 896:Village church of 886: 797: 714:Critischer Musikus 706: 703:Critischer Musikus 695: 648: 635:and by Dirksen in 589: 453: 439: 432:Nun lob, mein Seel 264: 252: 173: 162: 95: 33: 5901: 5900: 5831:Clavier-Übung III 5776: 5732: 5725: 5670: 5668:No. 24 in B minor 5663: 5650: 5637: 5624: 5622:No. 12 in F minor 5617: 5610: 5603: 5590: 5577: 5570: 5558: 5545: 5532: 5530:No. 16 in G minor 5525: 5523:No. 10 in E minor 5518: 5505: 5492: 5479: 5472: 5444: 5437: 5430: 5387:Chorale fantasia 5350:Schübler Chorales 5312: 5293: 5229: 5204:keyboard and lute 5038: 5037: 5030: 4873:. Translation in 3771:La Finta semplice 3697:, pp. 32, 91 3418:, pp. 93–111 3302:, pp. 39–42) 2864:Boosey and Hawkes 2563:Felix Mendelssohn 2524:Johann Kirnberger 2473:Hans Georg Nägeli 2452:Hans Georg Nägeli 2414: 2413: 2267: 2249: 2231: 2011: 1944:diminished fifths 1808:Arcangelo Corelli 1751: 1578:Großhartmannsdorf 1568: 1368: 1350: 1332: 1235:Großhartmannsdorf 1197:Großhartmannsdorf 1187: 1169: 1151: 1032: 1014: 996: 853:All performed by 848: 830: 812: 780:Musical structure 417:trios en dialogue 296:Collegium Musicum 16:(Redirected from 5948: 5918: 5917: 5916: 5909: 5871: 5862: 5855: 5848: 5841: 5838: 5837: 5812: 5805: 5798: 5795: 5794: 5785: 5772: 5728: 5721: 5704:Italian Concerto 5666: 5660: 5659: 5653: 5647: 5646: 5640: 5634: 5633: 5627: 5620: 5615:No. 6 in D minor 5613: 5608:No. 5 in D major 5606: 5600: 5599: 5593: 5587: 5586: 5580: 5575:No. 2 in C minor 5573: 5568:No. 1 in C major 5566: 5555: 5554: 5548: 5542: 5541: 5535: 5528: 5521: 5515: 5514: 5508: 5502: 5501: 5495: 5489: 5488: 5482: 5477:No. 2 in C minor 5475: 5470:No. 1 in C major 5468: 5440: 5433: 5426: 5365:Chorale partita 5310: 5291: 5227: 5211: 5192: 5185: 5178: 5169: 5117:Performances of 5044:: Scores at the 5033: 5026: 5022: 5019: 5013: 4981: 4980: 4973: 4963: 4945: 4927: 4915: 4914: 4913: 4907: 4890: 4882:Wolff, Christoph 4872: 4857: 4839: 4818: 4797: 4779: 4759: 4741: 4720: 4700: 4671: 4653: 4642: 4629: 4622:Kilian, Dietrich 4616: 4589: 4571: 4553: 4535: 4526: 4500: 4490:, W. W. Norton, 4482: 4468: 4448:Wolff, Christoph 4443: 4425: 4404: 4394:, Camden House, 4386: 4355: 4337: 4317: 4291: 4273: 4255: 4237: 4216: 4169:Wolff, Christoph 4148: 4132:Finscher, Ludwig 4127: 4109: 4102:Peter Branscombe 4096:, translated by 4085: 4069:Wolff, Christoph 4059: 4041: 4017: 3996: 3978: 3952: 3931: 3924:Kilian, Dietrich 3919: 3890: 3889: 3870: 3864: 3859: 3850: 3845: 3839: 3824: 3815: 3810: 3804: 3798: 3792: 3786: 3780: 3765:As described in 3763: 3757: 3748:, pp. 48–49 3736:, pp. 58–59 3728: 3722: 3712: 3706: 3703:, pp. 13–17 3683: 3677: 3671: 3665: 3638: 3632: 3627: 3621: 3618:, pp. 31–32 3612: 3605:, pp. 49–51 3597: 3584: 3581:, pp. 30–31 3575: 3568:, pp. 47–49 3560: 3554: 3548: 3542: 3519: 3510: 3504: 3498: 3497:, pp. 29–30 3492: 3486: 3469: 3463: 3456: 3450: 3444: 3438: 3437: 3425: 3419: 3413: 3407: 3401: 3395: 3371:, pp. 14–19 3363: 3357: 3342:, pp. 11–14 3334: 3328: 3311: 3305: 3271: 3265: 3260: 3254: 3253: 3242: 3236: 3231: 3225: 3219: 3213: 3190: 3184: 3178: 3172: 3156: 3141: 3131: 3119: 2983:, Trio sonatas, 2967:, Trio sonatas, 2948:, Trio sonatas, 2817:transverse flute 2741:stayed in London 2662:Imperial Library 2492:The Art of Fugue 2390: 2389: 2373: 2372: 2371: 2370: 2355: 2354: 2353: 2352: 2337: 2336: 2335: 2334: 2293:Silbermann organ 2269: 2268: 2251: 2250: 2233: 2232: 2213: 2189: 2174: 2087: 2013: 2012: 1993: 1985: 1974: 1973: 1972: 1971: 1870: 1841: 1825:sonata da chiesa 1753: 1752: 1733: 1725: 1714: 1713: 1712: 1711: 1570: 1569: 1550: 1542: 1531: 1530: 1529: 1528: 1499: 1498: 1497: 1496: 1485:Un poco Allegro 1481: 1480: 1479: 1478: 1463: 1462: 1461: 1460: 1448: 1447: 1446: 1445: 1420:Silbermann organ 1370: 1369: 1352: 1351: 1334: 1333: 1314: 1299: 1298: 1297: 1296: 1281: 1280: 1279: 1278: 1263: 1262: 1261: 1260: 1189: 1188: 1171: 1170: 1153: 1152: 1133: 1118: 1117: 1116: 1115: 1100: 1099: 1098: 1097: 1082: 1081: 1080: 1079: 1034: 1033: 1016: 1015: 998: 997: 978: 961: 960: 959: 958: 943: 942: 941: 940: 925: 924: 923: 922: 882:Silbermann organ 850: 849: 832: 831: 814: 813: 794: 766:chorale preludes 718:auf Concertenart 682:Johann Mattheson 664:pedal clavichord 660:Speerstra (2004) 598: 539:sonata da chiesa 515:sonata da chiesa 463:, BWV 664a, and 383: 116: 74:pedal clavichord 53:trio sonata form 21: 5956: 5955: 5951: 5950: 5949: 5947: 5946: 5945: 5926: 5925: 5924: 5920:Classical Music 5914: 5912: 5904: 5902: 5897: 5874: 5865: 5858: 5851: 5844: 5835: 5834: 5828: 5821: 5815: 5808: 5801: 5792: 5791: 5788: 5781: 5751: 5730:Gould recording 5657: 5656: 5644: 5643: 5631: 5630: 5597: 5596: 5584: 5583: 5552: 5551: 5539: 5538: 5512: 5511: 5499: 5498: 5486: 5485: 5395: 5212: 5207: 5196: 5065:Samuel Feinberg 5034: 5023: 5017: 5014: 4995: 4986:This article's 4982: 4978: 4971: 4966: 4961: 4948: 4943: 4930: 4918: 4911: 4909: 4905: 4888: 4880: 4860: 4855: 4842: 4837: 4821: 4816: 4800: 4795: 4782: 4777: 4762: 4757: 4744: 4739: 4723: 4703: 4698: 4674: 4669: 4656: 4645: 4632: 4619: 4614: 4601: 4597: 4595:Further reading 4592: 4587: 4574: 4569: 4556: 4551: 4538: 4503: 4498: 4485: 4476: 4466: 4446: 4441: 4428: 4423: 4409:Williams, Peter 4407: 4402: 4389: 4359: 4353: 4340: 4335: 4320: 4307: 4294: 4289: 4276: 4271: 4258: 4253: 4240: 4235: 4219: 4205: 4151: 4146: 4130: 4125: 4112: 4088: 4083: 4062: 4057: 4044: 4028: 4004: 3986: 3963: 3934: 3922: 3907: 3898: 3893: 3872: 3871: 3867: 3860: 3853: 3846: 3842: 3825: 3818: 3811: 3807: 3799: 3795: 3787: 3783: 3764: 3760: 3729: 3725: 3713: 3709: 3684: 3680: 3672: 3668: 3639: 3635: 3628: 3624: 3606: 3598: 3587: 3569: 3561: 3557: 3549: 3545: 3520: 3513: 3505: 3501: 3493: 3489: 3470: 3466: 3457: 3453: 3445: 3441: 3431: 3426: 3422: 3414: 3410: 3402: 3398: 3364: 3360: 3335: 3331: 3312: 3308: 3272: 3268: 3261: 3257: 3247: 3243: 3239: 3232: 3228: 3220: 3216: 3191: 3187: 3179: 3175: 3157: 3153: 3149: 3144: 3125: 3120: 3116: 3112: 3107: 3065:Arthur Grumiaux 3059:Samuel Feinberg 3032:Purcell Quartet 2942: 2880:Samuil Feinberg 2804: 2799: 2786:A.F.C. Kollmann 2770: 2721:Alfred Einstein 2530:, who employed 2481:Mass in B minor 2398:musical world! 2386: 2381: 2369: 2364: 2363: 2362: 2361: 2360: 2351: 2346: 2345: 2344: 2343: 2342: 2333: 2328: 2327: 2326: 2325: 2324: 2315: 2314: 2299: 2298: 2283: 2282: 2281: 2280: 2279: 2273:Erich Piasetzki 2270: 2263: 2260: 2254: 2253: 2252: 2245: 2242: 2236: 2235: 2234: 2227: 2224: 2217: 2211: 2206: 2198:Williams (2003) 2091:Williams (2003) 2031: 2030: 2022: 2020: 2019: 2018: 2017: 2014: 2007: 2004: 1997: 1991: 1970: 1965: 1964: 1963: 1962: 1961: 1835: 1833:Williams (1985) 1793:Sackmann (2000) 1771: 1770: 1762: 1760: 1759: 1758: 1757: 1754: 1747: 1744: 1737: 1731: 1710: 1705: 1704: 1703: 1702: 1701: 1594: 1593: 1585: 1583: 1582: 1581: 1580: 1571: 1564: 1561: 1554: 1548: 1527: 1522: 1521: 1520: 1519: 1518: 1507: 1495: 1490: 1489: 1488: 1487: 1486: 1477: 1472: 1471: 1470: 1469: 1468: 1459: 1454: 1453: 1452: 1451: 1450: 1444: 1439: 1438: 1437: 1436: 1435: 1426: 1425: 1410: 1409: 1394: 1393: 1385: 1383: 1382: 1381: 1380: 1371: 1364: 1361: 1359:Un poco Allegro 1355: 1354: 1353: 1346: 1343: 1337: 1336: 1335: 1328: 1325: 1318: 1312: 1307: 1295: 1290: 1289: 1288: 1287: 1286: 1277: 1272: 1271: 1270: 1269: 1268: 1267:Adagio e dolce 1259: 1254: 1253: 1252: 1251: 1250: 1241: 1240: 1225: 1224: 1213: 1212: 1204: 1202: 1201: 1200: 1199: 1190: 1183: 1180: 1174: 1173: 1172: 1165: 1162: 1156: 1155: 1154: 1147: 1144: 1137: 1131: 1126: 1114: 1109: 1108: 1107: 1106: 1105: 1096: 1091: 1090: 1089: 1088: 1087: 1078: 1073: 1072: 1071: 1070: 1069: 1060: 1059: 1058: 1057: 1049: 1047: 1046: 1045: 1044: 1035: 1028: 1025: 1019: 1018: 1017: 1010: 1007: 1001: 1000: 999: 992: 989: 982: 976: 969: 957: 952: 951: 950: 949: 948: 939: 934: 933: 932: 931: 930: 921: 916: 915: 914: 913: 912: 904: 903: 888: 887: 872: 871: 863: 861: 860: 859: 858: 851: 844: 841: 835: 834: 833: 826: 823: 817: 816: 815: 808: 805: 798: 792: 787: 782: 774:double stopping 674: 656:Williams (2003) 653: 633:Stauffer (2016) 570:Williams (1980) 548:, godfather to 459:, particularly 384: 378: 363: 300:Café Zimmermann 260:Bach's Nekrolog 232: 204:Clavier–Übung I 171:, Dresden, 1800 117: 103: 87: 82: 23: 22: 15: 12: 11: 5: 5954: 5952: 5944: 5943: 5938: 5928: 5927: 5923: 5922: 5899: 5898: 5896: 5895: 5890: 5885: 5879: 5876: 5875: 5873: 5872: 5863: 5856: 5849: 5842: 5825: 5823: 5817: 5816: 5814: 5813: 5806: 5799: 5796:major, BWV 998 5786: 5779: 5778: 5777: 5765: 5759: 5757: 5753: 5752: 5750: 5749: 5742: 5735: 5734: 5733: 5726: 5712: 5707: 5700: 5692: 5687: 5682: 5674: 5673: 5672: 5671: 5664: 5651: 5638: 5625: 5618: 5611: 5604: 5591: 5578: 5571: 5561: 5560: 5559: 5546: 5533: 5526: 5519: 5506: 5493: 5480: 5473: 5463: 5455: 5454: 5447: 5446: 5445: 5438: 5431: 5419: 5414: 5409: 5403: 5401: 5397: 5396: 5394: 5393: 5384: 5376: 5371: 5362: 5354: 5346: 5338: 5333: 5328: 5323: 5318: 5313: 5304: 5299: 5294: 5285: 5280: 5275: 5270: 5265: 5260: 5255: 5250: 5245: 5240: 5235: 5230: 5220: 5218: 5214: 5213: 5197: 5195: 5194: 5187: 5180: 5172: 5166: 5165: 5164:, harpsichords 5147: 5133: 5115: 5105: 5088: 5086:E. Power Biggs 5072: 5058: 5048: 5036: 5035: 4990:external links 4985: 4983: 4976: 4970: 4969:External links 4967: 4965: 4964: 4959: 4946: 4941: 4928: 4916: 4878: 4858: 4853: 4840: 4836:978-0810882089 4835: 4819: 4814: 4798: 4793: 4780: 4775: 4760: 4755: 4742: 4737: 4721: 4707:, ed. (1965). 4701: 4696: 4672: 4668:978-1840142600 4667: 4654: 4643: 4630: 4617: 4612: 4598: 4596: 4593: 4591: 4590: 4586:978-0190247850 4585: 4572: 4567: 4554: 4549: 4536: 4517:(4): 651–688, 4501: 4497:978-0393084108 4496: 4483: 4474: 4464: 4444: 4439: 4426: 4421: 4405: 4401:978-1571133311 4400: 4387: 4376:10.2307/831926 4370:(3): 369–414, 4357: 4351: 4338: 4333: 4318: 4305: 4292: 4287: 4274: 4269: 4256: 4251: 4238: 4233: 4217: 4203: 4153:Hofmann, Klaus 4149: 4144: 4128: 4124:978-0521651608 4123: 4110: 4086: 4081: 4065:Mendel, Arthur 4060: 4055: 4042: 4020: 4019: 4002: 3984: 3961: 3932: 3920: 3899: 3897: 3894: 3892: 3891: 3878:Hofmann, Klaus 3865: 3851: 3840: 3838: 3837: 3832: 3816: 3805: 3793: 3791:, pp. 3–4 3781: 3758: 3756: 3755: 3749: 3743: 3737: 3723: 3707: 3705: 3704: 3698: 3692: 3678: 3666: 3664: 3663: 3658: 3653: 3647: 3633: 3622: 3620: 3619: 3613: 3585: 3583: 3582: 3576: 3555: 3543: 3523:Sackmann (2000 3511: 3499: 3487: 3485: 3484: 3478: 3464: 3451: 3439: 3430:, p. 286. 3420: 3408: 3396: 3394: 3393: 3388: 3383: 3378: 3377:, pp. 8–9 3372: 3358: 3356: 3355: 3349: 3348:, pp. 7–8 3343: 3329: 3327: 3326: 3320: 3319:, pp. 6–7 3306: 3304: 3303: 3300:Stauffer (2016 3297: 3291: 3286: 3280: 3266: 3255: 3237: 3226: 3214: 3212: 3211: 3205: 3199: 3185: 3173: 3171: 3170: 3168:Speerstra 2004 3165: 3164:, pp. 4–6 3150: 3148: 3145: 3143: 3142: 3113: 3111: 3108: 3106: 3103: 3102: 3101: 3098: 3095:Nimbus Records 3087: 3084: 3077:E. Power Biggs 3074: 3071: 3062: 3056: 3046: 3039: 3029: 3015: 3008:George Malcolm 2995: 2994: 2988: 2978: 2972: 2962: 2953: 2941: 2938: 2934: 2933: 2926:viola da gamba 2918: 2912: 2902: 2899: 2892: 2889: 2886:Hermann Keller 2882: 2876: 2873: 2866: 2856: 2848: 2833:viola da gamba 2827:and continuo ( 2803: 2800: 2798: 2795: 2769: 2766: 2416: 2415: 2412: 2411: 2400: 2399: 2395: 2385: 2382: 2380: 2377: 2376: 2375: 2365: 2357: 2347: 2339: 2329: 2301: 2300: 2285: 2284: 2277:Nassau, Saxony 2271: 2261: 2256: 2255: 2243: 2238: 2237: 2225: 2220: 2219: 2218: 2209: 2208: 2207: 2205: 2202: 2164: 2163: 2162: 2161: 2155: 2145: 2139: 2129: 2115: 2021: 2015: 2005: 2000: 1999: 1998: 1989: 1988: 1987: 1979: 1978: 1966: 1927: 1926: 1912: 1906: 1900: 1886: 1820:Crocker (1986) 1761: 1755: 1745: 1740: 1739: 1738: 1729: 1728: 1727: 1719: 1718: 1706: 1584: 1572: 1562: 1557: 1556: 1555: 1546: 1545: 1544: 1536: 1535: 1523: 1506: 1503: 1502: 1501: 1491: 1483: 1473: 1465: 1455: 1440: 1412: 1411: 1396: 1395: 1384: 1372: 1362: 1357: 1356: 1344: 1339: 1338: 1326: 1321: 1320: 1319: 1310: 1309: 1308: 1306: 1303: 1302: 1301: 1291: 1283: 1273: 1265: 1255: 1227: 1226: 1215: 1214: 1203: 1191: 1181: 1176: 1175: 1163: 1160:Adagio e dolce 1158: 1157: 1145: 1140: 1139: 1138: 1129: 1128: 1127: 1125: 1122: 1121: 1120: 1110: 1102: 1092: 1084: 1074: 1048: 1036: 1026: 1021: 1020: 1008: 1003: 1002: 990: 985: 984: 983: 974: 973: 972: 971: 970: 968: 965: 964: 963: 953: 945: 935: 927: 917: 890: 889: 874: 873: 862: 852: 842: 837: 836: 824: 819: 818: 806: 801: 800: 799: 790: 789: 788: 786: 783: 781: 778: 729:throughout... 673: 668: 652: 649: 602: 601: 600: 599: 530: 529: 525: 522: 518: 380:Williams (2003 376: 362: 359: 323: 322: 317:and continuo. 315:viola da gamba 303: 284: 283: 280: 277: 274: 258:First page of 231: 228: 212:Anna Magdalena 101: 86: 83: 81: 78: 24: 14: 13: 10: 9: 6: 4: 3: 2: 5953: 5942: 5941:Organ sonatas 5939: 5937: 5934: 5933: 5931: 5921: 5911: 5907: 5894: 5891: 5889: 5886: 5884: 5881: 5880: 5877: 5870: 5869: 5864: 5861: 5857: 5854: 5850: 5847: 5843: 5840: 5832: 5827: 5826: 5824: 5818: 5811: 5807: 5804: 5800: 5797: 5787: 5784: 5780: 5775: 5771: 5770: 5769: 5766: 5764: 5761: 5760: 5758: 5754: 5748: 5747: 5743: 5741: 5740: 5736: 5731: 5727: 5724: 5720: 5719: 5718: 5717: 5713: 5711: 5708: 5706: 5705: 5701: 5699: 5697: 5693: 5691: 5688: 5686: 5683: 5681: 5680: 5676: 5675: 5669: 5665: 5662: 5652: 5649: 5639: 5636: 5626: 5623: 5619: 5616: 5612: 5609: 5605: 5602: 5592: 5589: 5579: 5576: 5572: 5569: 5565: 5564: 5562: 5557: 5547: 5544: 5534: 5531: 5527: 5524: 5520: 5517: 5507: 5504: 5494: 5491: 5481: 5478: 5474: 5471: 5467: 5466: 5464: 5462: 5461: 5457: 5456: 5453: 5452: 5448: 5443: 5439: 5436: 5432: 5429: 5425: 5424: 5423: 5420: 5418: 5415: 5413: 5410: 5408: 5405: 5404: 5402: 5398: 5392: 5390: 5385: 5383: 5381: 5377: 5375: 5372: 5370: 5368: 5363: 5361: 5359: 5355: 5353: 5351: 5347: 5345: 5343: 5342:Orgelbüchlein 5339: 5337: 5334: 5332: 5329: 5327: 5324: 5322: 5319: 5317: 5314: 5308: 5305: 5303: 5300: 5298: 5295: 5289: 5286: 5284: 5281: 5279: 5276: 5274: 5271: 5269: 5266: 5264: 5261: 5259: 5256: 5254: 5251: 5249: 5246: 5244: 5241: 5239: 5236: 5234: 5231: 5225: 5222: 5221: 5219: 5215: 5210: 5205: 5201: 5193: 5188: 5186: 5181: 5179: 5174: 5173: 5170: 5163: 5159: 5155: 5151: 5148: 5145: 5141: 5137: 5134: 5132: 5131:Bálint Karosi 5128: 5124: 5120: 5116: 5113: 5109: 5106: 5104: 5100: 5096: 5092: 5089: 5087: 5083: 5079: 5076: 5073: 5070: 5066: 5062: 5059: 5056: 5052: 5049: 5047: 5043: 5040: 5039: 5032: 5029: 5021: 5011: 5007: 5006:inappropriate 5003: 4999: 4993: 4991: 4984: 4975: 4974: 4968: 4962: 4960:9780226617701 4956: 4952: 4947: 4944: 4942:9780521199018 4938: 4934: 4929: 4925: 4921: 4920:Wollny, Peter 4917: 4908:on 2016-03-04 4904: 4900: 4896: 4895: 4887: 4883: 4879: 4876: 4870: 4866: 4865: 4864:Bach-Jahrbuch 4859: 4856: 4854:0-521-36191-5 4850: 4846: 4841: 4838: 4832: 4828: 4824: 4820: 4817: 4811: 4807: 4803: 4802:Smith, Ronald 4799: 4796: 4794:9780198167303 4790: 4786: 4781: 4778: 4776:9780195394382 4772: 4768: 4767: 4761: 4758: 4752: 4748: 4743: 4740: 4738:9780199696284 4734: 4730: 4726: 4722: 4718: 4714: 4710: 4706: 4702: 4699: 4693: 4689: 4685: 4681: 4677: 4673: 4670: 4664: 4661:, Routledge, 4660: 4655: 4651: 4650: 4649:Bach-Jahrbuch 4644: 4640: 4636: 4631: 4627: 4623: 4618: 4615: 4609: 4605: 4600: 4599: 4594: 4588: 4582: 4578: 4573: 4570: 4568:0-521-80346-2 4564: 4560: 4555: 4552: 4546: 4542: 4537: 4534: 4530: 4525: 4520: 4516: 4512: 4511: 4506: 4505:Wollny, Peter 4502: 4499: 4493: 4489: 4484: 4480: 4475: 4472: 4467: 4461: 4457: 4453: 4449: 4445: 4442: 4440:0-521-89115-9 4436: 4432: 4427: 4424: 4418: 4414: 4410: 4406: 4403: 4397: 4393: 4388: 4385: 4381: 4377: 4373: 4369: 4365: 4364: 4358: 4354: 4352:9780199917235 4348: 4344: 4339: 4336: 4334:0-19-517109-8 4330: 4326: 4325: 4319: 4316: 4312: 4308: 4306:9780252040191 4302: 4298: 4293: 4290: 4288:1-58046-135-2 4284: 4280: 4275: 4272: 4266: 4262: 4257: 4254: 4252:1-84014-666-4 4248: 4244: 4239: 4236: 4234:9780198164401 4230: 4226: 4222: 4218: 4214: 4210: 4206: 4204:3-374-01763-0 4200: 4196: 4192: 4188: 4184: 4183:Bach-Jahrbuch 4180: 4176: 4175: 4170: 4166: 4162: 4158: 4154: 4150: 4147: 4141: 4137: 4133: 4129: 4126: 4120: 4116: 4111: 4107: 4103: 4099: 4095: 4091: 4087: 4084: 4078: 4074: 4070: 4066: 4061: 4058: 4052: 4048: 4043: 4039: 4035: 4034:Bach-Handbuch 4031: 4030:Breig, Werner 4027: 4026: 4025: 4024: 4015: 4011: 4007: 4006:Mozart, W. A. 4003: 4000: 3994: 3990: 3985: 3982: 3977: 3973: 3969: 3968: 3962: 3959: 3955: 3950: 3946: 3942: 3938: 3933: 3929: 3925: 3921: 3917: 3916: 3911: 3906: 3905: 3904: 3903: 3895: 3887: 3883: 3879: 3875: 3869: 3866: 3863: 3858: 3856: 3852: 3849: 3844: 3841: 3836: 3833: 3831: 3828: 3827: 3823: 3821: 3817: 3814: 3809: 3806: 3802: 3797: 3794: 3790: 3789:Williams 2003 3785: 3782: 3778: 3777: 3772: 3768: 3767:Deutsch (1965 3762: 3759: 3753: 3750: 3747: 3744: 3741: 3738: 3735: 3732: 3731: 3727: 3724: 3721: 3717: 3711: 3708: 3702: 3699: 3696: 3693: 3690: 3689:Williams 2003 3687: 3686: 3682: 3679: 3675: 3670: 3667: 3662: 3661:Yearsley 1998 3659: 3657: 3654: 3652:, p. 291 3651: 3650:Finscher 1989 3648: 3645: 3644:Williams 2003 3642: 3641: 3637: 3634: 3631: 3626: 3623: 3617: 3616:Williams 2003 3614: 3610: 3604: 3603:Williams 1985 3601: 3600: 3596: 3594: 3592: 3590: 3586: 3580: 3579:Williams 2003 3577: 3573: 3567: 3566:Williams 1985 3564: 3563: 3559: 3556: 3552: 3547: 3544: 3540: 3536: 3532: 3528: 3524: 3518: 3516: 3512: 3509:, p. 135 3508: 3507:Sackmann 2000 3503: 3500: 3496: 3495:Williams 2003 3491: 3488: 3482: 3479: 3477:, p. 679 3476: 3473: 3472: 3468: 3465: 3461: 3455: 3452: 3448: 3443: 3440: 3435: 3429: 3424: 3421: 3417: 3416:Yearsley 2002 3412: 3409: 3405: 3404:Williams 2003 3400: 3397: 3392: 3389: 3387: 3384: 3382: 3379: 3376: 3375:Williams 2003 3373: 3370: 3369:Williams 1980 3367: 3366: 3362: 3359: 3353: 3350: 3347: 3346:Williams 2003 3344: 3341: 3340:Williams 1980 3338: 3337: 3333: 3330: 3324: 3321: 3318: 3317:Williams 2003 3315: 3314: 3310: 3307: 3301: 3298: 3295: 3292: 3290: 3287: 3285:, p. 682 3284: 3281: 3278: 3277:Williams 2003 3275: 3274: 3270: 3267: 3264: 3259: 3256: 3251: 3246: 3241: 3238: 3235: 3234:Williams 2003 3230: 3227: 3223: 3218: 3215: 3209: 3208:Williams 2003 3206: 3204:, p. 471 3203: 3200: 3197: 3194: 3193: 3189: 3186: 3182: 3181:Williams 2003 3177: 3174: 3169: 3166: 3163: 3162:Williams 2003 3160: 3159: 3155: 3152: 3146: 3139: 3135: 3129: 3123: 3118: 3115: 3109: 3104: 3099: 3096: 3092: 3088: 3085: 3082: 3078: 3075: 3072: 3070: 3066: 3063: 3060: 3057: 3054: 3050: 3047: 3044: 3040: 3037: 3033: 3030: 3027: 3023: 3019: 3016: 3013: 3009: 3005: 3002: 3001: 3000: 2999: 2992: 2991:Helmut Walcha 2989: 2986: 2982: 2979: 2976: 2973: 2971:, 1999, 1 CD. 2970: 2966: 2963: 2961: 2957: 2954: 2952:, 1986, 1 CD, 2951: 2947: 2944: 2943: 2939: 2937: 2931: 2927: 2923: 2919: 2917: 2913: 2911: 2910:Samuel Wesley 2907: 2903: 2900: 2897: 2896:György Kurtág 2893: 2890: 2888:, Steingräber 2887: 2883: 2881: 2877: 2874: 2871: 2867: 2865: 2861: 2857: 2854: 2849: 2846: 2842: 2841:Klaus Hofmann 2838: 2834: 2830: 2826: 2822: 2818: 2814: 2813:alto recorder 2810: 2806: 2805: 2801: 2796: 2791: 2787: 2783: 2782:Samuel Wesley 2779: 2774: 2767: 2765: 2763: 2759: 2754: 2750: 2746: 2742: 2738: 2734: 2729: 2727: 2726:Wolff (2012a) 2722: 2718: 2714: 2713: 2704: 2700: 2696: 2691: 2684: 2680: 2676: 2674: 2673: 2667: 2663: 2659: 2655: 2651: 2647: 2640: 2636: 2629: 2624: 2620: 2618: 2613: 2609: 2605: 2601: 2597: 2593: 2589: 2585: 2580: 2576: 2572: 2568: 2564: 2560: 2556: 2552: 2544: 2539: 2535: 2533: 2529: 2525: 2521: 2517: 2508: 2504: 2502: 2498: 2494: 2493: 2488: 2487: 2482: 2478: 2474: 2469: 2466: 2461: 2453: 2448: 2444: 2442: 2438: 2434: 2430: 2426: 2422: 2409: 2405: 2401: 2396: 2392: 2391: 2388: 2387: 2383: 2378: 2368: 2358: 2350: 2340: 2332: 2322: 2321: 2320: 2319: 2310: 2305: 2294: 2289: 2278: 2274: 2259: 2241: 2223: 2203: 2201: 2199: 2194: 2190: 2188: 2183: 2181: 2180:broken chords 2175: 2173: 2168: 2159: 2156: 2153: 2149: 2146: 2143: 2140: 2137: 2133: 2130: 2127: 2123: 2119: 2116: 2113: 2109: 2105: 2102: 2101: 2100: 2099: 2098: 2095: 2092: 2088: 2086: 2081: 2079: 2078: 2073: 2069: 2068:Violin Sonata 2065: 2058: 2057: 2051: 2044: 2040: 2035: 2029: 2027: 2003: 1986: 1984: 1977: 1969: 1960: 1957: 1956: 1955: 1953: 1952:Orgelbüchlein 1949: 1945: 1941: 1937: 1932: 1924: 1923:phrygian mode 1920: 1916: 1913: 1910: 1907: 1904: 1901: 1898: 1894: 1890: 1887: 1883: 1879: 1876: 1875: 1874: 1871: 1869: 1864: 1861: 1857: 1853: 1849: 1845: 1839: 1834: 1830: 1827: 1826: 1821: 1817: 1815: 1809: 1805: 1803: 1798: 1794: 1790: 1788: 1784: 1780: 1776: 1769: 1767: 1743: 1726: 1724: 1717: 1709: 1700: 1697: 1696: 1695: 1693: 1689: 1684: 1682: 1678: 1674: 1670: 1666: 1662: 1658: 1654: 1650: 1646: 1642: 1637: 1635: 1631: 1625: 1623: 1619: 1614: 1610: 1606: 1602: 1599: 1592: 1590: 1579: 1575: 1560: 1543: 1541: 1534: 1526: 1517: 1514: 1513: 1512: 1511: 1504: 1494: 1484: 1476: 1466: 1458: 1443: 1433: 1432: 1431: 1430: 1421: 1416: 1405: 1400: 1392: 1390: 1379: 1375: 1360: 1342: 1324: 1304: 1294: 1284: 1276: 1266: 1258: 1248: 1247: 1246: 1245: 1236: 1231: 1219: 1211: 1209: 1198: 1194: 1179: 1161: 1143: 1123: 1113: 1103: 1095: 1085: 1077: 1067: 1066: 1065: 1064: 1056: 1054: 1043: 1039: 1024: 1006: 988: 987:Vivace (3:38) 966: 956: 946: 938: 928: 920: 911: 910: 909: 908: 899: 894: 883: 878: 870: 868: 856: 840: 822: 804: 784: 779: 777: 775: 771: 767: 763: 762:cantus firmus 759: 755: 750: 748: 744: 738: 734: 730: 726: 721: 719: 715: 711: 704: 699: 693: 689: 685: 683: 679: 672: 669: 667: 665: 661: 657: 650: 644: 640: 638: 634: 629: 628: 623: 619: 615: 611: 607: 597: 593: 592: 591: 590: 586: 581: 577: 575: 571: 567: 563: 559: 555: 554:Kapellmeister 551: 547: 542: 540: 536: 526: 523: 519: 516: 512: 511: 510: 508: 504: 498: 496: 495: 494:cantus firmus 490: 486: 482: 478: 474: 470: 466: 462: 458: 451: 447: 443: 437: 434:, BuxWV 213, 433: 428: 424: 422: 418: 414: 410: 406: 402: 398: 394: 389: 381: 375: 373: 369: 360: 358: 355: 350: 348: 344: 339: 335: 334: 329: 320: 316: 312: 309:, scored for 308: 304: 301: 297: 293: 289: 288: 287: 281: 278: 275: 272: 271: 270: 267: 261: 256: 249: 244: 240: 236: 229: 227: 225: 221: 220:Sophienkirche 217: 213: 207: 205: 201: 197: 196:French Suites 193: 192: 187: 183: 182:Orgelbüchlein 179: 170: 169:Sophienkirche 166: 159: 155: 154:Sophienkirche 150: 146: 142: 137: 135: 130: 128: 123: 114: 110: 106: 100: 91: 84: 79: 77: 75: 71: 67: 62: 58: 54: 50: 46: 42: 38: 37:organ sonatas 29: 19: 5866: 5830: 5744: 5737: 5714: 5702: 5695: 5677: 5458: 5449: 5388: 5379: 5366: 5357: 5349: 5341: 5232: 5111: 5055:James Kibbie 5053:recorded by 5024: 5015: 5000:by removing 4987: 4950: 4932: 4923: 4910:, retrieved 4903:the original 4898: 4892: 4874: 4868: 4862: 4844: 4826: 4823:Stove, R. J. 4805: 4784: 4765: 4746: 4728: 4708: 4683: 4676:Geck, Martin 4658: 4647: 4634: 4625: 4603: 4576: 4558: 4540: 4514: 4508: 4487: 4478: 4455: 4430: 4412: 4391: 4367: 4361: 4342: 4323: 4296: 4278: 4260: 4242: 4224: 4178: 4173: 4136:Bach Studies 4135: 4114: 4106:Jeremy Noble 4093: 4072: 4046: 4033: 4022: 4021: 4009: 3988: 3966: 3954:Introduction 3936: 3927: 3914: 3901: 3900: 3881: 3868: 3862:Hofmann 1999 3848:Olleson 2004 3843: 3808: 3803:, p. 59 3796: 3784: 3774: 3770: 3761: 3740:Stinson 2006 3726: 3710: 3681: 3669: 3656:Stinson 2012 3636: 3625: 3558: 3551:Crocker 1986 3546: 3539:Jones (2007) 3502: 3490: 3483:, p. 20 3467: 3454: 3442: 3423: 3411: 3399: 3361: 3354:, p. 19 3332: 3325:, p. 18 3309: 3269: 3258: 3240: 3229: 3224:, p. 18 3217: 3198:, p. 18 3188: 3176: 3154: 3137: 3133: 3117: 3081:Sony Records 3004:Julian Bream 2997: 2996: 2935: 2922:oboe d'amore 2860:Victor Babin 2789: 2761: 2757: 2730: 2717:Wilhelm Rust 2710: 2708: 2694: 2670: 2643: 2628:Joseph Lange 2612:Ripienschule 2611: 2551:Daniel Itzig 2548: 2513: 2490: 2489:in 1801 and 2484: 2470: 2464: 2460:Johann Traeg 2457: 2417: 2410:in Salzburg 2366: 2348: 2330: 2317: 2316: 2195: 2191: 2184: 2176: 2169: 2165: 2157: 2151: 2147: 2141: 2131: 2125: 2121: 2117: 2112:walking bass 2103: 2096: 2089: 2082: 2075: 2063: 2061: 2054: 2042: 1980: 1975: 1967: 1958: 1939: 1930: 1928: 1918: 1914: 1908: 1902: 1896: 1888: 1877: 1872: 1865: 1856:da capo aria 1843: 1831: 1823: 1811: 1801: 1791: 1772: 1720: 1715: 1707: 1698: 1691: 1687: 1685: 1680: 1676: 1672: 1668: 1664: 1660: 1656: 1652: 1648: 1644: 1640: 1638: 1633: 1626: 1621: 1617: 1608: 1604: 1600: 1595: 1537: 1532: 1524: 1515: 1509: 1508: 1492: 1474: 1456: 1441: 1428: 1427: 1292: 1274: 1256: 1243: 1242: 1111: 1101:E-flat major 1093: 1075: 1062: 1061: 1005:Lento (3:09) 962:E-flat major 954: 936: 926:E-flat major 918: 906: 905: 884:in Fraureuth 751: 746: 743:Breig (1999) 740: 735: 731: 727: 723: 717: 713: 709: 707: 702: 675: 670: 654: 625: 617: 610:Swack (1993) 605: 603: 584: 565: 561: 543: 538: 534: 531: 499: 492: 464: 460: 454: 445: 431: 420: 416: 412: 390: 386: 382:, p. 9) 367: 365: 354:Breig (1999) 351: 338:Wolff (1994) 331: 330:in his 1754 324: 311:oboe d'amore 285: 268: 265: 237: 233: 208: 203: 200:Six partitas 189: 174: 144: 139: 136:as follows: 131: 119: 104: 97: 66:registration 36: 34: 5822:collections 5723:discography 5655:No. 22 in B 5642:No. 18 in G 5629:No. 13 in F 5550:No. 22 in B 5537:No. 21 in B 5103:Ton Koopman 4471:Early Music 4245:, Ashgate, 4163:)]. In 4038:Bärenreiter 3835:Wolff 2012b 3830:Wolff 2012a 3813:Mozart 2010 3776:opera buffo 3752:Wollny 1993 3746:Kilian 1988 3734:Wolff 2012b 3701:Walton 2007 3691:, p. 4 3646:, p. 3 3630:Wolff 2012a 3294:Bach (2013) 3279:, p. 4 3210:, p. 4 3183:, p. 2 3012:RCA Records 3006:(lute) and 2987:, 2-CD set. 2981:André Isoir 2975:André Isoir 2965:Ton Koopman 2930:harpsichord 2870:Béla Bartók 2837:harpsichord 2575:Museuminsel 2557:, Zippora, 2543:Anton Graff 770:trio sonata 637:Bach (2010) 614:Zohn (2008) 528:miniatures. 503:trio sonata 397:Clérambault 319:Bach (2013) 43:525–530 by 5930:Categories 5595:No. 4 in C 5582:No. 3 in C 5510:No. 7 in E 5497:No. 4 in C 5484:No. 3 in C 5391:, BWV 1128 5311:(doubtful) 5292:(doubtful) 5228:(doubtful) 5162:David Hill 4912:2016-10-24 4815:1871082730 4756:1576470784 4697:0151006482 4613:0198165625 4550:0521575842 4465:0674059263 4422:0521217237 4270:3873970953 4145:0521341051 4082:0393319563 4056:0486173240 4036:, Kassel: 3958:Commentary 3801:Dirst 2012 3695:Dirst 2012 3531:Düsseldorf 3475:Breig 1999 3447:Swack 1993 3386:Swack 1993 3289:Wolff 1994 3283:Breig 1999 3147:References 3091:David Hill 2916:Henry Wood 2745:George III 2739:when they 2733:his sister 2693:Page from 2579:fortepiano 2408:his father 2026:media help 1885:responses. 1852:ritornello 1766:media help 1589:media help 1422:in Crostau 1389:media help 1208:media help 1053:media help 867:media help 585:Concert IV 485:Georg Böhm 477:van Noordt 411:who wrote 372:invertible 198:, and the 5369:, BWV 768 5158:BWV 530/3 5154:BWV 530/2 5150:BWV 530/1 5144:BWV 529/3 5140:BWV 529/2 5136:BWV 529/1 5099:BWV 526/3 5095:BWV 526/2 5091:BWV 526/1 5082:BWV 525/3 5078:BWV 525/2 5075:BWV 525/1 5018:June 2022 5002:excessive 4213:0084-7682 4098:Eric Blom 3972:Wiesbaden 3941:Wiesbaden 3674:Bach 1815 3481:Bach 2010 3428:Zohn 2015 3391:Zohn 2008 3381:Bach 2010 3352:Bach 2010 3323:Bach 2010 3263:Bach 2014 3245:Bach 2004 3222:Bach 2010 3196:Bach 2010 3122:Zohn 2015 2465:Hausmusik 2318:Movements 2311:in Saxony 2295:in Nassau 2070:No. 3 of 2043:agréments 1882:chromatic 1690:. In the 1574:Hans Otto 1510:Movements 1449:– Vivace 1429:Movements 1406:in Saxony 1244:Movements 1237:in Saxony 1193:Hans Otto 1063:Movements 1042:Fraureuth 1038:Hans Otto 907:Movements 900:in Saxony 898:Fraureuth 758:cantilena 725:style... 481:Armsdorff 473:Buxtehude 61:obbligato 57:movements 5836:♭ 5793:♭ 5658:♭ 5645:♯ 5632:♯ 5598:♯ 5585:♯ 5553:♭ 5540:♭ 5513:♭ 5500:♯ 5487:♯ 5400:Keyboard 4922:(2010), 4884:(2005), 4825:(2011), 4804:(2000), 4727:(2013), 4678:(2006), 4450:(1994), 4411:(1980), 4223:(2007), 4171:(eds.). 4161:BWV 1032 4155:(1999). 4092:(1965), 4071:(1998), 3926:(1988), 3918:, Zürich 3535:Würzburg 3043:Etcetera 2985:Calliope 2960:Ricercar 2862:, 1942, 2843:, 2006, 2809:BWV 1032 2705:, Vienna 2477:Wetzikon 2359:Allegro 2108:continuo 1959:Allegro 1893:inverted 1814:diastema 1804:, BWV 21 1797:sinfonia 1630:inverted 1516:Allegro 1467:Andante 1249:Andante 1104:Allegro 947:Allegro 606:Concerts 566:Concerts 489:Lüneburg 377:— 333:Nekrolog 292:BWV 1044 156:, where 102:— 5774:Bourrée 5563:Book 2 5465:Book 1 5127:BWV 529 5123:BWV 528 5119:BWV 527 4996:Please 4988:use of 4871:: 11–43 4717:EB 6466 4688:579–607 4624:(ed.), 4181:]. 3981:Preface 3912:(ed.), 3896:Sources 3880:(ed.). 3097:, 2020. 3083:, 1967. 3069:Philips 3045:, 2009. 3038:, 2002. 3036:Chandos 3014:, 1969. 2829:bassoon 2768:England 2571:Dresden 2374:G major 2356:E minor 2338:G major 2323:Vivace 2258:Allegro 2136:stretto 2072:Corelli 2066:in the 2064:Allegro 2039:Corelli 2002:Allegro 1976:C major 1936:Walther 1931:da capo 1783:Kellner 1779:Walther 1716:A minor 1598:da capo 1559:Allegro 1533:C major 1500:E minor 1482:B minor 1464:E minor 1434:Adagio 1404:Crostau 1378:Crostau 1341:Andante 1300:D minor 1285:Vivace 1282:F major 1264:D minor 1142:Andante 1119:C minor 1083:C minor 1068:Vivace 944:C minor 929:Adagio 839:Allegro 803:Allegro 576:42:e3. 558:Hamburg 405:Lebègue 224:Dresden 122:Leipzig 113:Leipzig 70:compass 49:sonatas 5906:Portal 5309: 5290: 5226: 4957: 4939: 4851: 4833: 4812: 4791: 4773: 4753: 4735: 4694: 4665: 4652:: 7–36 4610: 4583: 4565: 4547: 4533:742352 4531: 4494: 4462: 4437: 4419: 4398: 4384:831926 4382: 4349: 4331: 4313: 4303: 4285: 4267: 4249: 4231: 4211: 4201: 4142: 4121: 4079: 4053: 3527:Weimar 3460:BWV 76 2825:violin 2797:France 2737:father 2630:, 1782 2545:, 1786 2427:, and 2341:Lento 2309:Nassau 2222:Vivace 1860:affekt 1787:Weimar 1775:Vogler 1699:Largo 1613:galant 1178:Vivace 1086:Largo 821:Adagio 627:galant 409:Raison 401:Grigny 393:Boyvin 250:, 1723 194:, the 184:, the 115:, 1802 5820:Mixed 5661:minor 5648:minor 5635:major 5601:minor 5588:major 5556:minor 5543:major 5516:major 5503:minor 5490:major 5442:No. 6 5435:No. 4 5428:No. 2 5217:Organ 5200:organ 5069:IMSLP 4906:(PDF) 4889:(PDF) 4877:2019. 4529:JSTOR 4380:JSTOR 4311:JSTOR 4177:[ 3826:See: 3730:See: 3685:See: 3640:See: 3599:See: 3562:See: 3471:See: 3365:See: 3336:See: 3313:See: 3273:See: 3192:See: 3158:See: 3110:Notes 3053:Naive 3026:Erato 2950:Erato 2753:Fanny 2695:Primo 2559:Fanny 2291:1748 2240:Lento 1848:fugue 1844:Largo 1818:. As 1742:Largo 1418:1728 880:1742 521:role; 413:trios 5756:Lute 5125:and 4955:ISBN 4937:ISBN 4849:ISBN 4831:ISBN 4810:ISBN 4789:ISBN 4771:ISBN 4751:ISBN 4733:ISBN 4713:ISMN 4692:ISBN 4663:ISBN 4639:ISMN 4608:ISBN 4581:ISBN 4563:ISBN 4545:ISBN 4492:ISBN 4460:ISBN 4435:ISBN 4417:ISBN 4396:ISBN 4347:ISBN 4329:ISBN 4301:ISBN 4283:ISBN 4265:ISBN 4247:ISBN 4229:ISBN 4209:ISSN 4199:ISBN 4140:ISBN 4119:ISBN 4077:ISBN 4051:ISBN 4014:ISMN 3993:ISMN 3949:ISMN 3886:ISMN 3609:help 3572:help 3434:help 3250:help 3128:help 3020:and 2928:and 2908:and 2835:and 2821:oboe 2780:and 2735:and 2648:and 2594:and 2555:Sara 2435:and 1929:The 1854:and 1838:help 1781:and 658:and 612:and 483:and 419:and 407:and 345:and 35:The 5206:by 5004:or 4869:102 4519:doi 4372:doi 4191:doi 2839:), 2703:ONB 2499:of 2196:As 741:As 574:TWV 556:in 222:in 206:). 51:in 41:BWV 5932:: 5202:, 5156:, 5152:, 5142:, 5138:, 5121:, 5097:, 5093:, 5080:, 5067:, 5063:, 4899:58 4897:, 4891:, 4867:, 4690:, 4682:, 4527:, 4515:77 4513:, 4454:, 4378:, 4368:46 4366:, 4309:, 4207:. 4197:. 4167:; 4104:; 4100:; 4067:; 3997:. 3974:: 3970:, 3947:, 3943:: 3854:^ 3819:^ 3588:^ 3533:, 3529:, 3514:^ 3034:. 2924:, 2855:). 2819:, 2701:, 2619:. 2590:, 2586:, 2503:. 2423:, 2182:: 1954:. 1850:, 1777:, 1683:. 1636:. 720:: 639:. 479:, 475:, 415:, 403:, 399:, 395:, 349:. 313:, 111:, 107:, 39:, 5908:: 5191:e 5184:t 5177:v 5071:. 5031:) 5025:( 5020:) 5016:( 5012:. 4994:. 4719:. 4521:: 4473:) 4374:: 4215:. 4193:: 4018:. 3983:) 3979:( 3779:. 3676:. 3611:) 3574:) 3462:. 3436:) 3252:) 3130:) 3055:. 2847:. 2831:/ 2823:/ 2815:/ 2792:. 2367:2 2349:8 2331:4 2158:A 2152:B 2148:B 2142:A 2132:A 2126:A 2122:B 2118:B 2104:A 2028:. 1968:4 1925:. 1919:A 1915:A 1909:B 1903:A 1897:A 1889:B 1878:A 1840:) 1816:" 1812:" 1768:. 1708:8 1692:A 1688:B 1681:A 1677:a 1673:b 1669:a 1665:B 1661:b 1657:B 1653:a 1651:– 1649:b 1647:– 1645:a 1641:B 1634:B 1622:B 1618:A 1609:A 1607:– 1605:B 1603:– 1601:A 1591:. 1525:4 1493:8 1475:4 1457:4 1442:4 1391:. 1293:8 1275:8 1257:4 1210:. 1112:2 1094:4 1076:2 1055:. 955:4 937:8 919:2 869:. 517:; 302:. 202:( 20:)

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Index