Six Sonatas for Violin and Harpsichord, BWV 1014–1019

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figured bass accompaniment in quavers. The subject is then taken up in the upper keyboard, while the violin part plays figures drawn from the continuo line, including characteristic quaver leaps in sixths. A two bar bridging passages with semiquaver scales in parallel thirds in the upper parts leads into the statement of the fugue subject in the bass line, while the upper parts develop the accompanying motifs in syncopated exchanges. At the close semiquaver scales in the bass merge into the semiquaver arpeggios from the second interlude in the ritornello, which is reprised in full with the upper parts exchanged. It is followed by a reprise of the first interlude, which leads directly into a repetition of the entire fugal section with the upper parts exchanged. This time at the close the semiquaver scales in the bass line are joined by parallel scales in the upper parts for the final cadence that heralds the concluding rendition of the ritornello.

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line/harpsichord, but now truncated from four bars to three. This is followed by an episode developing the material of the interlude, followed by the truncated fugue subject/countersubject in the harpsichord/violin. There is then a reprise of the episode with cascading semiquaver scales which leads this time into a fifth statement of the truncated fugue subject/countersubject in the violin/harpsichord. It is followed by the second interlude and a sixth and last statement of the truncated fugue subject/countersubject in the bass line/violin. This is immediately juxtaposed with the return of the original (uninverted 4 bar) fugue subject and countersubject in the harpsichord and violin, leading into a concluding restatement of the rhythmic eight bar interlude.

1671:: "Here each of the three voices must separately provide a fine melodic line; yet all the while together they must sustain as much as possible the three part harmony, as if by serendipity." Amongst all composers of that era, Bach was the one who raised the trio sonata form to its highest degree of perfection. In 1774 Bach's son Carl Philipp Emanuel commented that even after fifty years his father's compositions of this kind still sounded very good and that the lyricism of several of his adagios had never been surpassed. This continued veneration for these particular works even long after his death probably sprang not only from the fact that the form matched Bach's own compositional ideals—that all voices should "work wondrously with each other" ( 1696: 1441:

chromatic and modulating—is first heard with its own counter-theme in the fifth bar. It is formed of a chain of motifs descending in crotchets, with syncopated rhythms related to those of the fugue theme. Time-wise the first element accounts for the majority of the movement, but the second element governs its tonal structure. Halfway through the movement in bar 11 the tonality reaches the relative major key of D major, but only fleetingly. The melody of the fugue subject and a variant of its completion return in the violin. After two bars of the chromatic syncopated material, the motifs of the fugue subject, broken up between all three voices, lead up to two cadences in F

1993: 1876: 1416: 174: 1182:. A brief movement of only 21 bars in length, it has the tonal purpose of mediating between the keys of G major and E minor of the first and third movements. With the opening Allegro, it is one of the two movements present in every version of the sonata. The scoring, however, evolved as Bach added a third "middle" voice to the harpsichord part in later versions. This change results in the harpsichord part itself evolving within the piece as the middle voice enters: the texture of the accompaniment is gradually transformed from a simple continuo to a fully realised three-part accompaniment. 1868: 81: 2241:—"it was in the first thirty or forty years of the last century that he gave the public the fully matured fruits of his transcendent genius"—the general revival of interest in the music of Bach, particularly his choral works, was slower in France than in Germany. While referring to the timelessness and influence of Bach's music, Momigny lamented that the sonatas were so rarely performed; he wrote that the time was not ripe because of changes in musical taste, but also observed that "there are very few people capable of playing them and understanding them". 1567: 2026:& me on the fiddle at them. He has appointed Monday next at 12 o'Clock for our coming to him ... The triumph of Burney over his own Ignorance & Prejudice is such a glorious Event that surely we must make some sacrifice to enjoy it. I mentioned Kollmann as quite capable of playing the Sonatas, but you will see that he prefers you. Pray comply in this arduous Enterprize. Remember our cause, "Good Will towards Men" is at the bottom of it, & when Sebastian flourishes here, there will be at least more musical "Peace on Earth." 963:, the structure of the first part can be described as follows. The fugue subject is first played by the harpsichord in the first four bars. In the next four bars it is taken up by the violin while the harpsichord plays the countersubject. Before the bass plays the theme, there are two linked interludes. The main one is four bars long with the violin playing material based on the fugue subject, while the harpsichord plays characteristic two bar motifs which Eppstein describes as "fountain-like". These are made up of semiquaver 1122: 3685:, p. 91 Ce morceau pourrait etre froid, monotone et d'un goût suranné, s'il était mal exécuté ; mais senti et rendu comme pourraient le sentir et le rendre Mme Bigot et M. Baillot, il ne laissera rien à désirer, et n'aura d'antique que quelques terminaisons qu'on sera bien aise d'y trouver, comme étant le cachet de l'époque où ce morceau a vu le jour, et surtout sous l'archet de M. Baillot, qui sait les rafraichir d'une manière délicieuse, et avec un sentiment qui tient de la dévotion." 1355:, BWV 831: the final piece in BWV 831 was also an unspecified dance movement with a similar function of showcasing the harpsichord. BWV 1019/3 is composed as a large scale movement with two and sometimes three voices. The semiquavers in the rhythmic theme are developed in extended passagework in both the upper and lower keyboard; after a development section and a recapitulation of the theme an octave lower, the second part concludes with semiquavers in parallel and contrary motion in both hands. 2210: 1778: 2268: 1469: 1377: 1284: 1196: 1046: 898: 804: 636: 537: 1617: 976: 528: 1594: 744: 1931: 1794: 889: 704: 795: 1704: 1603:—temporarily halting the flow of semiquavers, which resumes immediately afterwards with cascading scales over the fugue subject in the bass line. After a reprise with the parts inverted between violin and harpsichord, the middle section continues with joyful dance-like material drawn from the ritornello in half-bar exchanges between the violin and upper harpsichord before a cadence in E minor. The eight bar opening segment of section 1137: 157:—that the sonatas BWV 1014–1019 must have originated in lost trio sonatas for two instruments and continuo, no prior versions have been discovered and it is accepted that only a few movements could have such an origin. The first known source from 1725, in the handwriting of Bach's nephew Johann Heinrich Bach, explicitly specifies an obbligato harpsichord; and, despite the fact that a later version in the hand of Bach's pupil 2011: 2129: 2056: 291:. The violin solo, with the harpsichord providing a simple figured bass accompaniment, was an early version of the Tempo di Gavotta from the same partita. Only the harpsichord part survives, but the violin solo for the fifth movement has been reconstructed without difficulty from the score of BWV 830; the missing violin part for the short Adagio has been recovered from the second version of the sonata. 1256: 1813:, she took lessons from him and provided him with some financial support in his old age. Through Wilhelm Friedemann and Carl Philipp Emanuel, she acquired a collection of hand copies of Bach manuscripts, including copies of the first and third sonatas (BWV 1014 and BWV 1016). After her marriage to the banker Samuel Salomon Levy in 1784, she ran a weekly musical salon in their residence on the 1460: 1368: 1275: 1037: 1187: 1941: 218:; and accordingly Schmieder's rigid chronology is no longer generally accepted. Nevertheless, even though there is no direct confirmation for the dating of BWV 1014–1019, Bach scholars agree that the circumstances surrounding the 1725 source probably point to the first versions of these sonatas being composed between 1720 and 1723 during Bach's last years in Cöthen. In the 1958 2140: 2041: 432:

the accompanying keyboard ritornello of the first movement of the F minor sonata BWV 1018, the two parts in the upper keyboard and the bass line share the same material which is echoed imitatively between them; in the third movement of the same sonata, the filigree demisemiquaver scale figures in the right hand are responded to by demisemiquaver arpeggios in the left hand.

239:. This suggests that the initial collection of sonatas, assembled for an unknown purpose, was probably copied from pre-existing compositions and hastily completed. This hypothesis is not only compatible with Bach's heavy compositional duties as Thomaskantor at the start of his period in Leipzig; but also agrees with the dating of the sonatas to Cöthen by Bach's biographer 1966:, one of the main musicians leading the Bach revival in Germany, Mendelssohn would often include Bach's lesser known works in the programmes of the evening chamber music concerts at the Gewandhaus: in 1838 David and Mendelssohn performed the third sonata in E major BWV 1016; and in 1840 David played the Chaconne in D minor and Praeludium in E major from Bach's 1927:, commented that "die Angabe der Bezeichnungen von einem Manne kommt, der nicht blos volkommener Meister seines Instrumentes, sondern auch vom Geiste Bach'scher Grossartigkeit durchdrungen ist" ("the provision of annotations comes from a man who is not merely a perfect master of his instrument, but also suffused with the sublimity of Bach's spirit"). 31: 767:-like episode revisiting the trilling exchanges from the beginning of the movement, the ritornello theme returns mid-bar in the left hand of the harpsichord, accompanied by the countersubject in the right hand. With the upper parts exchanged, there is a repeat of the dactylic interlude along with its eight bar sequel. It is linked by a brief quasi- 5698: 320:. Now with five movements and matching more closely the earlier five sonatas, it retained the first two movements (with some minor modifications, including "Vivace" changed to "Allegro") but had three newly composed movements after that: a dance-like harpsichord solo in E minor in binary form; an Adagio in B minor, modulating to D major; and a 2237:(1818) analysing the sonatas BWV 1014 and BWV 1015/1. The article discusses the development of the sonata in the eighteenth century, divided into halves, with the sonatas of Bach, in Nägeli's edition, taken as representatives for 1700–1750 and the piano sonatas of Haydn for 1750–1800. Although Momigny enthusiastically wrote of Bach, 2120:, Salomon again performed one of the unaccompanied sonatas together with one of the sonatas for violin and harpsichord, with Wesley at the keyboard. More of the sonatas BWV 1014–1019 were included in subsequent concerts featuring Salomon: two were played for the first time in 1812 in a Surrey Chapel recital with Jacob at the organ. 214:; and the period from 1723 onwards when he served as Thomaskantor in Leipzig. Accordingly, the chamber music works by Bach were automatically assigned to the Cöthen period. Later generations of Bach scholars have recognized that Bach's involvement with chamber and orchestral music continued in Leipzig, especially through the 251:

allegro and a short largo, remained largely unaltered throughout these revisions and were copied by Bach's nephew Johann Heinrich into the earliest surviving manuscript from 1725. The originals, assumed to date from Cöthen, are lost; but it is probable that these were the first two movements of a three-movement

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The writings of Momigny can be considered as marking the reawakening of an interest in Bach in France. Already in 1803, barely a year after the publication of Forkel's biography of Bach, he had started his study of polyphony with the fugues and sonatas of Bach. One of Momigny's main contributions was

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This piece could be cold, monotonous and old-fashioned if poorly played; but felt and played as Mme Bigot and M Baillot can feel it and play it, it leaves nothing to be desired; its only aspects from the past are some cadences that are not so easy to notice and are part of its period charm; but above

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bars (see above) the fugue subject is first heard in the harpsichord, then the violin and finally in the bass line, when it is accompanied for two bars by the first statement of the countersubject—a rising sequence of repeated notes and trills—in the harpsichord. This is followed by the first episode

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which contains both a fugue subject and a countersubject. New material is also introduced in a brief two bar interlude a third of the way through the movement. The ritornello, or parts of it, recurs ten times in the movement, which it also concludes. The fugue subject is heard in C minor and G minor,

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over broken semiquaver chords in the bass; in BWV 1016/3 in trio sonata form, the two upper parts share the same material, with invertible counterpoint and imitation; in BWV 1014/3, the right hand part adds an imitative subordinate voice to the melody line in the violin, often accompanying in thirds.

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gives a detailed analysis of the musical structure of the Adagio, which alternates between two contrasting elements, the interplay between the two underlying the architecture of the movement. The first "arc-shaped" element is the fugue theme—florid, melodic, rhythmically complex and based around the

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The excellent Bach possessed this in the highest degree. When he played, the soloist had to shine. By his exceedingly adroit accompaniment he gave the upper part life when it had none. He knew how to imitate the upper part so cleverly, with either the right hand or the left, and how to introduce an

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as soloist and Wesley at the keyboard. For the first concerts, when Salomon was unavailable, Wesley played the violin part himself, although somewhat out of practice. Prior to the first public concert with organ accompaniment in the Surrey Chapel in November 1809, Wesley and Jacobs had also given a

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with David. In Leipzig the firm of Friedrich Kistner published David's performing version of the solo sonatas and partitas in 1843. Later Mendelssohn had the arrangement of the Chaconne published in England in 1847; piano accompaniments were subsequently provided for all Bach's solo violin works by

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is then reprised with the parts inverted followed by another episode of one-bar exchanges of motifs from the ritornello between all three parts until the music comes to a halt with a cadence in B minor. It resumes as a fugue on the counter-subject of the ritornello but the flow of the counter-theme

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motifs leaping upwards before descending in the semiquaver figures of the countersubject. The second interlude of three bars has both parts playing these semiquaver figures in parallel. The material from both episodes is then ingeniously developed. Eventually a four bar passage of semiquaver scales

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For the remainder of the movement, Bach ingeniously permutes all the musical material at his disposal, with thematic passages from the ritornello interspersed with more elaborately developed variants of previous episodes. Between two bridging episodes, the ritornello theme returns in the violin but

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comments, although this new material is quite different from that of the ritornello, Bach subsequently relates it to the ritornello: in the two bar reprise of the fugue subject of the ritornello at the cadence, chromatic fourths are included first in the descending left hand of the harpsichord; and

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bars in which motifs from the ritornello are developed between the upper parts in imitative responses and in parallel: rhythmic figures from the fugue subject are played in counterpoint to semiquaver passagework; and elsewhere the upper parts respond to each with trills. The ritornello then returns

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Whatever its origins, the conception of the newly composed Allegro matches that of the five other fugal last movements as well as the symmetry of the opening Allegro. The opening ritornello section is 30 bars long. After the statement of the three-bar fugue subject in the violin, it is taken up in

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version of the opening motif appears in the bass line in the third bar as the two upper voices play descending figures semiquaver couplets, which not only complete the melodic line of the fugue theme in the violin part but also provide a counter-theme. The second "rectilinear" element—more severe,

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The upper keyboard part can have an independent structure from the other voices: that happens in the broken chord semiquavers or triplets that give Bach's predetermined realisation of a figured bass in the slow movements of BWV 1017; and also in BWV 1016/1 where it is divided into three voices. In

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In general the first fast movements of the sonatas are written as tutti fugues and the closing movements as concerto allegros. There are two exceptions: in the fifth sonata BWV 1018 in F minor, the first fast movement is a concerto allegro and the closing allegro is a tutti fugue; and in the third

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movements BWV 1016/i, BWV 1017/iii and BWV 1018/iii, uses figures that are idiomatic to a keyboard instrument but unsuited to other instruments. Although this compositional style became widespread in the late eighteenth century, in Bach's day it was unusual and innovative. Although all the sonatas

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with piano accompaniments provided by Mendelssohn; he felt that a piano accompaniment was needed to make the solo violin works more accessible to a nineteenth century audience. The Chaconne was programmed in several subsequent Gewandhaus seasons; David was unwilling to perform it unaccompanied in

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The fourth movement is an Adagio in B minor in common time. Of 21 bars in length, its tonal function is to mediate between the keys of the central and final movements (E minor and G major). The contrapuntal material of themes and counter-themes is shared and exchanged between all three parts; the

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throughout the ritornello, passing from one voice to another. After the first eight bars, when the main theme is heard twice, there is an eight-bar interlude when the violin and upper keyboard play in counterpoint, alternating between semiquaver motifs derived from the main theme and a syncopated

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explains, citing the opening of BWV 1017/3 as an example, the G string's "energy and powerful voice make it a whole instrument in itself and the lower this voice is, the more opportunity it gives to expression to attain the sublime." Around the violin melody, in the same registers, the right hand

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The third movement is considered to be an arrangement of an aria from a lost secular cantata, probably dating from Bach's period in Cöthen. There is no longer any indication that the opening Vivace should be repeated in performance; the lack of a fast finale returning to the original key has been

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I am in the utmost Distress, & there is no one on Earth but yourself can help me out of it. Dr. Burney is stark staring mad to hear Sebastian's Sonatas, & I have told him all how & about your adroit Management of his Music in general. He was immediately resolved on hearing you on the

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The history of the sixth sonata BWV 1019 is distinct from that of the five others. The three different versions of the sonata and its successive comprehensive modifications in Leipzig indicate that its role in the collection evolved only gradually. The two first movements, a large scale concerto

1675:)—but also from the succeeding generation's preference for "sensitive" melodies. Perhaps even more influential was Bach's elevation of the harpsichord from a continuo instrument to a prominent obbligato instrument, on equal terms with the solo instrument, whilst also providing the bass line. As 1142:

The middle portion of the movement lasts 48 bars and is also symmetrical in structure, made up of two fugal sections and a central episode in which the non-thematic material in the ritornello is heard again. The new fugue subject is five bars long and is first heard in the violin with a simple

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Although parallel to the first part, the second part is not a straightforward inversion (it is ten bars longer with 64 bars instead of 54). Only the fugue subject and countersubject are inverted. Both are also transformed in other ways: the first by adding intermediate notes and removing some

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The slow movements by contrast are united only by their diversity. The violin and keyboard play different roles and there are often more than two voices in the upper parts, which can divide in the keyboard part or have double stopping in the violin. Bach explored all possibilities in the slow

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movements: they can resemble movements from every variety of baroque musical genre, including concertos, chamber works, dance suites, cantatas or accompanied arias; and the textures in the keyboard and the violin were often new departures, quite distinct from previously known compositions.

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now starting in the middle of a bar. The fugue theme is heard again in the bass line accompanied by the countersubject in the violin; the fugue subject then passes to the violin starting mid-bar; and finally it is heard in the upper keyboard of the harpsichord. After a further extended

377:. Contrary to Eppstein's choice of name, these do not start off with a "tutti" section: they commence with the fugue subject in one of the upper parts (violin or right hand of the harpsichord), accompanied by a non-thematic accompaniment in the bass, which can be a bare bass line or a 993:

The second part starts with the (modified) fugue subject in the violin; followed by the subject in the harpsichord and the countersubject in the violin. As in the first part, there is a reprise of both interludes followed by a statement of the fugue subject/countersubject in the bass

359:, with its five movements and two previous versions, Eppstein gives his analysis for the first five sonatas BWV 1014–1018, viewing the movements of the sixth sonata as hybrid forms. The movements of the three versions of BWV 1019 will be discussed separately in its own section below. 1836:, Nägeli showed precocious musical skills. In 1790 he moved to Zürich 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 Bach's publisher 412:

sonata BWV 1016 in E major both allegros are tutti fugues. Both fast movements are usually linked by the musical form of their subjects. Although the binary form of the concerto allegro is usually described as "dance-like", unlike other movements of this form discussed in detail by

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long phrases in the main theme provide a soaring melody for the violin. The first version of the sonata also had an Adagio in B minor with a similar function but, as Richard Jones comments, the later replacement is "more elaborate and of greater expressive weight and substance."

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The solo movements provide a contrast with the other movements, which are duos for violin and obbligato harpsichord; moreover as dance movements they add variety and lightness to the set, making it more like a dance suite. The harpsichord solo was later published in Bach's

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had reported on Salomon's performances of the "magnificent violin solos by Bach without accompaniment" in Berlin, praising "the great power and sureness with which Salomon presented these masterpieces." In London thirty years later, at Wesley's 1810 benefit concert in the

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in the harpsichord part leads to a cadence and then a reprise of the second interlude, before a fourth and final statement of the subject and countersubject. The first part then concludes with an emphatic rendition of the two interludes in the violin and harpsichord.

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was unaware that the 1725 manuscript had been largely copied by Bach's nephew, who was only a pupil at the Thomasschule at the time. In addition two of the three last movements in the sixth sonata copied by Bach himself were borrowed from the sixth keyboard partita

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part ... added as a companion to the upper voice so that at the appropriate time the upper voice would shine. This right was even given at times to the bass, without slighting the upper voice. Suffice it to say that anybody who missed his playing missed a great

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widely used in the early eighteenth century. In the minor key it was associated with a mood of melancholy or even pathos. The elegiac melodic line and ornamentation are entirely suited to the violin. As numerous commentators have pointed out, with its affecting

2304: 126:. In each case the trio sonata texture derives from the compositional form and not the particular combination of instruments, which was partly a function of the musicians at Bach's disposal. This is well illustrated by the first movement of the organ sonata 1679:

comments, with his sonatas for violin and obbligato keyboard "Bach triggered off the gradual demise of the sonata for violin and continuo," even though it lived on in a few eighteenth century volin sonatas, for example those of Bach's German contemporaries

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and a cadence marking the beginning of the middle section of the movement. The arpeggios in the left hand of the harpischord are accompanied by an adaptation of the syncopated countersubject in the right hand and fragmented quaver responses in the violin.

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by the upper harpsichord part two bars later. The second complete statement of the theme is in the harpsichord with the canon in the violin, which passes into its "noble" lower register playing an expressive descending sequence of long sustained notes in

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In BWV 1014/1 and BWV 1016/1, there are instances when the violin and upper keyboard respond to each other, with one borrowing the thematic material of the other. In these last two movements the violin and the upper keyboard are equally matched partners.

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to comment that, "Anybody who has not heard Bach's beautiful compositions played by Mme Bigot, Lamare and Baillot will not know how far the perfection of instrumental music can go." Later around 1820 Fétis himself attempted unsuccessfully to advance the

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and subsequent commentators have pointed out—without drawing any definite conclusions beyond the practise of self-borrowing—that the subject, countersubject and other motifs in the ritornello have strong affinities with the aria for soprano and continuo

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form, it is a hybrid movement, combining features from the tutti fugue and the concerto allegro. The energetic quaver theme in the fugal ritornello section is made up of repeated notes; the semiquaver counter-theme is also made up of repeated notes.

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responses are expressive but subdued. Bach's knowledge of the expressive qualities of the violin is shown in the opening phrases, written so they can be played on the G string, the lowest string on the violin, regarded as having a "noble" tone. As

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After the publication of Clavier-Übung I, probably in the late 1720s, Bach revised the sixth sonata by excising the two published movements from BWV 830. He replaced the harpsichord solo by a lengthy Cantabile for violin and obbligato harpsichord:

2295: 1251:. It is during this passage that the third middle voice is first heard in the harpsichord playing semiquavers which dovetail with those of the main theme in the harpsichord, the combination of parts developing into a semiquaver accompaniment. 1347:—it cannot be identified with a particular dance. Although perhaps less brilliant than the sixth partita, the compositional style is comparable to Bach's keyboard writing of the 1730s that can be found in the binary preludes in Book 2 of the 443:

In the majority of slow movements, however, the role of the upper keyboard part is subordinate to that of the violin and—although composed with independent material—serves the function of providing an obbligato accompaniment.

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begins with a new highly ornamented one-bar theme in the harpsichord, consisting of declamatory repeated notes answered by a trill. It is echoed a bar later in the violin with the harpsichord playing in parallel thirds.

1751:, the Austrian ambassador to Berlin: starting in the 1770s, van Swieten ran his only weekly salon in Vienna devoted to the music of Bach. Bach's music was also performed in Berlin outside the royal court. The family of 1261:

As this episode ends, the entire theme is heard once again but now in the bass line (in a slightly adapted form) with the violin in canon two bars later, resuming its descending sustained notes until the final cadence.

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is heard in the harpsichord, then in a response in the violin and finally in the harpsichord where it leads into a cadence. This is accompanied in the bass line by new rising figures made up of chromatic fourths. As

355:. He determined common features in their compositional forms; part of his aim was to investigate their possible origins as transcriptions of lost compositions for chamber ensemble. Because of the complex history of 403:, i.e. are written in two sections which can be repeated (most often only the first section is repeated). All parts play together at the beginning and there are solo episodes; the subject and countersubject are in 423:

Unlike the fast movements, there is no longer an equality between the two upper parts and the bass, which plays a continuo role. Sometimes the bass has its own theme, as in BWV 1014/1, where it produces a partial

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catalogue of Bach's works in the 1950s, the assumption was that Bach's musical output matched his responsibilities in each of the three distinct phases in his career: the period 1700–1717 when he was organist at

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Salomon was already familiar with Bach's compositions for violin through Bach's son Carl Philipp Emanuel whom he knew from his period in Berlin, where he had served from 1764 to 1780 as director of music to

170:, a sonata written in the style of a concerto. Throughout his life Bach returned to the sonatas to refine and perfect the score, particularly in the last sonata, which survives in three different versions. 1630:. After further contrapuntal exchanges between all three parts the music draws to a second halt with a cadence in B minor. It then resumes with a complete recapitulation of the ritornello back in G major. 5249: 1821:, from its foundation in 1791 until her retirement in 1810. The collections of Bachiana of Sara Levy and C.P.E. Bach became part of the Sing-Akademie's library, now held in the Berlin State Library. 2178:, who had died a year before her arrival. Obliged to return to France in 1809 because of the Napoleonic wars, during the period 1809–1813 she proceeded to mount concerts in Paris with the violinist 5368: 1108:-like semiquaver theme descending in the violin is matched by a rising quaver countersubject in the upper keyboard, with a rhythmic quasi-continuo in the bass line. The upper voices are written in 2285: 860:

keyboard part weaves a dreamy accompaniment of broken chords in triplets. Below them the bass part punctuates the melody with a fragmented continuo-like accompaniment in quavers and crotchets. As

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the upper harpsichord part with the semiquaver counter subject in the violin. It is then heard in the bass with the counter-theme in the upper harpsichord. At bar 14 the fugue develops with an

2094:. The public concerts included keyboard works—with some of Bach's organ works arranged for piano three hands—and often one of the sonatas for violin and harpsichord, with the German violinist 699:

major; further complexity is added by reprises starting in the middle of a bar. Musical material from the ritornello and interlude is developed extensively in the many intervening episodes.

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Asmus, Jürgen (1986), "Zur thematischen Arbeit und Formbildung in Bachschen langsamen Sonatensätzen (Sonaten für Violine und obligates Cembalo, BWV 1014–1019)", in Reinhard Szeskus (ed.),

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in the next bar they are then heard as a rising quaver motif in the right hand, forming a new countersubject. This four bar passage is immediately repeated with the upper parts exchanged.

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corrected errors in Nägeli's version by going back to original manuscripts; and Lipinski decided upon bowing and other performing details by playing through the sonatas with the organist

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form, i.e. three independent parts consisting of two equally matched upper voices above a bass line. Instead of playing the role of a continuo instrument, filling in the harmonies of a

99:, the harpsichord took one of the upper melodic lines on equal terms with the violin, whilst also providing the bass line (which could be reinforced if desired by the addition of a 64:

was left to the discretion of the performer, the keyboard part in the sonatas was almost entirely specified by Bach. They were probably mostly composed during Bach's final years in

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Siegele, Ulrich (2006), "Taktzahlen als Ordnungsfaktor in Suiten- und Sonatensammlungen von J. S. Bach: Mit einem Anhang zu den Kanonischen Veränderungen über "Vom Himmel hoch"",

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response. In the concluding four bar coda, the violin and harpsichord play semiquaver figures imitatively as the tonality modulates to G major, leading into the final Allegro.

1669:... es müssen hier alle drey Stimmen, jede für sich, eine feine Melodie führen; und doch dabey, soviel möglich, den Dreyklang behaupten, als obes nur zufälliger Weise geschehe 682:

has described it as "a mammoth compendium of musical ideas all somehow integrated into one of the most intensive fugal movements Bach ever wrote." The movement is built on a

1743:

as her music teacher: since 1751 he had been employed as another of Frederick's court violinists. Anna Amalia's music library—the Amalienbibliothek, now incorporated in the

5456: 5317: 5245: 111: 1447:

minor. The second element returns in the final two bar coda as the music modulates to the closing cadence in D major, in anticipation of the fifth movement in G major.

5561: 5181: 4561:

Rempp, Frieder (2001), "Überlegungen zur Chronologie der drei Fassungen der Sonate G-Dur für Violine und konzertierenden Cembalo (BWV 1019)", in M. Staehelin (ed.),

1747:—contained a large collection of Bach manuscripts, including a hand copy of the sonatas. Many musical compositions from her collection were transmitted to Vienna by 366:, with a slow first movement, followed by a fast movement, then another slow movement before the final allegro, often having a joyful or witty dance-like character. 4738: 106:

In the totality of Bach's musical output, the instrumental sonatas written in trio sonata form are small in number. Apart from the BWV 1014–1019, there are the six

3608:, pp. 225–226 Wesley's personal copy, Nägeli's Zürich imprint, was purchased from Escher's music shop in London and is preserved in the Wesley archive of the 1962:

was director; their association dated back to their infancy, as they were born within a year of each other in the same house. A champion of Bach's music and, with

5123: 4576: 4078: 2074:

The sonatas BWV 1014–1019 figured prominently in the "English Bach awakening" that took place at the beginning of the 19th century, largely due to the efforts of

5675: 3660:

Qui n'a entendu les belles compositions de Bach exécutées par Mme Bigot, Lamare et Baillot ne sait jusqu'où peut aller la perfection de la musique instrumentale

1159:

unexpected counter-theme against it, that the listener would have sworn that everything had been carefully written out ... his accompaniment was always like a

5492: 5436: 5269: 1967: 1096:

start with slow movements: BWV 1019, like the instrumental concertos of Bach, begins with a fast movement. Symmetrical in structure and written in strict

864:

comments, the complex and contrasting juxtaposition of rhythms, if played as annotated, has a magical effect. In the course of the movement there are six

5385: 2248:

and resulting issues of nationalism prompted French music publishers to bring out their own editions of classic German works to replace German editions.

1577:

version of the opening motif in the violin in counterpoint with semiquaver figures in the left hand of the harpsichord with responses in the right hand.

1548: 370:

pointed out a uniform structure in the fast movements. They are all fugal in form but can be divided into two distinct and readily identifiable types:

5718: 5451: 5446: 5441: 5185: 4733: 1127:

For the remainder of the ritornello the semiquavers pass to the bass, with an arpeggiated version of the motifs for two bars which leads into a short

2239:

c'est dans les trente ou quarante premières années du siècle dernier, qu'il offrit au public les fruits pleins de maturité de son génie transcendant,

5373: 5296: 916: 603:, the compositional style and impassioned tone resemble those of the obbligato violin solo in the celebrated alto aria "Erbarme dich" from Bach's 4064:

Die Gewandhausconcerte in Leipzig 1781-1881, Festschrift zur hundertjährigen Jubelfeier der Einweihung des Concertsaales im Gewandhaus zu Leipzig

739:

for seven bars with the fugue subject in the harpsichord. After the cadence, a pivotal two bar interlude introduces new motifs in all the parts:

435:

In a few exceptional movements the upper keyboard part is directly related to the violin part: in BWV 1015/3, the two upper parts play in strict

72:. The extant sources for the collection span the whole of Bach's period in Leipzig, during which time he continued to make changes to the score. 1711:

In the second half of the eighteenth century in Germany, the sonatas were transmitted through hand copies made by Bach's pupils and circle from

5330: 1024:

The three stages in the evolution of Sonata No. 6 in G major are described in great detail in the section "Origins and compositional history",

1562:

notes that probably in the original aria the quaver figures musically represented the trotting of horses and the semiquavers their swiftness.

5728: 5481: 4751: 4552: 1695: 1992: 351:. In the 1960s Hans Eppstein made a systematic analysis of all the sonatas for obbligato keyboard and melody instrument, including the six 5210: 2158:

in 1786, she was a highly accomplished keyboard player. In 1804, she moved to Vienna, where her performances attracted the admiration of

915: 5004: 2075: 2032: 2014: 779:, leading directly into the concluding eight bar ritornello, its opening marked by the rising chromatic fourth figure in the bass line. 1875: 1415: 5165: 5099: 4985: 4862: 4771: 4626: 4502: 4261: 4052: 3915: 1736: 5398: 5393: 5358: 5353: 5347: 5342: 5325: 5147: 5020: 4840: 4484: 4450: 4399: 4236: 4214: 1487: 1395: 1302: 1214: 1064: 822: 654: 555: 173: 3775: 4248:(2010), "Notes on J.S. Bach and Basso Continuo Realization", in Butler, Gregory S.; Stauffer, George; Greer, Mary Dalton (eds.), 2244:

At the beginning of the twentieth century there was an increased interest in classical chamber music in France. The onset of the

1486: 1394: 1301: 1213: 1063: 821: 653: 554: 288: 232: 5108:

Unverricht, Hubert (1980), "Spieltraditionen von Johann Sebastian Bachs unbegleiteten Sonaten und Partiten für Violine allein",

2086:(sold by subscription in four instalments), Wesley began to stage performances of Bach's works in London with the help of Horn, 5403: 5284: 5279: 5274: 5066: 4106: 2842: 1923: 1626:

remarks, these momentary interruptions are similar in effect to those in the last movement of the fourth Brandenburg Concerto

352: 107: 5055: 4891: 4818: 4796: 4692: 4662: 4593: 4466: 4422: 4309: 4287: 4189: 4095: 4030: 4005: 2183: 2000: 1861: 5575: 2220: 2213: 1755:, banker to Frederick the Great and his father, provided a cultural milieu for musical connoisseurs: four of his daughters, 86:

Sounate â Cembalo certato è Violino Solo, col Basso per Viola da Gamba accompagnato se piace. Composte da Giov: Sebast: Bach

4785:

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

3979: 3055:

in 1702. It indicates that all notes but the last under the slur are to be held slightly longer than their marked duration.

5416: 4780: 2206:

of Bach: his invitation for subscriptions to a proposed publication of organ works by Bach elicited only three responses.

1723:, where Carl Philipp Emanuel Bach was appointed harpsichordist in 1740, had a number of exceptional violinists, including 1112:

in the ritornello, with the musical material alternating every two or four bars. The semiquavers continue unabated like a

56:

form, with the two upper parts in the harpsichord and violin over a bass line supplied by the harpsichord and an optional

5688: 3939:

Johann Sebastian Bachs Traditionsraum (Forschungskollektivs 'Johann Sebastian Bach' an der Karl-Marx-Universität Leipzig)

5516: 4253: 3924:

Asmus, Jürgen (1982), "Innendynamische Charakteristika in der Sonatenkonzeption J.S. Bachs", in Reinhard Szeskus (ed.),

1867: 1837: 1352: 1344: 949: 284: 2742: 2425: 1651:

in the musical world. It incorporated all the ideals of harmony, melody and counterpoint espoused by theorists such as

80: 5542: 3887: 3731:

has prepared a 24 page commentary on the sonatas, which is also available as an audio commentary on a supplementary CD

2197:

Bach's sonatas for violin and keyboard featured in the repertoire of the Paris concerts and prompted the musicologist

4439: 2384:

Arrangement of Siciliano, BWV 1017/i, for violin and harp, Franz Poenitz (1850–1912), Berlin: Carl Simon Musikverlag.

2198: 161:

has a marginal "Violin I" at the start of BWV 1014, the scoring of the upper part in the keyboard, especially in the

5429: 5091: 4854: 4832: 4788: 4680: 4654: 4414: 4279: 4044: 4022: 2112: 2108: 1951: 1944: 907: 333:

The slow movements contain some of Bach's most beautiful and profound essays in serious, sad, or lamenting affects.

35: 3841:

The music for violin and cembalo/continuo, Vol. II: Sonatas for violin and obbligato cembalo nos. 4–6, BWV 1017–19

2228:

all under the bow of Baillot these are brought to life in a delicious way and with a feeling imbued with devotion.

2150:

At the turn of the nineteenth century, the chamber music of Bach became known in Paris thanks to the intermediary

1566: 5408: 4177: 3829:

The music for violin and cembalo/continuo, Vol. I: Sonatas for violin and obbligato cembalo nos. 1–3, BWV 1014–16

1846: 846:

melodic line in dotted rhythms in its lower and middle registers as if an alto solo. At first declamatory in the

617:

slurs gradually descending in steps—provide a rhythmic pulse gently driving the movement forward, almost like an

317: 255:

In the 1725 manuscript the remaining movements were entered by Bach himself. The sonata took the following form:

244: 158: 5476: 4883: 4391: 3997: 3045: 2615: 2343: 2091: 1914: 316:

The sonata attained its final form some time between 1729 and 1741 and survives in a copy made by Bach's pupil

4965: 3942: 3929: 2366:

Siciliano, BWV 1017/i, piano solo: Heinrich Bungart (1864–1910); Eric Kuhlstrom (1860–1940); and Ludwig Stark.

2329: 1981: 1980:

Schumann. In 1864 David prepared an edition of BWV 1014–1016 for Peters which was reissued ten years later by

1824:

The first printed score only appeared in the early nineteenth century. It was published in the early 1800s in

1856:

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

5723: 5633: 5549: 5139: 4977: 4810: 4743: 4443: 4228: 4206: 3907: 3844: 3832: 2708: 2435: 1857: 1818: 1806: 1728: 1681: 1109: 404: 347:

The first musical description of the sonatas for obbligato harpsichord and violin BWV 1014–1019 appeared in

3050: 2663: 2328:

Arrangement of the six sonatas for viola and piano, Friedrich Hermann (1828–1907), Library of Viola Music,

2174:. In Vienna she became familiar with the keyboard and chamber music of Bach through the musical circles of 381:. The fugue subject is then taken up by the other upper part and finally in the bass. These movements have 5702: 5615: 5596: 5031:"Towards a Performance History of Bach's Sonatas and Partitas for Solo Violin: Preliminary Investigations" 4104:

Eppstein, Hans (1964), "Zur Problematik von J. S. Bachs Sonate für Violine und Cembalo G-Dur (BWV 1019)",

3609: 2694: 2525: 2501: 2079: 2004: 1918: 1756: 1685: 1436:

tonic key. It is heard in the first bar in the harpsichord over a rising scale of quavers in the bass. An

1121: 240: 5582: 5421: 5254: 4932: 4899: 4301: 2801: 2583: 2421: 2083: 2063: 1724: 1689: 1656: 1348: 49: 4356:

Lester, Joel (2001), "Heightening Levels of Activity and J. S. Bach's Parallel-Section Constructions",

2748: 2714: 2209: 1739:, the sister of Frederick the Great, was a keen amateur keyboard player and from 1758 had Bach's pupil 613:

semiquaver figures in the harpsichord right hand, while the quavers in the left hand—with their French

2724: 1777: 876:

describes the mood of the movement as "verinnerlichte und vergeistigte"—inward-looking and spiritual.

5555: 5500: 5008: 4014: 3741: 2763: 2667: 2573: 2567: 2521: 2487: 2117: 2095: 2059: 1996: 1829: 1782: 1744: 4511:

Palm, Albert (1966), "La connaissance de l'œuvre de J. S. Bach en France a l'époque préromantique",

4225:

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

3745: 2773: 166:

are written in trio sonata form, each has its own distinct character—the third is an example of the

5661: 5647: 5535: 5291: 4475:

Olleson, Philip (2004), "Samuel Wesley and the English Bach Awakening", in Kassler, Michael (ed.),

4203:

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

4198: 3985: 2811: 2807: 2704: 2639: 2539: 2529: 2067: 1886: 1720: 236: 3876:, Johann Sebastian Bach. Neue Ausgabe sämtlicher Werke. Revidierte Edition (NBArev), vol. 3, 1343:

for solo harpsichord. Unlike the movements it replaced—the corrente and tempo di gavotta from the

5609: 5205: 5075: 4949: 4718: 4528: 4373: 4345: 4123: 3967: 2841:

The title page was written by Bach's nephew Wilhelm Friedrich Bach with an annotation by his son

2817: 2732: 2718: 2678: 2591: 2577: 2405: 1767: 1478: 1386: 1293: 1248: 1205: 1055: 813: 764: 645: 605: 546: 186: 5202:

Clavier Sonaten mit obligater Violine / von Johann Sebastian Bach. Zürich: Bëy Hans Gëorg Nägeli

4962:

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

2649: 2401: 1616: 868:

phrases of increasing complexity and length in the violin part each followed by a proportionate

280: 178: 5201: 4908: 4651:

Violin Technique and Performance Practice in the Late Eighteenth and Early Nineteenth Centuries

1893:, trained with Paganini and toured all the main cities in Europe before eventually settling in 975: 527: 5161: 5143: 5117: 5095: 5051: 5016: 4981: 4887: 4858: 4836: 4814: 4792: 4767: 4747: 4729: 4688: 4684: 4672: 4658: 4622: 4602: 4589: 4570: 4548: 4498: 4480: 4462: 4446: 4418: 4395: 4305: 4283: 4257: 4232: 4210: 4185: 4181: 4169: 4091: 4072: 4048: 4026: 4001: 3911: 3881: 3864: 3799: 2587: 2459: 2191: 2187: 2175: 2171: 1959: 1934: 1930: 1890: 1879: 1793: 1771: 1748: 1740: 1593: 1574: 1539: 1437: 1093: 953: 743: 219: 215: 4062: 1840:

and the widow of C.P.E. Bach, he was able to acquire Bach manuscripts, including that of the

1507:

The fifth and final movement of BWV 1019 is a concertante, gigue-like Allegro in G major and

5654: 5508: 4941: 4710: 4520: 4365: 4337: 4154: 4115: 3959: 2684: 2549: 2463: 2373: 1910: 1852: 1805:

Sara was the most gifted harpsichordist in the Itzig family, of professional standard. When

1652: 1089: 888: 703: 363: 1703: 794: 5131: 4871: 4641:

Johann Sebastian Bach; his work and influence on the music of Germany, 1685–1750, Volume 2

4328: 2791: 2738: 2688: 2623: 2605: 2557: 2497: 2483: 2431: 2336: 2245: 2186:. After 1813, as a result of political events, she restricted herself to teaching, taking 2163: 2087: 2048: 1963: 1901:, he prepared a new performing edition of BWV 1014–1019 in collaboration with the pianist 1841: 1136: 982:

repeated notes which change its rhythmic character to a more continuous melodic line; and

750: 396: 177:

Johann Georg Schreiber, 1720: Engraving of Katherinenstrasse in Leipzig. In the centre is

4377: 3780:, Johann Sebastian Bach's Werke (Bach-Gesellschaft), vol. IX, Breitkopf & Härtel 2777: 2535: 2219:

Another musicologist who had attended many of the recitals of Bigot was the musicologist

135: 5035:

Essays in Honor of László Somfai: Studies in the Sources and the Interpretation of Music

749:

In the upper parts a tightly phrased semiquaver figure ornamented with a demisemiquaver

60:. Unlike baroque sonatas for solo instrument and continuo, where the realisation of the 5568: 4635: 4272: 3877: 3860: 3728: 3434: 2797: 2787: 2781: 2671: 2653: 2633: 2619: 2609: 2507: 2467: 2445: 2411: 2253: 2249: 2179: 2143: 2100: 2044: 2010: 1976: 1972: 1781:

Title page of first printed edition of the sonatas published by the Swiss musicologist

1660: 1623: 428:

effect; in BWV 1014/3, BWV 1016/3 and BWV 1017/3, the bass line is a genuine ostinato.

382: 139: 100: 57: 4875: 4477:

The English Bach Awakening: Knowledge of J.S. Bach and His Music in England, 1750–1830

5712: 5030: 4349: 4145: 2821: 2752: 2643: 2629: 2601: 2543: 2449: 2415: 1814: 1243: 1113: 964: 504: 482: 436: 223: 203: 4495:

Frederick the Great and His Musicians: The Viola Da Gamba Music of the Berlin School

2055: 5640: 5468: 5195: 4974:

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

4927: 4639: 4411:

Ornamentation in Baroque and Post-baroque Music: With Special Emphasis on J.S. Bach

4319: 3852: 3751: 3438: 2767: 2657: 2597: 2563: 2553: 2473: 1752: 1648: 1419:

Part of a pictorial representation of the opening of BWV 1019/4 from the 1921–1922

1239: 1235: 1128: 787: 378: 362:

The five sonatas BWV 1014–1018 are all in four movements in the conventions of the

96: 61: 1897:. In 1841, as part of a complete edition of Bach's works by the Leipzig publisher 1255: 2302: 2284: 1485: 1393: 1300: 1212: 1062: 914: 820: 652: 553: 313:

taken as an indication of the unfinished or intermediate status of this version.

142:

as solo instruments; and likewise by the trio sonata for two flutes and continuo

5603: 4606: 4245: 4165: 4136:

Studien über J. S. Bachs Sonaten für ein Melodieinstrument und obligates Cembalo

3820: 2756: 2728: 2698: 2511: 2477: 2388: 2151: 2133: 1902: 1898: 1798: 1732: 1719:

rose to prominence as the centre of musical activities in Germany. The court of

1644: 1340: 1179: 1085: 987: 937: 776: 675: 595: 400: 195: 92: 53: 4563:

Die Zeit, die Tag und Jahre macht: Zur Chronologie des Schaffens von J. S. Bach

4434:

The letters of Samuel Wesley: social and professional correspondence, 1797-1837

3805: 2428:(harpsichord), Elatus Records (four different recordings between 1964 and 1998) 1459: 1367: 1274: 1186: 1088:. This already sets the sonata apart from the previous sonatas, which like the 1036: 678:

is a "concerto allegro" according to Eppstein's classification. 109 bars long,

5589: 5110:

Johann Sebastian Bach und seine Ausstrahlung auf die Nachfolgende Jahrhunderte

4369: 2319: 1955: 1940: 1499: 1407: 1323: 1314: 1226: 1101: 1076: 983: 928: 834: 683: 666: 567: 386: 3809: 5047: 4701:

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

2167: 2139: 2040: 1424: 843: 591: 34:

Manuscript of the first movement of BWV 1019, third version, copied by

4158: 2349:

Siciliano, BWV 1017/i, for violin and orchestra, 1885, Berlin: Schlesinger.

1825: 1786: 1761: 211: 65: 4945: 4909:"A Bach cult in late-eighteenth-century Berlin: Sara Levy's musical salon" 4341: 2128: 146:

and its alternative version for viola da gamba and obbligato harpsichord,

130:

which originated as the sinfonia starting the second part of the cantata,

17: 4432: 1833: 1627: 952:; namely in the second part of the binary movement, the fugue subject is 618: 610: 600: 425: 199: 147: 143: 123: 119: 115: 5079: 4019:

Bach Interpretation: Articulation Marks in Primary Sources of J. S. Bach

2070:

in 1774, was one of the main concert venues in London for over a century

936:

The final Allegro of BWV 1017 is a spirited dance-like "tutti fugue" in

416:, no specific dance forms have been associated to individual movements. 153:

Although it had been believed for some time—and advanced as a theory by

4323: 3857:

Six Sonatas for Violin and Obbligato Harpsichord BWV 1014–1019 (Urtext)

2515: 2491: 2453: 2439: 1894: 1810: 1712: 1600: 1547:("Phoebus speeds with swifty steeds") from the secular Wedding Cantata 1534: 1420: 1151: 1105: 1097: 1010: 941: 772: 768: 460: 228: 127: 69: 30: 4953: 4722: 4532: 4127: 3971: 3950:

Breslauer, Peter (1988), "Diminutional Rhythm and Melodic Structure",

4544: 4539:

Rampe, Siegbert (2013), "Sonaten für obligates Cembalo und Violine",

3874:

Kammermusik mit Violine BWV 1001–1006, 1021, 1023, 1014–1019 (Urtext)

3796:

Six Sonatas for Violin and Piano (Harpsichord) BWV 1014–1019 (Urtext)

2408:(organ), 1957, Les Discophiles Français – DF 209-210 Remastered 2021. 2372:

Adagio, BWV 1018/iii, piano solo; Bernhard Kistler-Liebendörfer; and

2310:

Performed by Petro Titiajev (violin) and Ivan Ostapovych (pipe organ)

2155: 1716: 1555: 990:

groups of three semiquavers instead of four (see the 5th bar above).

207: 131: 91:

Bach's sonatas for violin and obbligato harpsichord were composed in

1844:, which he eventually published. His Bach publications started with 1238:

in the harpsichord which for the first three bars is annotated as a

609:. The harpsichord supplies a continuo-like accompaniment. There are 5156:

Zohn, Steven (2013), "Bach: Chamber Music", in Murray Steib (ed.),

4714: 4619:

Sei Solo: Symbolum?: The Theology of J. S. Bach's Solo Violin Works

4524: 4143:

Eppstein, Hans (1969), "Grundzüge in J. S. Bachs Sonatenschaffen",

4119: 3963: 395:. These follow the model of the fast movements of the concertos of 4385: 3787:

Sechs Sonaten für Violino und Cembalo, BWV 1014–1019 (NBA, Urtext)

2208: 2159: 2138: 2127: 2103:, a venerable Handelian, recently converted to Bachism by Wesley. 2054: 2039: 2009: 1991: 1939: 1929: 1874: 1866: 1817:. Sara herself performed in public, including performances at the 1792: 1776: 1702: 1694: 1414: 1339:

time, the third and central movement of BWV 1019 is an allegro in

945: 321: 172: 79: 29: 4972:

Zohn, Steven (2015), "Telemann and the Sonate auf Concertenart",

940:. Like the last movements of BWV 1014 and the first organ sonata 2369:

Adagio, BWV 1017/iii, piano solo, Bernhard Kistler-Liebendörfer.

1885:

In the early nineteenth century the virtuosity of the violinist

181:, where the Collegium Musicum held weekly chamber music concerts 5214: 4930:(1993), "Sara Levy and the Making of Musical Taste in Berlin", 3992:

Buelow, George J. (2004), "Johann Sebastian Bach (1685–1750)",

4041:

Engaging Bach: The Keyboard Legacy from Marpurg to Mendelssohn

2363:

Adagio, BWV 1016/i, piano solo, Bernhard Kistler-Liebendörfer.

1889:

heralded a new generation of violinists. The Polish violinist

190: 45: 986:

is introduced in the countersubject, now playfully scored in

2360:

Andante, BWV 1015/iii, piano solo, Ludwig Stark (1831–1884).

2266: 1467: 1375: 1282: 1194: 1169:

Comments on Bach's continuo playing, Johann Dietrich Daube,

1044: 896: 802: 634: 535: 2379:

Allegro, BWV 1019/i, piano solo, Erich Doflein (1900–1977).

1608:

is interrupted four times by half-bar interjections of the

1599:

The new theme has the effect of an interjection —a kind of

84:

Title page from 1725 manuscript of BWV 1014–1019. It reads

1580:

At the cadence marking the end of the ritornello (section

1084:

The opening movement is a concerto allegro in G major and

5318:

Sonatas for viola da gamba and harpsichord, BWV 1027–1029

5088:

Bach's Numbers: Compositional Proportion and Significance

4644:, translated by Clara Bell; J.A. Fuller-Maitland, Novello 3815:

Bach, J.S. (1975), Karl Schleifer; Kurt Stiehler (eds.),

1178:

The second movement of BWV 1019 is a Largo in E minor in

112:

sonatas for viola da gamba and harpsichord, BWV 1027–1029

5188:(includes some digitised eighteenth century manuscripts) 4298:

Bach's Well-Tempered Clavier: The 48 Preludes and Fugues

4088:

The Bach Chaconne for Solo Violin: A Collection of Views

2342:

Adagio, BWV 1016/i, for violin and organ, 1885, Berlin:

2170:; her husband served as librarian to Beethoven's patron 1242:. The violin enters with the theme which is imitated in 2078:. In 1809, while arranging the future publication with 1832:. The son of a musically inclined Protestant pastor in 5374:

Canonic Sonata for oboe, violin and continuo, BWV 1040

5158:

Reader's Guide to Music: History, Theory and Criticism

2111:, the younger brother of Frederick the Great. In 1774 1104:

is scored as a tutti section for all three parts. The

5686: 5313:

Six Sonatas for Violin and Harpsichord, BWV 1014–1019

4916:

Bulletin of the American Academy of Arts and Sciences

4611:, translated by Ernest Newman, Breitkopf & Härtel 4405:(the subsequent expanded edition is available online) 4324:"Music reviews: J.S. Bach's chamber music for violin" 2223:. Of their performance of BWV 1014 in 1810 he wrote: 4274:

The Historical Performance of Music: An Introduction

3249:

The translation is adapted from the New Bach Reader.

2721:(harpsichord), Son an ero / Cordes & Ames, 2011. 210:; the period 1717–1723 when he was Capellmeister at 5625: 5527: 5491: 5467: 5384: 5305: 5270:

Sonatas and Partitas for Solo Violin, BWV 1001–1006

5262: 4807:

The Chromatic Fourth During Four Centuries of Music

842:In the Adagio in triple time, the violin plays the 114:, and the three sonatas for flute and harpsichord, 4271: 3714: 2357:Allegro, BWV 1014/i, two pianos, Michael Gottlieb. 385:, solo episodes, fugal development sections and a 3839:Bach, J.S. (1993b), Richard Douglas Jones (ed.), 3827:Bach, J.S. (1993a), Richard Douglas Jones (ed.), 3817:Sonaten für Violine und Cembalo, 2 Bände (Urtext) 971:The second part of BWV 1017/4 starts as follows: 3902:Antokoletz, Elliott; Wheeldon, Marianne (2011), 2387:Arrangement of Adagio, BWV 1017/iii, for organ, 43:six sonatas for violin and obbligato harpsichord 2235:Encyclopédie méthodique ou par ordre de matière 2225: 2019: 1907:Six grandes sonates pour piano et violon obligé 1156: 331: 287:; before that it had already been entered into 356: 5676:List of compositions by Johann Sebastian Bach 5226: 4703:Journal of the American Musicological Society 4358:Journal of the American Musicological Society 3529: 3134: 283:as the Corrente in BWV 830, the sixth of the 247:describes the sonatas as being 50 years old. 8: 5369:Sonata for two flutes and continuo, BWV 1039 5044:The Violin: A Research and Information Guide 4543:, Bach-Handbuch (in German), vol. 5/2, 274:Vivace, G major (repeat of opening movement) 5417:Sinfonia for violin and orchestra, BWV 1045 5136:Johann Sebastian Bach: The Learned Musician 3315: 1584:), the middle 58-bar "development" section 413: 5233: 5219: 5211: 5122:: CS1 maint: location missing publisher ( 4764:Richard Wagner's Zurich: The Muse of Place 4653:, Cambridge Musical Texts and Monographs, 4575:: CS1 maint: location missing publisher ( 4077:: CS1 maint: location missing publisher ( 3981:The Evolution of Annotated String Editions 3630: 3409: 2099:private performance of all six sonatas to 243:: a letter to him in 1774 from Bach's son 68:between 1720 and 1723, before he moved to 5457:For two harpsichords in C minor, BWV 1060 5186:International Music Score Library Project 4437:, Ph.D. eprints, University of Nottingham 4384:Little, Meredith; Jenne, Natalie (2001), 3187: 3122: 3041: 2938: 2794:(piano), BWV 1017, Warner Classics, 2016. 861: 5192:Digitised eighteenth century manuscripts 4613:(originally published in French in 1905) 4565:(in German), Göttingen, pp. 169–183 4090:, American String Teachers Association, 3926:Johann Sebastian Bach und die Aufklärung 3794:Bach, J.S. (1973), Hans Eppstein (ed.), 3785:Bach, J.S. (1960), Rudolf Gerber (ed.), 3545: 3483: 3403: 3397: 3303: 3271: 3266: 3261: 3227: 3221: 3215: 3175: 3169: 3110: 3093: 3087: 3075: 3044:, p. 286 The slur was described by 3023: 3006: 2994: 2988: 2977: 960: 944:, it follows the same plan as the fugal 873: 755: 367: 154: 5693: 3872:Bach, J.S. (2014), Peter Wollny (ed.), 3774:Bach, J.S. (1860), Wilhelm Rust (ed.), 3641: 3624: 3605: 3593: 3579: 3463: 3276: 3246: 3128: 3058: 2834: 2233:an article in the music section of the 1735:, another of Graun's pupils. In Berlin 1676: 856: 407:, so can be permuted between the parts. 5115: 4568: 4270:Lawson, Colin; Stowell, Robin (1999), 4070: 3557: 3524: 3519: 3493: 3309: 3146: 2317: 1497: 1405: 1312: 1224: 1074: 926: 832: 664: 565: 348: 339: 271:Violin solo with figured bass, G minor 231:, movements also included in the 1725 5482:Orchestral Suite in G minor, BWV 1070 4677:The Cambridge Companion to the Violin 4043:, Musical Performance and Reception, 3709: 3635: 3574: 3551: 3514: 3488: 3427: 3421: 3415: 3380: 3369: 3363: 3357: 3342: 3327: 3321: 3286: 3281: 3232: 3192: 3181: 3152: 3140: 3116: 3081: 3035: 3029: 3000: 2983: 2960: 2955: 2932: 2920: 2881: 2804:(harpsichord), Harmonia Mundi, 2018./ 2335:Arrangements by the German violinist 2090:and Benjamin Jacobs, organist at the 1559: 1432: 222:edition, the editor and musicologist 7: 5399:Violin Concerto in E major, BWV 1042 5394:Violin Concerto in A minor, BWV 1041 4897:(a reprint of a 1985 publication in 4459:Samuel Wesley: The Man and His Music 4174:Johann Sebastian Bach: Life and Work 3747:Informal commentary on BWV 1014–1019 3697:, pp. 99–100, 107, 111–112, 114 3694: 3682: 3670: 3655: 3509: 3478: 3451: 3375: 3198: 2926: 2914: 2899: 2886: 2866: 2854: 2745:(harpsichord), Zigzag Records, 2012. 2480:(piano), Columbia Masterworks, 1976. 1968:sonatas and partitas for solo violin 679: 2418:(piano), 1951, Membran reissue 2007 1770:and Bella (maternal grandmother of 674:The second movement of BWV 1017 in 5404:Concerto for Two Violins, BWV 1043 5037:, Scarecrow Press, pp. 87–108 2318:Problems playing these files? See 2035:to Benjamin Jacobs, September 1809 1545:Phoebus eilt mit schnellen Pferden 1522:time. Written for three voices in 25: 5437:Keyboard concertos, BWV 1052–1065 4880:Bach: Essays on His Life and Work 4138:, Upsalla: Almqvist & Wiksell 1975:did so while briefly sharing the 575:The opening Largo of BWV 1017 in 76:Origins and compositional history 5719:Sonatas by Johann Sebastian Bach 5696: 5477:Orchestral Suites, BWV 1066–1069 5297:Partita for Solo Flute, BWV 1013 4541:Bachs Orchester- und Kammermusik 4387:Dance and the Music of J.S. Bach 4176:, translated by John Hargraves, 2300: 2282: 1673:wundersam durcheinander arbeiten 1615: 1592: 1565: 1498:Problems playing this file? See 1483: 1458: 1406:Problems playing this file? See 1391: 1366: 1313:Problems playing this file? See 1298: 1273: 1254: 1225:Problems playing this file? See 1210: 1185: 1135: 1120: 1075:Problems playing this file? See 1060: 1035: 974: 927:Problems playing this file? See 912: 887: 833:Problems playing this file? See 818: 793: 742: 702: 687:and their relative major keys, E 665:Problems playing this file? See 650: 566:Problems playing this file? See 551: 526: 324:-like final Allegro in G major. 5182:6 Violin Sonatas, BWV 1014–1019 5013:The Cambridge Companion to Bach 4586:The Keyboard Music of J.S. Bach 2843:Johann Christoph Friedrich Bach 2681:(harpsichord), Ambroisie, 2006. 2260:Arrangements and transcriptions 1924:Allgemeine musikalische Zeitung 1667:of 1739, Mattheson wrote that, 1345:sixth keyboard partita, BWV 830 1234:The Largo begins with a simple 189:created the chronology for the 4876:"Bach's Leipzig Chamber Music" 3715:Antokoletz & Wheeldon 2011 2814:(piano), la dolce volta, 2018. 2570:(harpsichord), Opus 111, 1996. 2184:Jacques-Michel Hurel de Lamare 1862:Carl Friedrich Christian Fasch 1774:), were all keyboard players. 1550:Weichet nur, betrübte Schatten 950:keyboard partitas, BWV 825–830 1: 5562:Everything's Gonna Be Alright 5160:, Routledge, pp. 39–41, 4829:The Organ Music of J. S. Bach 4479:, Ashgate, pp. 215–314, 4223:Jones, Richard D. P. (2013), 3941:, Bach-Studien, vol. 9, 3928:, Bach-Studien, vol. 7, 3341:For more details, please see 2824:(harpsichord), Çedille, 2018. 2636:(harpsichord), Channel, 2002. 2580:(harpsichord), Chandos, 1996. 2560:, 1993 (Sonatas 1, 2 & 6) 2256:'s version of BWV 1014–1019. 1665:Der Vollkommene Capellmeister 1643:In the period 1700–1750, the 1554:dating from Bach's period in 1423:lectures of the Swiss artist 1269:(harpsichord solo) in E minor 709:In the opening ritornello of 5729:Compositions for harpsichord 5067:Archiv für Musikwissenschaft 4254:University of Illinois Press 4107:Archiv für Musikwissenschaft 2504:(harpsichord), Archiv, 1982. 1838:Bernhard Christoph Breitkopf 1353:Overture in the French Style 1171:Treatise on the figured bass 338:A History of Baroque Music, 5576:Jesu, Joy of Man's Desiring 5292:Cello Suites, BWV 1007–1012 4584:Schulenberg, David (2006), 4493:O'Loghlin, Michael (2008), 4409:Neumann, Frederick (1983), 3932:, pp. 228–241, 266–277 3767:Selected published editions 3366:, pp. 235–236, 274–275 2701:(piano), Medici Arts, 2009. 1954:, was concertmaster at the 1351:or some movements from the 399:. Like dances, they have a 308:Adagio, B minor and G minor 268:Adagio, B minor and G minor 5745: 5452:No. 4 in A major, BWV 1055 5447:No. 2 in E major, BWV 1053 5442:No. 1 in D minor, BWV 1052 5092:Cambridge University Press 4855:Cambridge University Press 4833:Cambridge University Press 4789:Cambridge University Press 4681:Cambridge University Press 4675:, in Robin Stowell (ed.), 4655:Cambridge University Press 4415:Princeton University Press 4280:Cambridge University Press 4045:Cambridge University Press 4023:Cambridge University Press 3994:A History of Baroque Music 3895:Books and journal articles 2691:(harpsichord), Onyx, 2007. 2646:(harpsichord), Sony, 2002. 2113:Johann Friedrich Reichardt 2109:Prince Heinrich of Prussia 1828:by the Swiss musicologist 1688:, Gottfried Kirchhoff and 1020:No. 6 in G major, BWV 1019 998:No. 5 in F minor, BWV 1018 514:No. 4 in C minor, BWV 1017 492:No. 3 in E major, BWV 1016 470:No. 2 in A major, BWV 1015 448:No. 1 in B minor, BWV 1014 353:organ sonatas, BWV 525–530 108:organ sonatas, BWV 525–530 36:Johann Christoph Altnickol 5671: 5112:, Mainz, pp. 176–184 5029:Fabian, Dorottya (2005), 4907:Wolff, Christoph (2005), 4851:Bach: A Musical Biography 4378:10.1525/jams.2001.54.1.49 4370:10.1525/jams.2001.54.1.49 4318:Ledbetter, David (2015), 4296:Ledbetter, David (2002), 4178:Houghton Mifflin Harcourt 3627:, pp. 19–24, 278–281 3135:Lawson & Stowell 1999 1847:The Well-Tempered Clavier 1797:Portrait of Sara Levy by 1639:German-speaking countries 1100:form, its opening 21 bar 414:Little & Jenne (2001) 318:Johann Friedrich Agricola 289:Anna Magdalena's Notebook 265:Harpsichord solo, E minor 159:Johann Friedrich Agricola 5005:"The Instrumental Music" 4884:Harvard University Press 4849:Williams, Peter (2016), 4827:Williams, Peter (2003), 4805:Williams, Peter (1997), 4617:Shute, Benjamin (2016), 4588:, Taylor & Francis, 4457:Olleson, Philip (2003), 4431:Olleson, Philip (2000), 4392:Indiana University Press 4170:"The Sonatas and Suites" 4061:Dörffel, Alfred (1884), 3998:Indiana University Press 3777:Kammermusik, Erster Band 2711:(organ), Classico, 2010. 2354:Arrangements for piano: 2221:Jérôme-Joseph de Momigny 2214:Jérôme-Joseph de Momigny 2194:as pupils in 1816–1817. 2092:Surrey Chapel, Southwark 1915:August Alexander Klengel 1727:, the violin teacher of 253:Sonate auf Concertenart. 5140:Oxford University Press 4978:Oxford University Press 4811:Oxford University Press 4758:(subscription required) 4744:Oxford University Press 4671:Stowell, Robin (1992), 4649:Stowell, Robin (1990), 4444:Oxford University Press 4229:Oxford University Press 4207:Oxford University Press 4134:Eppstein, Hans (1966), 4039:Dirst, Matthew (2012), 3952:Journal of Music Theory 3908:Oxford University Press 3855:; Andrew Manze (eds.), 3845:Oxford University Press 3833:Oxford University Press 3802: 979-0-2018-0223-7 3424:, pp. 101, 102–103 2278:BWV 1017 – 1. Siciliano 2132:Woodcut of the pianist 1858:Sing-Akademie zu Berlin 1819:Sing-Akademie zu Berlin 1807:Wilhelm Friedemann Bach 1729:Wilhelm Friedemann Bach 1682:Johann Adam Birkenstock 1110:invertible counterpoint 771:section to a three bar 503:Adagio ma non tanto in 405:invertible counterpoint 168:Sonate auf Concertenart 5616:A Whiter Shade of Pale 5597:Sheep may safely graze 5204:, Loeb Music Library, 5003:Breig, Werner (1997), 4966:Breitkopf & Härtel 4960:Wollny, Peter (2010), 4762:Walton, Chris (2007), 4734:"Johann Peter Salomon" 4159:10.13141/bjb.v19691929 4086:Eiche, Jon F. (1985), 3943:Breitkopf & Härtel 3930:Breitkopf & Härtel 3610:Royal College of Music 2743:Jörg-Andreas Bötticher 2709:Sven-Ingvart Mikkelsen 2695:Frank Peter Zimmermann 2436:Egida Giordani Sartori 2330:Breitkopf & Härtel 2271: 2230: 2216: 2147: 2136: 2080:Charles Frederick Horn 2071: 2052: 2038: 2017: 2007: 2005:Royal College of Music 1982:Breitkopf & Härtel 1950:The Berlin violinist, 1947: 1937: 1919:Gottfried Wilhelm Fink 1882: 1872: 1802: 1790: 1708: 1700: 1686:Johann David Heinichen 1472: 1427: 1380: 1287: 1199: 1176: 1049: 901: 807: 639: 540: 345: 241:Johann Nikolaus Forkel 182: 88: 38: 5610:Trio Sonata, BWV 525a 5423:Brandenburg Concertos 5255:Johann Sebastian Bach 5086:Tatlow, Ruth (2015), 4933:The Musical Quarterly 4342:10.1353/not.2015.0134 4302:Yale University Press 3978:Brown, Clive (2011), 3789:, Kassel: Bärenreiter 2802:Kristian Bezuidenhout 2664:Elizabeth Blumenstock 2270: 2212: 2199:François-Joseph Fétis 2142: 2131: 2084:Well Tempered Clavier 2064:Johann Christian Bach 2058: 2043: 2013: 1995: 1971:public but the young 1943: 1933: 1878: 1870: 1809:moved to Berlin from 1796: 1780: 1725:Johann Gottlieb Graun 1715:. During that period 1706: 1698: 1690:Johann Georg Pisendel 1471: 1418: 1379: 1349:Well Tempered Clavier 1286: 1198: 1048: 900: 806: 775:-like passage over a 638: 539: 176: 83: 50:Johann Sebastian Bach 33: 5634:Bach's Greatest Hits 5556:Bach-Busoni Editions 5502:The Musical Offering 5359:in E major, BWV 1035 5354:in E minor, BWV 1034 5348:in C major, BWV 1033 5343:in A major, BWV 1032 5326:in B minor, BWV 1030 5015:, pp. 123–135, 4980:, pp. 283–334, 4857:, pp. 322–325, 4513:Revue de Musicologie 4256:, pp. 125–134, 4199:Jones, Richard D. P. 4000:, pp. 503–558, 2574:Catherine Mackintosh 2568:Rinaldo Alessandrini 2526:Leonore Klinckerfuss 2522:Susanne Lautenbacher 2488:Christiane Jaccottet 2296:BWV 1017 – 3. Adagio 2204:musique d'autre-fois 2118:Hanover Square Rooms 2096:Johann Peter Salomon 2060:Hanover Square Rooms 1997:Johann Peter Salomon 1921:, the editor of the 1745:Berlin State Library 1737:Princess Anna Amalia 1699:Princess Anna Amalie 1634:Reception and legacy 245:Carl Philipp Emanuel 5662:Switched-On Bach II 5648:Jazz Sebastian Bach 5536:Air on the G String 5042:Katz, Mark (2006), 4946:10.1093/mq/77.4.651 4547:, pp. 90–117, 3986:University of Leeds 3888:Part of the preface 3884: 9790006556328 3867: 9790006524235 3851:Bach, J.S. (2004), 3810:critical commentary 3798:, G. Henle Verlag, 3345:, pp. 392–395) 3149:, p. 60, 63–64 2808:Nicolas Dautricourt 2677:Stefano Montanari, 2640:Giuliano Carmignola 2396:Selected recordings 2252:was the editor for 2068:Carl Friedrich Abel 1909:. For the edition, 1905:. It had the title 1871:1841 Peters edition 1721:Frederick the Great 481:Andante un poco in 237:Anna Magdalena Bach 27:Works by J. S. Bach 5206:Harvard University 4739:Grove Music Online 4730:Unverricht, Hubert 4621:, Wipf and Stock, 4603:Schweitzer, Albert 3945:, pp. 151–164 3904:Rethinking Debussy 3596:, pp. 279–280 3454:, pp. VIII–IX 3430:, pp. 117–118 3400:, pp. 225–226 3372:, pp. 115–116 3289:, pp. 113–117 3235:, pp. 113–117 3119:, pp. 158–161 3084:, pp. 109–110 3061:, pp. 217–219 3009:, pp. 322–325 2963:, pp. 101–102 2857:, pp. VIII–IX 2818:Rachel Barton Pine 2733:Challenge Classics 2679:Christophe Rousset 2608:(viola da gamba), 2592:Brilliant Classics 2584:Luis Otavio Santos 2406:Marie-Claire Alain 2272: 2217: 2148: 2137: 2072: 2053: 2018: 2008: 1948: 1938: 1883: 1873: 1803: 1791: 1789:in the early 1800s 1709: 1701: 1663:. In his treatise 1479:Allegro BWV 1019/5 1473: 1428: 1381: 1294:Allegro BWV 1019/3 1288: 1200: 1056:Allegro BWV 1019/1 1050: 1006:Allegro in F minor 908:Allegro BWV 1017/4 902: 808: 646:Allegro BWV 1017/2 640: 606:St Matthew Passion 541: 509:Allegro in E major 500:Allegro in E major 478:Allegro in A major 465:Allegro in B minor 456:Allegro in B minor 305:Cantabile, G major 187:Wolfgang Schmieder 183: 89: 39: 5684: 5683: 4753:978-1-56159-263-0 4554:978-3-89007-798-7 4461:, Boydell Press, 3554:, pp. 32, 91 3003:, pp. 97–105 2749:Michelle Makarski 2588:Pieter-Jan Belder 2460:Sigiswald Kuijken 2305: 2287: 2188:Felix Mendelssohn 2176:Baron van Swieten 1960:Felix Mendelssohn 1935:Felix Mendelssohn 1830:Hans Georg Nägeli 1783:Hans Georg Nägeli 1772:Felix Mendelssohn 1749:Baron van Swieten 1741:Johann Kirnberger 1707:Johann Kirnberger 1488: 1396: 1387:Adagio BWV 1019/4 1341:binary dance-form 1303: 1215: 1090:sonatas da chiesa 1065: 1015:Vivace in F minor 917: 823: 814:Adagio BWV 1017/3 655: 596:binary dance-form 556: 497:Adagio in E major 487:Presto in A major 453:Adagio in B minor 328:Musical structure 285:keyboard partitas 220:Neue Bach-Ausgabe 216:Collegium Musicum 16:(Redirected from 5736: 5701: 5700: 5699: 5692: 5655:Switched-On Bach 5510:The Art of Fugue 5336: 5335: 5257: 5246:orchestral works 5235: 5228: 5221: 5212: 5184:: Scores at the 5170: 5152: 5132:Wolff, Christoph 5127: 5121: 5113: 5104: 5082: 5060: 5038: 5025: 4990: 4968: 4956: 4923: 4913: 4896: 4872:Wolff, Christoph 4867: 4845: 4831:(2nd ed.), 4823: 4801: 4776: 4766:, Camden House, 4757: 4742:(8th ed.). 4725: 4697: 4667: 4645: 4631: 4612: 4598: 4580: 4574: 4566: 4557: 4535: 4507: 4489: 4471: 4438: 4427: 4404: 4380: 4352: 4314: 4292: 4277: 4266: 4241: 4219: 4194: 4161: 4139: 4130: 4114:(3/4): 217–242, 4100: 4082: 4076: 4068: 4057: 4035: 4010: 3988: 3974: 3946: 3933: 3920: 3885: 3868: 3847: 3835: 3823: 3803: 3790: 3781: 3755: 3754: 3738: 3732: 3726: 3720: 3704: 3698: 3692: 3686: 3680: 3674: 3673:, pp. 89–90 3668: 3662: 3653: 3647: 3619: 3613: 3603: 3597: 3591: 3585: 3582:, pp. 89–93 3569: 3563: 3560:, pp. 13–17 3540: 3534: 3504: 3498: 3473: 3467: 3461: 3455: 3449: 3443: 3406:, pp. 13–14 3392: 3386: 3352: 3346: 3339: 3333: 3316:Schulenberg 2006 3298: 3292: 3256: 3250: 3244: 3238: 3218:, pp. 62–63 3210: 3204: 3172:, pp. 63–65 3164: 3158: 3137:, pp. 65–66 3113:, pp. 40–41 3105: 3099: 3078:, pp. 62–63 3070: 3064: 3054: 3026:, pp. 39–41 3018: 3012: 2997:, pp. 14–15 2991:, pp. 25–26 2972: 2966: 2950: 2944: 2935:, pp. 97–98 2909: 2903: 2897: 2891: 2876: 2870: 2864: 2858: 2852: 2846: 2839: 2725:Catherine Manson 2685:Viktoria Mullova 2550:Viktoria Mullova 2464:Gustav Leonhardt 2426:Zuzana Růžičková 2374:Alexander Siloti 2307: 2306: 2289: 2288: 2269: 2182:and the cellist 2172:Count Razumovsky 2036: 1911:Moritz Hauptmann 1887:Niccolò Paganini 1853:The Art of Fugue 1765: 1619: 1596: 1569: 1521: 1520: 1519: 1518: 1490: 1489: 1470: 1462: 1446: 1445: 1398: 1397: 1378: 1370: 1337: 1336: 1335: 1334: 1305: 1304: 1285: 1277: 1258: 1217: 1216: 1206:Largo BWV 1019/2 1197: 1189: 1174: 1139: 1124: 1117:countersubject. 1067: 1066: 1047: 1039: 978: 919: 918: 899: 891: 862:Ledbetter (2002) 825: 824: 805: 797: 746: 737: 736: 732: 729: 722: 721: 717: 714: 706: 698: 697: 692: 691: 657: 656: 637: 589: 588: 587: 586: 558: 557: 547:Largo BWV 1017/1 538: 530: 393:Concerto allegro 364:sonata da chiesa 343: 235:for Bach's wife 21: 5744: 5743: 5739: 5738: 5737: 5735: 5734: 5733: 5709: 5708: 5707: 5703:Classical music 5697: 5695: 5687: 5685: 5680: 5667: 5621: 5523: 5487: 5463: 5425:, BWV 1046–1051 5410:Triple Concerto 5380: 5337:major, BWV 1031 5333: 5332: 5301: 5258: 5253: 5239: 5178: 5173: 5168: 5155: 5150: 5130: 5114: 5107: 5102: 5085: 5063: 5058: 5041: 5028: 5023: 5002: 4998: 4996:Further reading 4993: 4988: 4971: 4959: 4926: 4911: 4906: 4894: 4886:, p. 263, 4870: 4865: 4848: 4843: 4826: 4821: 4804: 4799: 4781:Williams, Peter 4779: 4774: 4761: 4754: 4728: 4700: 4695: 4670: 4665: 4648: 4636:Spitta, Philipp 4634: 4629: 4616: 4601: 4596: 4583: 4567: 4560: 4555: 4538: 4510: 4505: 4492: 4487: 4474: 4469: 4456: 4430: 4425: 4408: 4402: 4383: 4355: 4317: 4312: 4295: 4290: 4269: 4264: 4244: 4239: 4222: 4217: 4197: 4192: 4164: 4142: 4133: 4103: 4098: 4085: 4069: 4060: 4055: 4038: 4033: 4013: 4008: 3991: 3977: 3949: 3936: 3923: 3918: 3901: 3892: 3871: 3850: 3838: 3826: 3814: 3793: 3784: 3773: 3764: 3759: 3758: 3740: 3739: 3735: 3727: 3723: 3705: 3701: 3693: 3689: 3681: 3677: 3669: 3665: 3654: 3650: 3631:Unverricht 2001 3620: 3616: 3604: 3600: 3592: 3588: 3570: 3566: 3541: 3537: 3505: 3501: 3474: 3470: 3462: 3458: 3450: 3446: 3410:Schweitzer 1923 3393: 3389: 3353: 3349: 3340: 3336: 3299: 3295: 3257: 3253: 3245: 3241: 3211: 3207: 3165: 3161: 3106: 3102: 3071: 3067: 3048: 3019: 3015: 2980:, pp. 5–13 2973: 2969: 2951: 2947: 2910: 2906: 2898: 2894: 2877: 2873: 2865: 2861: 2853: 2849: 2840: 2836: 2831: 2792:Martha Argerich 2780:(harpsichord), 2766:(harpsichord), 2739:Chiara Banchini 2731:(harpsichord), 2689:Ottavio Dantone 2670:(harpsichord), 2656:(harpsichord), 2624:Virgin Classics 2622:(harpsichord), 2606:Jaap ter Linden 2604:(harpsichord), 2590:(harpsichord), 2528:(harpsichord), 2514:(harpsichord), 2498:Reinhard Goebel 2490:(harpsichord), 2484:Arthur Grumiaux 2466:(harpsichord), 2452:(harpsichord), 2438:(harpsichord), 2432:Arthur Grumiaux 2402:Michèle Auclair 2398: 2337:August Wilhelmj 2325: 2324: 2316: 2314: 2313: 2312: 2311: 2308: 2301: 2298: 2292: 2291: 2290: 2283: 2280: 2273: 2267: 2262: 2246:First World War 2190:and his sister 2126: 2088:Vincent Novello 2049:Joshua Reynolds 2037: 2030: 1990: 1964:Robert Schumann 1952:Ferdinand David 1945:Ferdinand David 1842:Mass in B minor 1759: 1641: 1636: 1517: 1512: 1511: 1510: 1509: 1508: 1505: 1504: 1496: 1494: 1493: 1492: 1491: 1484: 1481: 1474: 1468: 1443: 1442: 1413: 1412: 1404: 1402: 1401: 1400: 1399: 1392: 1389: 1382: 1376: 1333: 1328: 1327: 1326: 1325: 1324: 1322:In E minor and 1320: 1319: 1311: 1309: 1308: 1307: 1306: 1299: 1296: 1289: 1283: 1232: 1231: 1223: 1221: 1220: 1219: 1218: 1211: 1208: 1201: 1195: 1175: 1168: 1082: 1081: 1073: 1071: 1070: 1069: 1068: 1061: 1058: 1051: 1045: 1022: 1000: 961:Eppstein (1966) 934: 933: 925: 923: 922: 921: 920: 913: 910: 903: 897: 874:Eppstein (1966) 840: 839: 831: 829: 828: 827: 826: 819: 816: 809: 803: 756:Eppstein (1966) 734: 730: 727: 725: 719: 715: 712: 710: 695: 694: 689: 688: 672: 671: 663: 661: 660: 659: 658: 651: 648: 641: 635: 585: 580: 579: 578: 577: 576: 573: 572: 564: 562: 561: 560: 559: 552: 549: 542: 536: 516: 494: 472: 450: 397:Antonio Vivaldi 383:countersubjects 368:Eppstein (1969) 344: 337: 330: 299:Vivace, G major 281:Clavier-Übung I 259:Vivace, G major 179:Café Zimmermann 155:Eppstein (1966) 78: 28: 23: 22: 15: 12: 11: 5: 5742: 5740: 5732: 5731: 5726: 5724:Violin sonatas 5721: 5711: 5710: 5706: 5705: 5682: 5681: 5679: 5678: 5672: 5669: 5668: 5666: 5665: 5658: 5651: 5644: 5637: 5629: 5627: 5623: 5622: 5620: 5619: 5612: 5607: 5600: 5593: 5586: 5579: 5572: 5569:Feel My Rhythm 5565: 5558: 5553: 5546: 5539: 5531: 5529: 5525: 5524: 5522: 5521: 5520: 5519: 5506: 5497: 5495: 5489: 5488: 5486: 5485: 5479: 5473: 5471: 5465: 5464: 5462: 5461: 5460: 5459: 5454: 5449: 5444: 5434: 5433: 5432: 5419: 5414: 5406: 5401: 5396: 5390: 5388: 5382: 5381: 5379: 5378: 5377: 5376: 5371: 5363: 5362: 5361: 5356: 5351: 5345: 5340: 5328: 5322:Flute Sonatas 5320: 5315: 5309: 5307: 5303: 5302: 5300: 5299: 5294: 5289: 5288: 5287: 5282: 5277: 5275:Partita No. 1 5266: 5264: 5260: 5259: 5250:transcriptions 5240: 5238: 5237: 5230: 5223: 5215: 5209: 5208: 5199: 5189: 5177: 5176:External links 5174: 5172: 5171: 5167:978-1135942625 5166: 5153: 5148: 5128: 5105: 5101:978-1107088603 5100: 5083: 5074:(3): 215–240, 5061: 5056: 5039: 5026: 5021: 4999: 4997: 4994: 4992: 4991: 4987:978-0190247850 4986: 4969: 4957: 4940:(4): 651–688, 4924: 4904: 4892: 4868: 4864:978-1107139251 4863: 4846: 4841: 4824: 4819: 4802: 4797: 4777: 4773:978-1571133311 4772: 4759: 4752: 4726: 4715:10.2307/831926 4709:(3): 369–414, 4698: 4693: 4668: 4663: 4646: 4632: 4628:978-1498239417 4627: 4614: 4599: 4594: 4581: 4558: 4553: 4536: 4525:10.2307/927606 4508: 4504:978-0754658856 4503: 4490: 4485: 4472: 4467: 4454: 4428: 4423: 4406: 4400: 4381: 4353: 4336:(2): 415–419, 4315: 4310: 4293: 4288: 4267: 4263:978-0252090691 4262: 4242: 4237: 4220: 4215: 4195: 4190: 4162: 4140: 4131: 4120:10.2307/930329 4101: 4096: 4083: 4058: 4054:978-0521651608 4053: 4036: 4031: 4011: 4006: 3989: 3975: 3964:10.2307/843383 3947: 3934: 3921: 3917:978-0199755646 3916: 3898: 3891: 3890: 3869: 3848: 3836: 3824: 3812: 3791: 3782: 3770: 3763: 3760: 3757: 3756: 3733: 3729:Peter Watchorn 3721: 3719: 3718: 3712: 3699: 3687: 3675: 3663: 3648: 3646: 3645: 3639: 3633: 3628: 3614: 3598: 3586: 3584: 3583: 3577: 3564: 3562: 3561: 3555: 3549: 3535: 3533: 3532: 3530:O'Loghlin 2008 3527: 3522: 3517: 3512: 3499: 3497: 3496: 3491: 3486: 3481: 3468: 3456: 3444: 3442: 3441: 3435:Peter Watchorn 3433:Commentary by 3431: 3425: 3419: 3413: 3407: 3401: 3387: 3385: 3384: 3378: 3373: 3367: 3361: 3347: 3334: 3332: 3331: 3325: 3319: 3313: 3307: 3293: 3291: 3290: 3284: 3279: 3274: 3269: 3264: 3251: 3239: 3237: 3236: 3230: 3225: 3219: 3205: 3203: 3202: 3196: 3190: 3188:Breslauer 1988 3185: 3179: 3173: 3159: 3157: 3156: 3150: 3144: 3138: 3132: 3126: 3123:Ledbetter 2002 3120: 3114: 3100: 3098: 3097: 3091: 3085: 3079: 3065: 3063: 3062: 3056: 3042:Ledbetter 2002 3039: 3033: 3027: 3013: 3011: 3010: 3004: 2998: 2992: 2986: 2981: 2967: 2965: 2964: 2958: 2945: 2943: 2942: 2941:, pp. 418 2939:Ledbetter 2015 2936: 2930: 2924: 2918: 2917:, p. VIII 2904: 2892: 2890: 2889: 2884: 2871: 2859: 2847: 2833: 2832: 2830: 2827: 2826: 2825: 2815: 2805: 2798:Isabelle Faust 2795: 2788:Itzhak Perlman 2785: 2782:Glossa Records 2774:Leila Schayegh 2771: 2762:Lucy Russell, 2760: 2746: 2736: 2722: 2712: 2702: 2692: 2682: 2675: 2672:Harmonia Mundi 2661: 2654:Peter Watchorn 2647: 2637: 2634:Trevor Pinnock 2627: 2620:Davitt Moroney 2613: 2610:Harmonia Mundi 2595: 2581: 2571: 2561: 2547: 2533: 2519: 2508:Monica Huggett 2505: 2495: 2481: 2471: 2468:Harmonia Mundi 2457: 2446:Henryk Szeryng 2443: 2429: 2419: 2412:Yehudi Menuhin 2409: 2397: 2394: 2393: 2392: 2385: 2382: 2381: 2380: 2377: 2370: 2367: 2364: 2361: 2358: 2352: 2351: 2350: 2347: 2333: 2315: 2309: 2299: 2294: 2293: 2281: 2276: 2275: 2274: 2265: 2264: 2263: 2261: 2258: 2250:Claude Debussy 2180:Pierre Baillot 2144:Pierre Baillot 2125: 2122: 2101:Charles Burney 2047:, portrait by 2045:Charles Burney 2028: 1999:, portrait by 1989: 1986: 1973:Joseph Joachim 1891:Karol Lipiński 1880:Karol Lipiński 1677:Stowell (1992) 1647:form became a 1640: 1637: 1635: 1632: 1513: 1495: 1482: 1477: 1476: 1475: 1466: 1465: 1464: 1456: 1455: 1403: 1390: 1385: 1384: 1383: 1374: 1373: 1372: 1364: 1363: 1329: 1310: 1297: 1292: 1291: 1290: 1281: 1280: 1279: 1271: 1270: 1222: 1209: 1204: 1203: 1202: 1193: 1192: 1191: 1166: 1155: 1154: 1072: 1059: 1054: 1053: 1052: 1043: 1042: 1041: 1033: 1032: 1021: 1018: 1017: 1016: 1013: 1007: 1004: 999: 996: 924: 911: 906: 905: 904: 895: 894: 893: 885: 884: 857:Stowell (1990) 850:passages, the 830: 817: 812: 811: 810: 801: 800: 799: 791: 790: 662: 649: 644: 643: 642: 633: 632: 631: 630: 629: 581: 563: 550: 545: 544: 543: 534: 533: 532: 524: 523: 515: 512: 511: 510: 507: 501: 498: 493: 490: 489: 488: 485: 479: 476: 471: 468: 467: 466: 463: 457: 454: 449: 446: 409: 408: 390: 342:, p. 523) 335: 329: 326: 310: 309: 306: 303: 302:Largo, E minor 300: 276: 275: 272: 269: 266: 263: 262:Largo, E minor 260: 140:viola da gamba 101:viola da gamba 77: 74: 58:viola da gamba 26: 24: 14: 13: 10: 9: 6: 4: 3: 2: 5741: 5730: 5727: 5725: 5722: 5720: 5717: 5716: 5714: 5704: 5694: 5690: 5677: 5674: 5673: 5670: 5664: 5663: 5659: 5657: 5656: 5652: 5650: 5649: 5645: 5643: 5642: 5638: 5636: 5635: 5631: 5630: 5628: 5624: 5617: 5613: 5611: 5608: 5605: 5601: 5598: 5594: 5591: 5587: 5584: 5580: 5577: 5573: 5570: 5566: 5563: 5559: 5557: 5554: 5551: 5547: 5544: 5540: 5537: 5533: 5532: 5530: 5526: 5518: 5515: 5514: 5513: 5511: 5507: 5505: 5503: 5499: 5498: 5496: 5494: 5490: 5483: 5480: 5478: 5475: 5474: 5472: 5470: 5466: 5458: 5455: 5453: 5450: 5448: 5445: 5443: 5440: 5439: 5438: 5435: 5431: 5428: 5427: 5426: 5424: 5420: 5418: 5415: 5413: 5411: 5407: 5405: 5402: 5400: 5397: 5395: 5392: 5391: 5389: 5387: 5383: 5375: 5372: 5370: 5367: 5366: 5365:Trio Sonatas 5364: 5360: 5357: 5355: 5352: 5349: 5346: 5344: 5341: 5338: 5329: 5327: 5324: 5323: 5321: 5319: 5316: 5314: 5311: 5310: 5308: 5304: 5298: 5295: 5293: 5290: 5286: 5283: 5281: 5278: 5276: 5273: 5272: 5271: 5268: 5267: 5265: 5261: 5256: 5251: 5247: 5243: 5242:Chamber music 5236: 5231: 5229: 5224: 5222: 5217: 5216: 5213: 5207: 5203: 5200: 5197: 5193: 5190: 5187: 5183: 5180: 5179: 5175: 5169: 5163: 5159: 5154: 5151: 5149:0-19-924884-2 5145: 5141: 5137: 5133: 5129: 5125: 5119: 5111: 5106: 5103: 5097: 5093: 5089: 5084: 5081: 5077: 5073: 5069: 5068: 5062: 5059: 5053: 5049: 5045: 5040: 5036: 5032: 5027: 5024: 5022:9781139002158 5018: 5014: 5010: 5006: 5001: 5000: 4995: 4989: 4983: 4979: 4975: 4970: 4967: 4963: 4958: 4955: 4951: 4947: 4943: 4939: 4935: 4934: 4929: 4928:Wollny, Peter 4925: 4921: 4917: 4910: 4905: 4902: 4901: 4895: 4889: 4885: 4881: 4877: 4873: 4869: 4866: 4860: 4856: 4852: 4847: 4844: 4842:0-521-89115-9 4838: 4834: 4830: 4825: 4822: 4816: 4812: 4808: 4803: 4800: 4794: 4790: 4786: 4782: 4778: 4775: 4769: 4765: 4760: 4755: 4749: 4745: 4741: 4740: 4735: 4731: 4727: 4724: 4720: 4716: 4712: 4708: 4704: 4699: 4696: 4690: 4686: 4682: 4678: 4674: 4669: 4666: 4660: 4656: 4652: 4647: 4643: 4642: 4637: 4633: 4630: 4624: 4620: 4615: 4610: 4609: 4604: 4600: 4597: 4591: 4587: 4582: 4578: 4572: 4564: 4559: 4556: 4550: 4546: 4545:Laaber-Verlag 4542: 4537: 4534: 4530: 4526: 4522: 4519:(1): 88–114, 4518: 4515:(in French), 4514: 4509: 4506: 4500: 4496: 4491: 4488: 4486:1-84014-666-4 4482: 4478: 4473: 4470: 4464: 4460: 4455: 4452: 4451:9780198164234 4448: 4445: 4441: 4436: 4435: 4429: 4426: 4420: 4416: 4412: 4407: 4403: 4401:9780253214645 4397: 4393: 4389: 4388: 4382: 4379: 4375: 4371: 4367: 4363: 4359: 4354: 4351: 4347: 4343: 4339: 4335: 4331: 4330: 4325: 4321: 4316: 4313: 4307: 4303: 4299: 4294: 4291: 4285: 4281: 4276: 4275: 4268: 4265: 4259: 4255: 4251: 4247: 4243: 4240: 4238:9780199696284 4234: 4230: 4226: 4221: 4218: 4216:9780198164401 4212: 4208: 4204: 4200: 4196: 4193: 4187: 4183: 4179: 4175: 4171: 4167: 4163: 4160: 4156: 4152: 4148: 4147: 4146:Bach-Jahrbuch 4141: 4137: 4132: 4129: 4125: 4121: 4117: 4113: 4110:(in German), 4109: 4108: 4102: 4099: 4093: 4089: 4084: 4080: 4074: 4066: 4065: 4059: 4056: 4050: 4046: 4042: 4037: 4034: 4028: 4024: 4020: 4016: 4012: 4009: 4003: 3999: 3995: 3990: 3987: 3983: 3982: 3976: 3973: 3969: 3965: 3961: 3957: 3953: 3948: 3944: 3940: 3935: 3931: 3927: 3922: 3919: 3913: 3909: 3905: 3900: 3899: 3897: 3896: 3889: 3883: 3879: 3875: 3870: 3866: 3862: 3858: 3854: 3849: 3846: 3842: 3837: 3834: 3830: 3825: 3822: 3818: 3813: 3811: 3807: 3801: 3797: 3792: 3788: 3783: 3779: 3778: 3772: 3771: 3769: 3768: 3761: 3753: 3749: 3748: 3743: 3737: 3734: 3730: 3725: 3722: 3717:, p. 151 3716: 3713: 3711: 3708: 3707: 3703: 3700: 3696: 3691: 3688: 3684: 3679: 3676: 3672: 3667: 3664: 3661: 3658:, p. 90 3657: 3652: 3649: 3644:, p. 105 3643: 3640: 3637: 3634: 3632: 3629: 3626: 3623: 3622: 3618: 3615: 3611: 3607: 3602: 3599: 3595: 3590: 3587: 3581: 3578: 3576: 3573: 3572: 3568: 3565: 3559: 3556: 3553: 3550: 3547: 3546:Williams 2003 3544: 3543: 3539: 3536: 3531: 3528: 3526: 3523: 3521: 3518: 3516: 3513: 3511: 3508: 3507: 3503: 3500: 3495: 3492: 3490: 3487: 3485: 3484:Williams 2003 3482: 3480: 3477: 3476: 3472: 3469: 3466:, p. 174 3465: 3460: 3457: 3453: 3448: 3445: 3440: 3436: 3432: 3429: 3426: 3423: 3420: 3418:, p. 274 3417: 3414: 3412:, p. 397 3411: 3408: 3405: 3404:Eppstein 1969 3402: 3399: 3398:Eppstein 1964 3396: 3395: 3391: 3388: 3382: 3379: 3377: 3374: 3371: 3368: 3365: 3362: 3360:, p. 102 3359: 3356: 3355: 3351: 3348: 3344: 3338: 3335: 3330:, p. 102 3329: 3326: 3324:, p. 116 3323: 3320: 3318:, p. 342 3317: 3314: 3312:, p. 523 3311: 3308: 3306:, p. 222 3305: 3304:Eppstein 1964 3302: 3301: 3297: 3294: 3288: 3285: 3283: 3280: 3278: 3275: 3273: 3272:Eppstein 1964 3270: 3268: 3267:Eppstein 1969 3265: 3263: 3262:Eppstein 1966 3260: 3259: 3255: 3252: 3248: 3243: 3240: 3234: 3231: 3229: 3228:Eppstein 1964 3226: 3223: 3222:Eppstein 1969 3220: 3217: 3216:Eppstein 1966 3214: 3213: 3209: 3206: 3201:, p. 190 3200: 3197: 3195:, p. 101 3194: 3191: 3189: 3186: 3184:, p. 111 3183: 3180: 3177: 3176:Eppstein 1969 3174: 3171: 3170:Eppstein 1966 3168: 3167: 3163: 3160: 3155:, p. 109 3154: 3151: 3148: 3145: 3143:, p. 100 3142: 3139: 3136: 3133: 3131:, p. 135 3130: 3127: 3125:, p. 252 3124: 3121: 3118: 3115: 3112: 3111:Eppstein 1966 3109: 3108: 3104: 3101: 3096:, p. 324 3095: 3094:Williams 2016 3092: 3090:, p. 100 3089: 3088:Williams 1997 3086: 3083: 3080: 3077: 3076:Eppstein 1966 3074: 3073: 3069: 3066: 3060: 3057: 3052: 3047: 3046:Saint Lambert 3043: 3040: 3037: 3034: 3031: 3028: 3025: 3024:Eppstein 1966 3022: 3021: 3017: 3014: 3008: 3007:Williams 2016 3005: 3002: 2999: 2996: 2995:Williams 2003 2993: 2990: 2989:Williams 1980 2987: 2985: 2982: 2979: 2978:Eppstein 1969 2976: 2975: 2971: 2968: 2962: 2959: 2957: 2956:Rempp 2001too 2954: 2953: 2949: 2946: 2940: 2937: 2934: 2931: 2929:, p. 109 2928: 2925: 2923:, p. 165 2922: 2919: 2916: 2913: 2912: 2908: 2905: 2901: 2896: 2893: 2888: 2885: 2883: 2880: 2879: 2875: 2872: 2868: 2863: 2860: 2856: 2851: 2848: 2844: 2838: 2835: 2828: 2823: 2822:Jory Vinikour 2819: 2816: 2813: 2812:Juho Pohjonen 2809: 2806: 2803: 2799: 2796: 2793: 2789: 2786: 2783: 2779: 2775: 2772: 2769: 2765: 2761: 2758: 2754: 2753:Keith Jarrett 2750: 2747: 2744: 2740: 2737: 2734: 2730: 2726: 2723: 2720: 2716: 2715:Louis Creac'h 2713: 2710: 2706: 2705:Jochen Brusch 2703: 2700: 2696: 2693: 2690: 2686: 2683: 2680: 2676: 2673: 2669: 2665: 2662: 2659: 2655: 2651: 2648: 2645: 2644:Andrea Marcon 2641: 2638: 2635: 2631: 2630:Rachel Podger 2628: 2625: 2621: 2617: 2616:John Holloway 2614: 2611: 2607: 2603: 2602:Richard Egarr 2599: 2596: 2593: 2589: 2585: 2582: 2579: 2575: 2572: 2569: 2565: 2562: 2559: 2555: 2551: 2548: 2545: 2544:Decca Records 2541: 2540:Martin Gester 2537: 2534: 2531: 2530:Bayer Records 2527: 2523: 2520: 2517: 2513: 2509: 2506: 2503: 2499: 2496: 2493: 2489: 2485: 2482: 2479: 2475: 2472: 2469: 2465: 2461: 2458: 2455: 2451: 2450:Helmut Walcha 2447: 2444: 2441: 2437: 2433: 2430: 2427: 2423: 2420: 2417: 2416:Louis Kentner 2413: 2410: 2407: 2403: 2400: 2399: 2395: 2390: 2386: 2383: 2378: 2375: 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815: 798: 796: 789: 785: 782: 781: 780: 778: 774: 770: 766: 760: 757: 752: 747: 745: 740: 707: 705: 700: 685: 681: 677: 670: 668: 647: 627: 624: 623: 622: 620: 616: 612: 608: 607: 602: 597: 593: 584: 571: 569: 548: 531: 529: 521: 518: 517: 513: 508: 506: 505:C-sharp minor 502: 499: 496: 495: 491: 486: 484: 483:F-sharp minor 480: 477: 474: 473: 469: 464: 462: 458: 455: 452: 451: 447: 445: 441: 438: 433: 429: 427: 421: 417: 415: 406: 402: 398: 394: 391: 389:at the close. 388: 384: 380: 376: 373: 372: 371: 369: 365: 360: 358: 354: 350: 349:Spitta (1884) 341: 334: 327: 325: 323: 319: 314: 307: 304: 301: 298: 297: 296: 292: 290: 286: 282: 273: 270: 267: 264: 261: 258: 257: 256: 254: 248: 246: 242: 238: 234: 233:Notenbüchlein 230: 225: 224:Rudolf Gerber 221: 217: 213: 209: 205: 201: 197: 192: 188: 180: 175: 171: 169: 164: 160: 156: 151: 149: 145: 141: 137: 133: 129: 125: 121: 117: 113: 109: 104: 102: 98: 94: 87: 82: 75: 73: 71: 67: 63: 59: 55: 52:are works in 51: 48:1014–1019 by 47: 44: 37: 32: 19: 5660: 5653: 5646: 5641:Back to Bach 5639: 5632: 5509: 5501: 5422: 5409: 5312: 5196:Bach Archive 5157: 5135: 5109: 5087: 5071: 5065: 5043: 5034: 5012: 4973: 4961: 4937: 4931: 4919: 4915: 4898: 4879: 4850: 4828: 4806: 4784: 4763: 4737: 4706: 4702: 4676: 4673:"The Sonata" 4650: 4640: 4618: 4607: 4585: 4562: 4540: 4516: 4512: 4494: 4476: 4458: 4433: 4410: 4386: 4364:(1): 49–96, 4361: 4357: 4333: 4327: 4320:Peter Wollny 4297: 4273: 4249: 4246:Koopman, Ton 4224: 4202: 4173: 4166:Geck, Martin 4150: 4144: 4135: 4111: 4105: 4087: 4063: 4040: 4018: 3993: 3980: 3955: 3951: 3938: 3925: 3903: 3894: 3893: 3873: 3856: 3853:Peter Wollny 3840: 3828: 3816: 3795: 3786: 3776: 3766: 3765: 3752:Linn Records 3746: 3736: 3724: 3702: 3690: 3678: 3666: 3659: 3651: 3642:Olleson 2003 3638:, p. 61 3625:Olleson 2004 3617: 3606:Olleson 2000 3601: 3594:Olleson 2004 3589: 3580:Dörffel 1884 3567: 3538: 3502: 3471: 3464:Stowell 1992 3459: 3447: 3439:Musica Omnia 3390: 3350: 3337: 3296: 3277:Koopman 2010 3254: 3247:Koopman 2010 3242: 3224:, p. 13 3208: 3178:, p. 14 3162: 3129:Stowell 1990 3103: 3068: 3059:Neumann 1983 3038:, p. 99 3032:, p. 95 3016: 2970: 2948: 2907: 2902:, p. IX 2895: 2874: 2869:, p. IX 2862: 2850: 2837: 2778:Jörg Halubek 2768:Linn Records 2658:Musica Omnia 2598:Andrew Manze 2564:Fabio Biondi 2554:Bruno Canino 2536:Alice Piérot 2474:Jaime Laredo 2376:(1863–1945). 2243: 2238: 2234: 2231: 2226: 2218: 2203: 2196: 2149: 2105: 2073: 2062:, set up by 2031:Letter from 2023: 2020: 2001:Thomas Hardy 1949: 1922: 1906: 1884: 1851: 1850:in 1801 and 1845: 1823: 1804: 1753:Daniel Itzig 1710: 1672: 1668: 1664: 1649:sine qua non 1642: 1621: 1614: 1609: 1604: 1598: 1591: 1585: 1581: 1579: 1571: 1564: 1560:Jones (2007) 1549: 1544: 1531: 1527: 1523: 1514: 1506: 1457: 1451: 1433:Asmus (1982) 1429: 1365: 1359: 1330: 1321: 1272: 1266: 1260: 1253: 1240:figured bass 1236:walking bass 1233: 1184: 1177: 1170: 1160: 1157: 1147: 1141: 1134: 1126: 1119: 1083: 1034: 1028: 1023: 992: 980: 973: 970: 958: 935: 886: 880: 869: 865: 851: 847: 841: 792: 788:E-flat major 783: 761: 748: 741: 708: 701: 673: 625: 614: 604: 582: 574: 525: 519: 442: 434: 430: 422: 418: 410: 392: 379:figured bass 374: 361: 346: 340:Buelow (2004 332: 315: 311: 293: 277: 252: 249: 184: 167: 162: 152: 136:oboe d'amore 110:, the three 105: 97:figured bass 90: 85: 62:figured bass 42: 40: 5528:Adaptations 5517:discography 4900:Early Music 4683:, pp. 4497:, Ashgate, 4442:in 2001 by 4180:, pp. 3958:(1): 1–21, 3878:Bärenreiter 3861:Bärenreiter 3821:C.F. Peters 3558:Walton 2007 3548:, p. 4 3525:Wollny 2010 3520:Wollny 1993 3494:Wollny 2010 3437:, page 16, 3343:Rampe (2013 3310:Buelow 2004 3147:Lester 2001 3049: [ 2757:ECM Records 2729:Ton Koopman 2719:Jean-Luc Ho 2699:Enrico Pace 2578:Maggie Cole 2512:Ton Koopman 2502:Robert Hill 2478:Glenn Gould 2389:Franz Liszt 2344:Schlesinger 2152:Marie Bigot 2146:, violinist 2134:Marie Bigot 1903:Carl Czerny 1899:C.F. Peters 1815:Museuminsel 1799:Anton Graff 1766:, Zippora, 1760: [ 1733:Franz Benda 1645:trio sonata 1180:triple time 1161:concertante 1086:common time 938:binary form 777:pedal point 693:major and B 680:Butt (2015) 676:common time 611:arpeggiated 459:Andante in 401:binary form 375:Tutti fugue 93:trio sonata 54:trio sonata 5713:Categories 5590:Lady Lynda 5512:, BWV 1080 5504:, BWV 1079 5484:(doubtful) 5412:, BWV 1044 5350:(doubtful) 5339:(doubtful) 5198:, Leipzig. 5057:1135576963 5009:Butt, John 4893:0674059263 4820:0198165633 4798:0521217237 4694:0521399238 4664:0521397448 4595:0415974003 4468:1843830310 4424:0691027072 4311:0300097077 4289:0521627389 4250:About Bach 4191:0151006482 4097:0899174663 4032:0521372399 4015:Butt, John 4007:0253343658 3762:References 3742:Butt, John 3710:Brown 2011 3636:Eiche 1985 3575:Brown 2011 3552:Dirst 2012 3515:Wolff 2005 3489:Wolff 2005 3428:Rampe 2013 3422:Jones 2013 3416:Jones 2007 3381:Bach 1993b 3370:Rampe 2013 3364:Asmus 1982 3358:Jones 2013 3328:Jones 2013 3322:Rampe 2013 3287:Rampe 2013 3282:Jones 2013 3233:Rampe 2013 3193:Jones 2013 3182:Rampe 2013 3153:Rampe 2013 3141:Jones 2013 3117:Asmus 1986 3082:Rampe 2013 3036:Jones 2013 3030:Shute 2016 3001:Jones 2013 2984:Asmus 1986 2961:Jones 2013 2933:Jones 2013 2921:Wolff 1994 2882:Swack 1993 2650:Emlyn Ngai 2422:Joseph Suk 2320:media help 2154:. Born in 1977:first desk 1956:Gewandhaus 1540:Schweitzer 1500:media help 1454:in G major 1408:media help 1362:in B minor 1315:media help 1249:suspension 1227:media help 1102:ritornello 1077:media help 1031:in G major 1009:Adagio in 1003:in F minor 988:syncopated 984:diminution 959:Following 948:in Bach's 929:media help 883:in C minor 835:media help 765:concertino 684:ritornello 667:media help 628:in C minor 590:time is a 568:media help 522:in C minor 475:in A major 387:ritornello 204:Mühlhausen 18:BWV 1018.1 5550:Ave Maria 5386:Concertos 5048:Routledge 4440:Published 4350:194293060 4067:, Leipzig 3695:Palm 1966 3683:Palm 1966 3671:Palm 1966 3656:Palm 1966 3510:Bach 2004 3479:Bach 2004 3452:Bach 2004 3383:, preface 3376:Butt 2015 3199:Butt 1990 2927:Geck 2006 2915:Bach 2004 2900:Bach 2004 2887:Zohn 2015 2867:Bach 2004 2855:Bach 2004 2764:John Butt 2755:(piano), 2668:John Butt 2556:(piano), 2542:(organ), 2168:Beethoven 1653:Mattheson 1552:, BWV 202 1425:Paul Klee 844:cantabile 601:anapaests 592:Siciliano 5543:Alphabet 5334:♭ 5306:Ensemble 5248:by, and 5134:(2002), 5118:citation 5080:25162366 4874:(1994), 4783:(1980), 4732:(2001). 4638:(1884), 4608:J.S.Bach 4605:(1923), 4571:citation 4201:(2007), 4168:(2006), 4153:: 5–30, 4073:citation 4017:(1990), 3744:(2015), 2029:— 2003:, 1792, 1958:, while 1834:Wetzikon 1628:BWV 1049 1624:Watchorn 1575:inverted 1444:♯ 1438:inverted 1167:— 954:inverted 696:♭ 690:♭ 619:ostinato 426:ostinato 357:BWV 1019 336:— 200:Arnstadt 196:Lüneburg 148:BWV 1027 144:BWV 1039 124:BWV 1032 120:BWV 1031 116:BWV 1030 5252:after, 5011:(ed.), 4922:: 25–31 4685:122–142 4322:(ed.), 4182:579–607 3806:preface 2784:, 2015. 2770:, 2015. 2759:, 2013. 2735:, 2012. 2674:, 2005. 2660:, 2002. 2626:, 2000. 2612:, 2000. 2594:, 1999. 2558:Philips 2546:, 1993. 2532:, 1989. 2518:, 1989. 2516:Philips 2494:, 1978. 2492:Philips 2470:, 1974. 2456:, 1970. 2454:Philips 2442:, 1964. 2440:Philips 2391:, 1866. 2164:Salieri 2082:of the 1988:England 1895:Dresden 1811:Dresden 1713:Leipzig 1657:Scheibe 1612:theme. 1601:caesura 1535:da capo 1452:Allegro 1421:Bauhaus 1267:Allegro 1173:, 1756. 1152:E minor 1106:toccata 1098:da capo 1094:Corelli 1029:Allegro 1011:C minor 942:BWV 525 881:Allegro 773:cadenza 769:stretto 733:⁄ 718:⁄ 626:Allegro 461:D major 229:BWV 830 134:, with 128:BWV 528 70:Leipzig 5689:Portal 5626:Albums 5469:Suites 5164: 5146: 5098: 5078: 5054: 5019: 4984: 4954:742352 4952: 4890: 4861: 4839: 4817: 4795: 4770: 4750: 4723:831926 4721: 4691: 4661: 4625: 4592: 4551: 4533:927606 4531: 4501: 4483: 4465: 4449: 4421: 4398: 4376: 4348: 4308: 4286: 4260: 4235: 4213: 4188: 4128:930329 4126: 4094: 4051: 4029: 4004: 3972:843383 3970: 3914: 2254:Durand 2156:Colmar 2124:France 2051:, 1781 1826:Zürich 1801:, 1786 1787:Zürich 1731:, and 1717:Berlin 1661:Quantz 1556:Weimar 1360:Adagio 946:gigues 784:Adagio 751:dactyl 621:bass. 212:Cöthen 208:Weimar 163:adagio 132:BWV 76 66:Cöthen 5493:Fugal 5430:No. 5 5285:No. 3 5280:No. 2 5076:JSTOR 5007:, in 4950:JSTOR 4912:(PDF) 4719:JSTOR 4529:JSTOR 4374:JSTOR 4346:S2CID 4329:Notes 4124:JSTOR 3968:JSTOR 3706:See: 3571:See: 3542:See: 3506:See: 3475:See: 3394:See: 3354:See: 3300:See: 3258:See: 3212:See: 3166:See: 3107:See: 3072:See: 3053:] 3020:See: 2974:See: 2952:See: 2911:See: 2878:See: 2829:Notes 2192:Fanny 2160:Haydn 1768:Fanny 1764:] 1244:canon 1164:deal. 1148:Largo 965:triad 870:piano 866:forte 852:piano 848:forte 615:tenue 520:Largo 437:canon 322:gigue 185:When 5604:They 5331:in E 5263:Solo 5244:and 5162:ISBN 5144:ISBN 5124:link 5096:ISBN 5052:ISBN 5017:ISBN 4982:ISBN 4888:ISBN 4859:ISBN 4837:ISBN 4815:ISBN 4793:ISBN 4768:ISBN 4748:ISBN 4689:ISBN 4659:ISBN 4623:ISBN 4590:ISBN 4577:link 4549:ISBN 4499:ISBN 4481:ISBN 4463:ISBN 4447:ISBN 4419:ISBN 4396:ISBN 4306:ISBN 4284:ISBN 4258:ISBN 4233:ISBN 4211:ISBN 4186:ISBN 4092:ISBN 4079:link 4049:ISBN 4027:ISBN 4002:ISBN 3912:ISBN 3882:ISMN 3865:ISMN 3800:ISMN 3621:See 2166:and 2066:and 1757:Sara 1659:and 1129:coda 594:, a 206:and 138:and 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Knowledge (XXG)

Six Sonatas for Violin and Harpsichord, BWV 1014–1019

Index