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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" (
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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:
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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.
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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:
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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
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1275:
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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
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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-
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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
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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
2227:
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
1607:
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
1430:
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
312:
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
2021:
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
250:
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
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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
981:
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
419:
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
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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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1431:
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."
278:
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
2115:
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
968:
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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226:
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
598:
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
1131:
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.
1246:
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
440:
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.
2201:
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
1542:
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
2277:
5218:
1537:
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.
854:
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
294:
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.
1588:
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.
753:
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
193:
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
2106:
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.
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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
2303:
1573:
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
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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.
3937:
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.
1913:
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
95:
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
5064:
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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872:
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
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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.
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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:
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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:
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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.
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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:
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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.
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5481:
4751:
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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:
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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.
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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:
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1213:
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288:
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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,
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remarks, these momentary interruptions are similar in effect to those in the last movement of the fourth Brandenburg Concerto
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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:
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284:
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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
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1951:
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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:
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3997:
3045:
2615:
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1914:
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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
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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:
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1767:
1478:
1386:
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813:
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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:
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5143:
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4602:
4589:
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4305:
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4257:
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4185:
4181:
4169:
4091:
4072:
4048:
4026:
4001:
3911:
3881:
3864:
3799:
2587:
2459:
2191:
2187:
2175:
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1959:
1934:
1930:
1890:
1879:
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1748:
1740:
1593:
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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
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4635:
4272:
3877:
3860:
3728:
3434:
2797:
2787:
2781:
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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:
2371:
2368:
2365:
2362:
2359:
2356:
2355:
2353:
2348:
2345:
2341:
2340:
2338:
2334:
2331:
2327:
2326:
2323:
2321:
2297:
2279:
2259:
2257:
2255:
2251:
2247:
2242:
2240:
2236:
2229:
2224:
2222:
2215:
2211:
2207:
2205:
2200:
2195:
2193:
2189:
2185:
2181:
2177:
2173:
2169:
2165:
2161:
2157:
2153:
2145:
2141:
2135:
2130:
2123:
2121:
2119:
2114:
2110:
2104:
2102:
2097:
2093:
2089:
2085:
2081:
2077:
2076:Samuel Wesley
2069:
2065:
2061:
2057:
2050:
2046:
2042:
2034:
2033:Samuel Wesley
2027:
2025:
2024:Clavicembalum
2016:
2015:Samuel Wesley
2012:
2006:
2002:
1998:
1994:
1987:
1985:
1983:
1978:
1974:
1969:
1965:
1961:
1957:
1953:
1946:
1942:
1936:
1932:
1928:
1926:
1925:
1920:
1916:
1912:
1908:
1904:
1900:
1896:
1892:
1888:
1881:
1877:
1869:
1865:
1863:
1859:
1855:
1854:
1849:
1848:
1843:
1839:
1835:
1831:
1827:
1822:
1820:
1816:
1812:
1808:
1800:
1795:
1788:
1784:
1779:
1775:
1773:
1769:
1763:
1758:
1754:
1750:
1746:
1742:
1738:
1734:
1730:
1726:
1722:
1718:
1714:
1705:
1697:
1693:
1691:
1687:
1683:
1678:
1674:
1670:
1666:
1662:
1658:
1654:
1650:
1646:
1638:
1633:
1631:
1629:
1625:
1620:
1618:
1613:
1611:
1606:
1602:
1597:
1595:
1590:
1587:
1583:
1578:
1576:
1570:
1568:
1563:
1561:
1557:
1553:
1551:
1546:
1541:
1536:
1533:
1529:
1525:
1516:
1503:
1501:
1480:
1463:
1461:
1453:
1450:
1449:
1448:
1439:
1434:
1426:
1422:
1417:
1411:
1409:
1388:
1371:
1369:
1361:
1358:
1357:
1356:
1354:
1350:
1346:
1342:
1338:
1332:
1318:
1316:
1295:
1278:
1276:
1268:
1265:
1264:
1263:
1259:
1257:
1252:
1250:
1245:
1241:
1237:
1230:
1228:
1207:
1190:
1188:
1183:
1181:
1172:
1165:
1162:
1153:
1149:
1146:
1145:
1144:
1140:
1138:
1133:
1130:
1125:
1123:
1118:
1115:
1114:moto perpetuo
1111:
1107:
1103:
1099:
1095:
1091:
1087:
1080:
1078:
1057:
1040:
1038:
1030:
1027:
1026:
1025:
1019:
1014:
1012:
1008:
1005:
1002:
1001:
997:
995:
991:
989:
985:
979:
977:
972:
969:
966:
962:
957:
955:
951:
947:
943:
939:
932:
930:
909:
892:
890:
882:
879:
878:
877:
875:
871:
867:
863:
858:
853:
849:
845:
838:
836:
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 1019.2
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
122:and
41:The
5583:Joy
4942:doi
4711:doi
4521:doi
4366:doi
4338:doi
4155:doi
4116:doi
3960:doi
1860:of
1785:in
1622:As
1150:in
1092:of
786:in
724:of
191:BWV
103:).
46:BWV
5715::
5194:,
5142:,
5138:,
5120:}}
5116:{{
5094:,
5090:,
5072:63
5070:,
5050:,
5046:,
5033:,
4976:,
4964:,
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4938:77
4936:,
4920:58
4918:,
4914:,
4882:,
4878:,
4853:,
4835:,
4813:,
4809:,
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4746:.
4736:.
4717:,
4707:46
4705:,
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4573:}}
4569:{{
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4300:,
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4112:21
4075:}}
4071:{{
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3880:,
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3808:,
3804:,
3750:,
3051:fr
2820:,
2810:,
2800:,
2790:,
2776:,
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2339::
2162:,
1984:.
1917:.
1864:.
1762:de
1692:.
1684:,
1655:,
1558:.
956:.
726:10
711:15
202:,
198:,
150:.
118:,
5691::
5618:"
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5602:"
5599:"
5595:"
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5585:"
5581:"
5578:"
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5571:"
5567:"
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2845:.
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2332:.
2322:.
1610:B
1605:B
1586:B
1582:A
1532:A
1530:–
1528:B
1526:–
1524:A
1515:8
1502:.
1410:.
1331:2
1317:.
1229:.
1079:.
931:.
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735:2
731:1
728:+
720:2
716:1
713:+
669:.
583:8
570:.
20:)
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