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The first printed version was published under the title Die / Kunst der Fuge / durch / Herrn Johann Sebastian Bach / ehemahligen Capellmeister und Musikdirector zu Leipzig in May 1751, slightly less than a year after Bach's death. In addition to changes in the order, notation, and material of pieces which appeared in the autograph, it contained two new fugues, two new canons, and three pieces ...
by composers like George Frideric Handel. Bach expanded the bass to 32 bars, embedding it within a colourful harmonic framework that forms the foundation for the entire cycle. With Bach exploring all the compositional and stylistic possibilities in an unprec-edented way, his variations take us through a wide range of emotions and states of mind.
In “Wachet auf, ruft uns die Stimme” BWV 140 (BWV stands for Bach-Werke-Verzeichnis, the numbering system used to identify Bach’s works), several arrangements of this chorale are heard. The chorale is set in sparse style, with only three lines of music playing: the chorale melody in the tenor voices, and the bass and soprano lines taken by instruments.
This mingling of music and science in Bach’s work has been confirmed by Wolff, who underlines that Bach the composer considered himself a musical scholar producing works of musical science at a time when Newtonian thought was very influential, especially in Leipzig.22 Bach’s music was affected by the spreading culture of Newtonianism and the general spirit of discovery that prevailed ...
The Art of Fugue BWV 1080 is one of Johann Sebastian Bach's finest masterpieces, a true testament to his achievement as a composer. The Art. of Fugue is the last of Bach's great monothematic cycles, after the Musical Of- fering BWV 1079, the Goldberg Variations BWV 988, and the Canonic Varia- tions on «Vom Himmel hoch da komm' ich her» BWV 769.
Abstract. This chapter examines Johann Sebastian Bach’s B Minor Mass, considered by Hans Georg Nägeli to be the ‘greatest artwork of all times and all people’.
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May 23, 2024 · Abstract. Chapter 16 is devoted to Bach’s treatment of organ registration. It begins with a comparison of French and English practices before looking at the German tradition in Bach’s time. Organ registrations in Germany were generally divided into two categories: the full organ (organum plenum) and all the remaining diverse possibilities.
