|
|
| exercises, most comprehensive effort for Bach to publish kybd works – 4 vols. compositional/virtuosic |
|
|
|
| Kuhnau influence – 1705 – early |
|
| Capriccio on departure of dear, departed brother |
|
only programmatic piece, pleading Arioso – 1704 – early
~”please don’t go”
~foreign modulations symbolize what happens to people in foreign contries
~octave leap for stage coach |
|
~Aria varied in Italian Style
(Aria variata alla meniera Italia) |
|
Sounds like the superficial varying of melodies; highly ornamented; melody varied through the orientation…superficiality only found in top voice.
Bach’s only exploration into variation technique until the Goldberg Variations
1707-08 – early |
|
|
|
subject in tonic 15x
~4 mvmt (2 fugues with similar subject)
~Early |
|
|
|
| Fast-slow-fast, like a concerto transcription 1707-09 – early |
|
|
|
For WF’s singing style/composition; d’Anglebert’s Fr. model for ornamentation; contain inventions and sinfonias
~1717-23 – Cothen |
|
|
|
Contains slide (filling in 3rds)
1717-1723 – Cothen |
|
|
|
trills, could be 16ths for student
1717-1723 – Cothen |
|
|
|
tonic subject introduced 4x in exposition
1717-1723 Cothen |
|
| Invention in B-flat Major |
|
turn study
1717-23 – Cothen |
|
|
|
canon adaptation
1717-1723 |
|
|
|
theme in similar motion between hands
1717-23 – Cothen |
|
|
|
2-voice fugue –
1717-23 – Cothen |
|
|
|
2-voice fugue and double fugue
1717-1723 – Cothen |
|
|
|
mordent/synco/contrary motion study
1717-23 cothen |
|
|
|
ornamentation study; duet w/ ostinato
1717-23 – Cothen |
|
|
|
| triple fugue – 1717-1723 – Cothen |
|
| Prelude #7 in E-flat Major |
|
prelude and double fugue
1722,44 Leipzig |
|
|
|
tempo indicated (not the norm)
1722,44 Leipzig |
|
|
|
|
|
|
“Style briese” – broken style (famous)
1722,44 Leipzig |
|
|
|
| trio sonata (2 upper voices with bass; parallel) 1722,44 Leipzig |
|
| prelude in e-flat minor and b-flat minor |
|
arioso style
1722,44 Leipzig |
|
|
|
2-voice fugue
1722,44 Leipzig |
|
| Fugue in C# minor and b-flat minor |
|
5-voice fugue
1722,44 Leipzig |
|
| fugues in d minor and G major |
|
| inversion of fugal theme 1722,44 Leipzig |
|
|
|
stretto (close entrances)
1722,44 Leipzig |
|
|
|
toccata-like opening, gigue style
Leipzig |
|
| Chromatic fantasy and fugue |
|
|
| partita #1 in B-flat major |
|
prelude = 3-voice fugue
Leipzig |
|
|
|
fusion of nat’l styles (Bukafzer), French overture (outer sections of sinfonia) middle section in Italian style.
Leipzig |
|
| Partita #6 in e minor (listening test) |
|
toccata and fugue have same theme
Leipzig |
|
| Italian Concerto in F major (list. test) |
|
for harpsichord; lots of dynamics; presto/andante indicated
Leipzig |
|
|
|
varied bass line; aria’s melody = saraband; every 3rd variation = canon
Leipzig
made Gould famous |
|
|
|
|
|
|
fughetta (baroque-like)
Leipzig |
|
|
|
|
|
|
| “Quodlibet” – combo of pop tunes (Long Have I Been away and Cabbage and turnips have put me to flight) |
|
|
|
non-keyboard canon
Leipzig |
|
|
|
| 2 manuals; chorale/canonic variations Leipzig, summation of Bach’s works for keyboard |
|