exercises, most comprehensive effort for Bach to publish kybd works – 4 vols. compositional/virtuosic
Sonata in D major
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
Toccata in d minor
subject in tonic 15x
~4 mvmt (2 fugues with similar subject)
toccata in G major
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
Invention in C major
Contains slide (filling in 3rds)
1717-1723 – Cothen
Invention in d minor
trills, could be 16ths for student
1717-1723 – Cothen
Invention in a minor
tonic subject introduced 4x in exposition
1717-1723 Cothen
Invention in B-flat Major
turn study
1717-23 – Cothen
Invention in c minor
canon adaptation
Invention in F Major
theme in similar motion between hands
1717-23 – Cothen
Invention in b minor
2-voice fugue –
1717-23 – Cothen
Invention in f minor
2-voice fugue and double fugue
1717-1723 – Cothen
Invention in E major
mordent/synco/contrary motion study
1717-23 cothen
Sinfonia in E-flat Major
ornamentation study; duet w/ ostinato
1717-23 – Cothen
Sinfonia in f minor
triple fugue – 1717-1723 – Cothen
Prelude #7 in E-flat Major
prelude and double fugue
1722,44 Leipzig
Prelude #2 in c minor
tempo indicated (not the norm)
1722,44 Leipzig
Prelude in E major
1722,44 Leipzig
prelude in C major
“Style briese” – broken style (famous)
1722,44 Leipzig
Sinfonia in E-flat major
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
fugue in b minor
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
Fugue in b-flat minor
stretto (close entrances)
1722,44 Leipzig
English suite in A major
toccata-like opening, gigue style
Chromatic fantasy and fugue
recitative, showy
partita #1 in B-flat major
prelude = 3-voice fugue
Partita #2 in C minor
fusion of nat’l styles (Bukafzer), French overture (outer sections of sinfonia) middle section in Italian style.
Partita #6 in e minor (listening test)
toccata and fugue have same theme
Italian Concerto in F major (list. test)
for harpsichord; lots of dynamics; presto/andante indicated
Goldberg variations
varied bass line; aria’s melody = saraband; every 3rd variation = canon
made Gould famous
Theophilus Goldberg
student of Bach
Goldberg variation #10
fughetta (baroque-like)
Goldberg Var. 16
Fr. Overture
Goldberg Var. 30
“Quodlibet” – combo of pop tunes (Long Have I Been away and Cabbage and turnips have put me to flight)
Musical Offering
non-keyboard canon
Von Himmel hoch, etc.
2 manuals; chorale/canonic variations Leipzig, summation of Bach’s works for keyboard