Difference between revisions of "MuseData: Johann Sebastian Bach"

From CCARH Wiki
Jump to navigation Jump to search
Line 12: Line 12:
 
| No. 1 || BWV 1046 || Concerto / 2 Hn, Ob, Bn; VPiccolo, 2V, Va, Vc, Vne Gr, Cem || F Major || Example || BWV 1046/m3 = BWV 207a/m1.  BWV 1046/m7 = BWV 207a/m5a.   
 
| No. 1 || BWV 1046 || Concerto / 2 Hn, Ob, Bn; VPiccolo, 2V, Va, Vc, Vne Gr, Cem || F Major || Example || BWV 1046/m3 = BWV 207a/m1.  BWV 1046/m7 = BWV 207a/m5a.   
 
|-
 
|-
| No. 1a || BWV 1046a || Concerto / 2 Hn, 3 Ob, Bn; 2V, Va, Vc, Cem || F Major || Example || Example
+
| No. 1a || BWV 1046a || Concerto / 2 Hn, 3 Ob, Bn; 2V, Va, Vc, Cem || F Major || Example || BWV 1046a/m1 = BWV 52/m1
 
|-
 
|-
 
| No. 2 || BWV 1047 || Concerto / Tr, Rec, Ob, Vn; 2V, Va, Vc, Vne, Cem || F Major || Example || Example
 
| No. 2 || BWV 1047 || Concerto / Tr, Rec, Ob, Vn; 2V, Va, Vc, Vne, Cem || F Major || Example || Example

Revision as of 22:19, 26 August 2020

Cantatas

Masses

Brandenburg Concertos

Work No. Catalogue No. Genre / Instruments Key Score (PDF) Concordances
No. 1 BWV 1046 Concerto / 2 Hn, Ob, Bn; VPiccolo, 2V, Va, Vc, Vne Gr, Cem F Major Example BWV 1046/m3 = BWV 207a/m1. BWV 1046/m7 = BWV 207a/m5a.
No. 1a BWV 1046a Concerto / 2 Hn, 3 Ob, Bn; 2V, Va, Vc, Cem F Major Example BWV 1046a/m1 = BWV 52/m1
No. 2 BWV 1047 Concerto / Tr, Rec, Ob, Vn; 2V, Va, Vc, Vne, Cem F Major Example Example
No. 3 BWV 1048 Concerto / 3V, 3Va, 3Vc, Vne, Cem G Major Example Example
No. 4 BWV 1049 Concerto / VPr, Rec, 2Vn, Va, Vc, Vne, Cem G Major Example Example
No. 5 BWV 1050 Concerto / Fl, VPr, Cem concertato; V, Va, Vc, Vne, Cem D Major Example Example
No. 5a BWV 1050a Concerto / Fl, VPr, Cem concertato; V, Va, Vne D Major Example Example
No. 6 BWV 1051 Concerto / 2Va, 2Va da gamba, Vc, Vne, Cem B Major Example Example

Well-tempered Clavier

Two- and Three-part Inventions

J. S. Bach: Invention No. 4 [BWV 775] from the holograph manuscript, Mus.ms. Bach P 610, Berlin, Deutsche Staatsbibliothek.

Bach's two-part inventions (BWV 772-786) constituted one set of several that J. S. Bach composed for his gifted son Wilhelm Friedemann Bach (1710-1784). The term invention is traced to the solo violin pieces Op. 10 (1713) by Francesco Antonio Bonporti (1672-1749), a Trentine composer. Bach uses the Latin title Inventio, reminding us of his command of the language, which he taught in at least one of his posts in addition to teaching music. Each three-voice work that follows in the same collection was likewise called a Sinfonia.

Work No. Catalogue No. Genre / Instrument Key Score
No. 1 BWV 772 Invention / harpsichord C Major Example
No. 1a BWV 772a Invention / harpsichord C Major Example
No. 2 BWV 773 Invention / harpsichord C Minor Example
No. 3 BWV 774 Invention / harpsichord D Major Example
No. 4 BWV 775 Invention / harpsichord D Minor Example
No. 5 BWV 776 Invention / harpsichord E Major Example
No. 6 BWV 777 Invention / harpsichord E Major Example
No. 7 BWV 778 Invention / harpsichord E Minor Example
No. 8 BWV 779 Invention / harpsichord F Major Example
No. 9 BWV 780 Invention / harpsichord F Minor Example
No. 10 BWV 781 Invention / harpsichord G Major Example
No. 11 BWV 782 Invention / harpsichord G Minor Example
No. 12 BWV 783 Invention / harpsichord A Major Example
No. 13 BWV 784 Invention / harpsichord A Minor Example
No. 14 BWV 785 Invention / harpsichord Bb Major Example
No. 15 BWV 786 Invention / harpsichord B Minor Example

The harmonic cycle that Bach has constructed in the collection as a whole foreshadows the tonally more complete cycles of the two sets of paired preludes and fugues called the Well-Tempered Clavier. They appeared in 1722 and 1744. It was not enough for young Friedemann to be able to play the pieces. He was being called to understand the cyclic possibilities that inhered in tonal relationships. This was a dominant focus in music theory of the time. Johann David Heinichen's Circle of Fifths was first formalized in 1711 and has remained the dominant scheme in Western music theory.

The three-part inventions, or sinfonie, follow the same cyclical organization in the aggregate. It has been suggested that the intended relationship between the inventions and sinfonias was to be performed in pairs, like the prelude-fugue sets of the Well-Tempered Clavier. Given their shared cycle of keys, Invention 1 might be followed by Sinfonia No. 1 and so forth.

Work No. Catalogue No. Genre / Instrument Key Score
No. 1 BWV 787 Sinfonia / harpsichord C Major Example
No. 2 BWV 788 Sinfonia / harpsichord C Minor Example
No. 3 BWV 789 Sinfonia / harpsichord D Major Example
No. 4 BWV 790 Sinfonia / harpsichord D Minor Example
No. 5 BWV 791 Sinfonia / harpsichord E Major Example
No. 6 BWV 792 Sinfonia / harpsichord E Major Example
No. 7 BWV 793 Sinfonia / harpsichord E Minor Example
No. 8 BWV 794 Sinfonia / harpsichord F Major Example
No. 9 BWV 795 Sinfonia / harpsichord F Minor Example
No. 10 BWV 796 Sinfonia / harpsichord G Major Example
No. 11 BWV 797 Sinfonia / harpsichord G Minor Example
No. 12 BWV 798 Sinfonia / harpsichord A Major Example
No. 13 BWV 799 Sinfonia / harpsichord A Minor Example
No. 14 BWV 800 Sinfonia / harpsichord Bb Major Example
No. 15 BWV 801 Sinfonia / harpsichord B Minor Example