Six Sonatas for Violin and Harpsichord, BWV 1014–1019

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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.

1660:: "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" ( 1685: 1982: 1405: 1865: 1430:

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

163: 1857: 70: 1171:. 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. 1556: 2230:—"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". 1111: 2199: 2015:& 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." 1767: 952:, 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 2257: 1458: 1366: 1273: 1185: 1035: 887: 793: 625: 526: 1606: 965: 517: 1583: 733: 3674:, 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." 1920: 1344:, 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. 1783: 878: 693: 784: 1693: 1126: 2000: 2118: 2045: 1245: 1592:—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 1449: 1357: 1264: 1026: 1176: 1930: 146:—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 2129: 2030: 280:. 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. 20: 1802:, 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 5687: 207:; 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 421:

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.

228:. 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 1955:, 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 1916:, 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"). 756:-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- 309:. 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 2226:(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, 2109:, 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. 203:; 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 2275: 2293: 240:

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

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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

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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

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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

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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

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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

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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

1664:)—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 1131:

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

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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

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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

366:. 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 982:

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

348:, 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. 1825:, 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 401:

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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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."

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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

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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

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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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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

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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

115:. 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 1668:

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

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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.

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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

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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.

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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

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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

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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.

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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

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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:

2273: 1240:. 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. 1336:—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 2291: 5214: 2274: 432:

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.

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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.

5207: 1740:, 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 1250:

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.

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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

2284: 344:. 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 392:, 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 412:

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

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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

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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

159:, 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. 1619:. 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. 905: 1810:, 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. 2167:, 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 1097:-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 849:

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

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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

2083:. 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 688:

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.

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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.

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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

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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

903: 88:, 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 53:

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

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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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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.

809: 641: 542: 1658:... 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 671:

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

5357: 1732:

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

3034: 1436:

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.

904: 5170: 4550:

Rempp, Frieder (2001), "Überlegungen zur Chronologie der drei Fassungen der Sonate G-Dur für Violine und konzertierenden Cembalo (BWV 1019)", in M. Staehelin (ed.),

1736:—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 355:, 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. 95:

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

3597:, 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 2697: 2424: 1951:

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

2063:

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

2652: 3649:

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

1475: 1383: 1290: 1202: 1052: 810: 642: 543: 2514: 1745: 1148:

unexpected counter-theme against it, that the listener would have sworn that everything had been carefully written out ... his accompaniment was always like a

5230: 2572: 1085:

start with slow movements: BWV 1019, like the instrumental concertos of Bach, begins with a fast movement. Symmetrical in structure and written in strict

853:

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

2737: 2237:

and resulting issues of nationalism prompted French music publishers to bring out their own editions of classic German works to replace German editions.

1566:

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.

5445: 2713: 2703: 359:

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:

4722: 1116:

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

5306: 5234: 2228:

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,

100: 5550: 2762: 592:, the compositional style and impassioned tone resemble those of the obbligato violin solo in the celebrated alto aria "Erbarme dich" from Bach's 4053:

Die Gewandhausconcerte in Leipzig 1781-1881, Festschrift zur hundertjährigen Jubelfeier der Einweihung des Concertsaales im Gewandhaus zu Leipzig

2800: 2693: 2528: 2518: 728:

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:

424:

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

61:. 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. 1700:

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

5112: 4565: 4067: 1013:

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",

1551:

notes that probably in the original aria the quaver figures musically represented the trotting of horses and the semiquavers their swiftness.

5664: 2707: 2566: 5481: 2638: 340:. In the 1960s Hans Eppstein made a systematic analysis of all the sonatas for obbligato keyboard and melody instrument, including the six 5425: 5258: 5199: 2147:

in 1786, she was a highly accomplished keyboard player. In 1804, she moved to Vienna, where her performances attracted the admiration of

1956: 4993: 768:, leading directly into the concluding eight bar ritornello, its opening marked by the rising chromatic fourth figure in the bass line. 5374: 1537: 5707: 5440: 5435: 5430: 5174: 5362: 5285: 3764: 4237:(2010), "Notes on J.S. Bach and Basso Continuo Realization", in Butler, Gregory S.; Stauffer, George; Greer, Mary Dalton (eds.), 2233:

At the beginning of the twentieth century there was an increased interest in classical chamber music in France. The onset of the

5097:

Unverricht, Hubert (1980), "Spieltraditionen von Johann Sebastian Bachs unbegleiteten Sonaten und Partiten für Violine allein",

2075:(sold by subscription in four instalments), Wesley began to stage performances of Bach's works in London with the help of Horn, 5319: 1615:

remarks, these momentary interruptions are similar in effect to those in the last movement of the fourth Brandenburg Concerto

5717: 5470: 4740: 4541: 1744:, banker to Frederick the Great and his father, provided a cultural milieu for musical connoisseurs: four of his daughters, 75:

Sounate â Cembalo certato è Violino Solo, col Basso per Viola da Gamba accompagnato se piace. Composte da Giov: Sebast: Bach

4774:

The Organ Music of J. S. Bach: Volume 1, Preludes, Toccatas, Fantasias, Fugues, Sonatas, Concertos and Miscellaneous Pieces

3968: 3044:

in 1702. It indicates that all notes but the last under the slur are to be held slightly longer than their marked duration.

2195:

of Bach: his invitation for subscriptions to a proposed publication of organ works by Bach elicited only three responses.

1712:, where Carl Philipp Emanuel Bach was appointed harpsichordist in 1740, had a number of exceptional violinists, including 1101:

in the ritornello, with the musical material alternating every two or four bars. The semiquavers continue unabated like a

45:

form, with the two upper parts in the harpsichord and violin over a bass line supplied by the harpsichord and an optional

3928:

Johann Sebastian Bachs Traditionsraum (Forschungskollektivs 'Johann Sebastian Bach' an der Karl-Marx-Universität Leipzig)

2064: 2021: 2003: 3913:

Asmus, Jürgen (1982), "Innendynamische Charakteristika in der Sonatenkonzeption J.S. Bachs", in Reinhard Szeskus (ed.),

5154: 5088: 4974: 4851: 4760: 4615: 4491: 4250: 4041: 3904: 1725: 1640:

in the musical world. It incorporated all the ideals of harmony, melody and counterpoint espoused by theorists such as

3876: 3720:

has prepared a 24 page commentary on the sonatas, which is also available as an audio commentary on a supplementary CD

2186:

Bach's sonatas for violin and keyboard featured in the repertoire of the Paris concerts and prompted the musicologist

5387: 5382: 5347: 5342: 5336: 5331: 5314: 5136: 5009: 4829: 4473: 4439: 4428: 4388: 4225: 4203: 2373:

Arrangement of Siciliano, BWV 1017/i, for violin and harp, Franz Poenitz (1850–1912), Berlin: Carl Simon Musikverlag.

150:

has a marginal "Violin I" at the start of BWV 1014, the scoring of the upper part in the keyboard, especially in the

322:

The slow movements contain some of Bach's most beautiful and profound essays in serious, sad, or lamenting affects.

277: 221: 3830:

The music for violin and cembalo/continuo, Vol. II: Sonatas for violin and obbligato cembalo nos. 4–6, BWV 1017–19

2217:

all under the bow of Baillot these are brought to life in a delicious way and with a feeling imbued with devotion.

2139:

At the turn of the nineteenth century, the chamber music of Bach became known in Paris thanks to the intermediary

5392: 5273: 5268: 5263: 3818:

The music for violin and cembalo/continuo, Vol. I: Sonatas for violin and obbligato cembalo nos. 1–3, BWV 1014–16

2831: 1912: 1684: 835:

melodic line in dotted rhythms in its lower and middle registers as if an alto solo. At first declamatory in the

606:

slurs gradually descending in steps—provide a rhythmic pulse gently driving the movement forward, almost like an

244:

In the 1725 manuscript the remaining movements were entered by Bach himself. The sonata took the following form:

5055: 4095: 1981: 5564: 5044: 4880: 4807: 4785: 4681: 4651: 4582: 4455: 4411: 4298: 4276: 4178: 4084: 4019: 3994: 2172: 1989: 1850: 341: 305:

The sonata attained its final form some time between 1729 and 1741 and survives in a copy made by Bach's pupil

96: 2355:

Siciliano, BWV 1017/i, piano solo: Heinrich Bungart (1864–1910); Eric Kuhlstrom (1860–1940); and Ludwig Stark.

1969:

Schumann. In 1864 David prepared an edition of BWV 1014–1016 for Peters which was reissued ten years later by

1813:

The first printed score only appeared in the early nineteenth century. It was published in the early 1800s in

5405: 4769: 2209: 2202: 1864: 1845:

in 1802. His interests later turned to pedagogy and singing: in Zürich he set up an institute similar to the

1404: 336:

The first musical description of the sonatas for obbligato harpsichord and violin BWV 1014–1019 appeared in

5505: 4242: 3039: 2317:

Arrangement of the six sonatas for viola and piano, Friedrich Hermann (1828–1907), Library of Viola Music,

2163:. In Vienna she became familiar with the keyboard and chamber music of Bach through the musical circles of 1826: 1341: 1333: 938: 370:. The fugue subject is then taken up by the other upper part and finally in the bass. These movements have 273: 5229: 5020:"Towards a Performance History of Bach's Sonatas and Partitas for Solo Violin: Preliminary Investigations" 4093:

Eppstein, Hans (1964), "Zur Problematik von J. S. Bachs Sonate für Violine und Cembalo G-Dur (BWV 1019)",

1425:

tonic key. It is heard in the first bar in the harpsichord over a rising scale of quavers in the bass. An

162: 5531: 2731: 5677: 5418: 5080: 4843: 4821: 4777: 4669: 4643: 4403: 4345:

Lester, Joel (2001), "Heightening Levels of Activity and J. S. Bach's Parallel-Section Constructions",

4268: 4033: 4011: 2414: 2187: 2101: 2097: 1940: 1933: 1728:, the sister of Frederick the Great, was a keen amateur keyboard player and from 1758 had Bach's pupil 896: 602:

semiquaver figures in the harpsichord right hand, while the quavers in the left hand—with their French

24: 1965: 865:

describes the mood of the movement as "verinnerlichte und vergeistigte"—inward-looking and spiritual.

5397: 4166: 1835: 306: 233: 147: 4500:

Palm, Albert (1966), "La connaissance de l'œuvre de J. S. Bach en France a l'époque préromantique",

4214:

The Creative Development of Johann Sebastian Bach, Volume II: 1717–1750: Music to Delight the Spirit

3734: 155:

are written in trio sonata form, each has its own distinct character—the third is an example of the

5465: 4872: 4464:

Olleson, Philip (2004), "Samuel Wesley and the English Bach Awakening", in Kassler, Michael (ed.),

4380: 4192:

The Creative Development of Johann Sebastian Bach, Volume I: 1695–1717: Music to Delight the Spirit

3986: 2604: 2332: 2080: 1903: 4954: 3931: 3918: 3865:, Johann Sebastian Bach. Neue Ausgabe sämtlicher Werke. Revidierte Edition (NBArev), vol. 3, 2318: 2242: 1970: 1856: 1332:

for solo harpsichord. Unlike the movements it replaced—the corrente and tempo di gavotta from the

5712: 5622: 5538: 5128: 4966: 4799: 4732: 4432: 4217: 4195: 3896: 3833: 3821: 2830:

The title page was written by Bach's nephew Wilhelm Friedrich Bach with an annotation by his son

1846: 1807: 1795: 1717: 1670: 1098: 393: 69: 5191:

Clavier Sonaten mit obligater Violine / von Johann Sebastian Bach. Zürich: Bëy Hans Gëorg Nägeli

4951:

Ein förmlicher Sebastian und Philipp Emanuel Bach-Kultus: Sara Levy und ihr musikalisches Werken

857:

phrases of increasing complexity and length in the violin part each followed by a proportionate

5691: 5604: 5585: 5190: 4897: 4640:

Violin Technique and Performance Practice in the Late Eighteenth and Early Nineteenth Centuries

3598: 2683: 2490: 2068: 1993: 1907: 1882:, trained with Paganini and toured all the main cities in Europe before eventually settling in 1674: 229: 4673: 4661: 4170: 4158: 5571: 5410: 5243: 4921: 4888: 4290: 4051: 2790: 2410: 2072: 2052: 1829:

and the widow of C.P.E. Bach, he was able to acquire Bach manuscripts, including that of the

1713: 1678: 1645: 1555: 1496:

The fifth and final movement of BWV 1019 is a concertante, gigue-like Allegro in G major and

1337: 204: 38: 1794:

Sara was the most gifted harpsichordist in the Itzig family, of professional standard. When

5544: 5489: 4997: 4003: 3730: 2752: 2656: 2562: 2556: 2510: 2476: 2106: 2084: 2048: 1985: 1733: 4630:

Johann Sebastian Bach; his work and influence on the music of Germany, 1685–1750, Volume 2

2175:. After 1813, as a result of political events, she restricted herself to teaching, taking 1890:, he prepared a new performing edition of BWV 1014–1019 in collaboration with the pianist 1818: 1771: 971:

repeated notes which change its rhythmic character to a more continuous melodic line; and

166:

Johann Georg Schreiber, 1720: Engraving of Katherinenstrasse in Leipzig. In the centre is

8: 5650: 5636: 5524: 5280: 4366: 4187: 3974: 3769:, Johann Sebastian Bach's Werke (Bach-Gesellschaft), vol. IX, Breitkopf & Härtel 2796: 2628: 2208:

Another musicologist who had attended many of the recitals of Bigot was the musicologist

2056: 1709: 225: 5024:

Essays in Honor of László Somfai: Studies in the Sources and the Interpretation of Music

1875: 738:

In the upper parts a tightly phrased semiquaver figure ornamented with a demisemiquaver

49:. Unlike baroque sonatas for solo instrument and continuo, where the realisation of the 5598: 5194: 5064: 4938: 4707: 4517: 4362: 4334: 4261: 4112: 3956: 2806: 2721: 2667: 2580: 2394: 1770:

Title page of first printed edition of the sonatas published by the Swiss musicologist

1756: 1467: 1375: 1282: 1237: 1194: 1110: 1044: 802: 753: 634: 594: 535: 417:

effect; in BWV 1014/3, BWV 1016/3 and BWV 1017/3, the bass line is a genuine ostinato.

175: 4864: 4466:

The English Bach Awakening: Knowledge of J.S. Bach and His Music in England, 1750–1830

2390: 269: 167: 5150: 5132: 5106: 5084: 5040: 5019: 5005: 4970: 4876: 4847: 4825: 4803: 4781: 4756: 4736: 4718: 4677: 4647: 4611: 4591: 4578: 4559: 4537: 4487: 4469: 4451: 4435: 4407: 4384: 4338: 4294: 4272: 4246: 4221: 4199: 4174: 4080: 4061: 4037: 4015: 3990: 3900: 3870: 3853: 3788: 2576: 2448: 2198: 2180: 2176: 2164: 2160: 1948: 1923: 1760: 1737: 1729: 1563: 1528: 1426: 1082: 942: 208: 4484:

Frederick the Great and His Musicians: The Viola Da Gamba Music of the Berlin School

1879: 1868: 1766: 5643: 5497: 4963:

Music for a Mixed Taste: Style, Genre, and Meaning in Telemann's Instrumental Works

4930: 4699: 4628: 4509: 4400:

Ornamentation in Baroque and Post-baroque Music: With Special Emphasis on J.S. Bach

4354: 4326: 4143: 4104: 3948: 2673: 2538: 2452: 2362: 1899: 1841: 1641: 1408:

Part of a pictorial representation of the opening of BWV 1019/4 from the 1921–1922

1078: 352: 351:

The five sonatas BWV 1014–1018 are all in four movements in the conventions of the

1886:. In 1841, as part of a complete edition of Bach's works by the Leipzig publisher 5120: 4860: 4317: 2780: 2727: 2677: 2612: 2594: 2546: 2486: 2472: 2420: 2325: 2234: 2152: 2076: 2037: 1952: 1830: 739: 385: 302:

taken as an indication of the unfinished or intermediate status of this version.

131:

as solo instruments; and likewise by the trio sonata for two flutes and continuo

124: 4595: 4125:

Studien über J. S. Bachs Sonaten für ein Melodieinstrument und obligates Cembalo

2766: 2524: 1708:

rose to prominence as the centre of musical activities in Germany. The court of

1605: 5557: 4624: 4552:

Die Zeit, die Tag und Jahre macht: Zur Chronologie des Schaffens von J. S. Bach

4423:

The letters of Samuel Wesley: social and professional correspondence, 1797-1837

3794: 3717: 3423: 2786: 2776: 2770: 2660: 2642: 2622: 2608: 2598: 2496: 2456: 2434: 2417:(harpsichord), Elatus Records (four different recordings between 1964 and 1998) 2400: 2238: 2168: 2132: 2089: 2033: 1961: 1649: 1612: 1077:. This already sets the sonata apart from the previous sonatas, which like the 964: 667:

is a "concerto allegro" according to Eppstein's classification. 109 bars long,

516: 371: 128: 89: 46: 5099:

Johann Sebastian Bach und seine Ausstrahlung auf die Nachfolgende Jahrhunderte

4358: 3866: 3849: 1919: 1782: 1582: 732: 5701: 4134: 3798: 2810: 2741: 2632: 2618: 2590: 2532: 2438: 2404: 1803: 1232: 1102: 953: 877: 692: 493: 471: 425: 212: 4690:

Swack, Jeanne R. (1993), "On the Origins of the "Sonate auf Concertenart"",

1692: 783: 192: 23:

Manuscript of the first movement of BWV 1019, third version, copied by

5629: 5457: 5184: 4916: 4308: 4147: 3841: 3740: 3427: 2756: 2646: 2586: 2552: 2542: 2462: 2338:

Siciliano, BWV 1017/i, for violin and orchestra, 1885, Berlin: Schlesinger.

1750: 1741: 1637: 1228: 1224: 1125: 1117: 776: 367: 85: 50: 4934: 4898:"A Bach cult in late-eighteenth-century Berlin: Sara Levy's musical salon" 4330: 135:

and its alternative version for viola da gamba and obbligato harpsichord,

119:

which originated as the sinfonia starting the second part of the cantata,

5592: 4421: 4234: 4154: 3809: 2745: 2717: 2687: 2500: 2466: 2377: 2140: 2122: 1999: 1891: 1887: 1787: 1721: 1633: 1329: 1168: 1074: 976: 941:; namely in the second part of the binary movement, the fugue subject is 926: 765: 664: 584: 389: 81: 42: 5068: 4008:

Bach Interpretation: Articulation Marks in Primary Sources of J. S. Bach

2059:

in 1774, was one of the main concert venues in London for over a century

925:

The final Allegro of BWV 1017 is a spirited dance-like "tutti fugue" in

405:, no specific dance forms have been associated to individual movements. 184: 142:

Although it had been believed for some time—and advanced as a theory by

5578: 4312: 3846:

Six Sonatas for Violin and Obbligato Harpsichord BWV 1014–1019 (Urtext)

2308: 2044: 1944: 1536:("Phoebus speeds with swifty steeds") from the secular Wedding Cantata 1488: 1396: 1312: 1303: 1215: 1090: 1065: 972: 917: 823: 672: 655: 556: 375: 4942: 4711: 4521: 4116: 3960: 3939:

Breslauer, Peter (1988), "Diminutional Rhythm and Melodic Structure",

5036: 4528:

Rampe, Siegbert (2013), "Sonaten für obligates Cembalo und Violine",

3863:

Kammermusik mit Violine BWV 1001–1006, 1021, 1023, 1014–1019 (Urtext)

3785:

Six Sonatas for Violin and Piano (Harpsichord) BWV 1014–1019 (Urtext)

2397:(organ), 1957, Les Discophiles Français – DF 209-210 Remastered 2021. 2361:

Adagio, BWV 1018/iii, piano solo; Bernhard Kistler-Liebendörfer; and

2299:

Performed by Petro Titiajev (violin) and Ivan Ostapovych (pipe organ)

2156: 1413: 1244: 979:

groups of three semiquavers instead of four (see the 5th bar above).

832: 580: 80:

Bach's sonatas for violin and obbligato harpsichord were composed in

1833:, which he eventually published. His Bach publications started with 1814: 1775: 1227:

in the harpsichord which for the first three bars is annotated as a

598:. The harpsichord supplies a continuo-like accompaniment. There are 200: 54: 5145:

Zohn, Steven (2013), "Bach: Chamber Music", in Murray Steib (ed.),

4703: 4608:

Sei Solo: Symbolum?: The Theology of J. S. Bach's Solo Violin Works

4513: 4132:

Eppstein, Hans (1969), "Grundzüge in J. S. Bachs Sonatenschaffen",

4108: 3952: 1822: 1616: 1448: 1356: 1263: 1175: 1025: 607: 599: 589: 414: 384:. These follow the model of the fast movements of the concertos of 188: 136: 132: 112: 108: 104: 4374: 3776:

Sechs Sonaten für Violino und Cembalo, BWV 1014–1019 (NBA, Urtext)

2092:, a venerable Handelian, recently converted to Bachism by Wesley. 1929: 1806:. Sara herself performed in public, including performances at the 1328:

time, the third and central movement of BWV 1019 is an allegro in

4961:

Zohn, Steven (2015), "Telemann and the Sonate auf Concertenart",

2504: 2480: 2442: 2428: 2128: 2029: 1883: 1799: 1701: 1589: 1523: 1409: 1140: 1094: 1086: 999: 930: 929:. Like the last movements of BWV 1014 and the first organ sonata 761: 757: 449: 217: 116: 58: 2358:

Adagio, BWV 1017/iii, piano solo, Bernhard Kistler-Liebendörfer.

1874:

In the early nineteenth century the virtuosity of the violinist

170:, where the Collegium Musicum held weekly chamber music concerts 4919:(1993), "Sara Levy and the Making of Musical Taste in Berlin", 4533: 3981:

Buelow, George J. (2004), "Johann Sebastian Bach (1685–1750)",

2144: 2117: 1705: 1544: 196: 120: 4030:

Engaging Bach: The Keyboard Legacy from Marpurg to Mendelssohn

2352:

Adagio, BWV 1016/i, piano solo, Bernhard Kistler-Liebendörfer.

1878:

heralded a new generation of violinists. The Polish violinist

2148: 975:

is introduced in the countersubject, now playfully scored in

934: 310: 19: 2349:

Andante, BWV 1015/iii, piano solo, Ludwig Stark (1831–1884).

1158:

Comments on Bach's continuo playing, Johann Dietrich Daube,

2368:

Allegro, BWV 1019/i, piano solo, Erich Doflein (1900–1977).

1597:

is interrupted four times by half-bar interjections of the

1588:

The new theme has the effect of an interjection —a kind of

73:

Title page from 1725 manuscript of BWV 1014–1019. It reads

1569:

At the cadence marking the end of the ritornello (section

1073:

The opening movement is a concerto allegro in G major and

5307:

Sonatas for viola da gamba and harpsichord, BWV 1027–1029

5077:

Bach's Numbers: Compositional Proportion and Significance

4633:, translated by Clara Bell; J.A. Fuller-Maitland, Novello 3804:

Bach, J.S. (1975), Karl Schleifer; Kurt Stiehler (eds.),

1167:

The second movement of BWV 1019 is a Largo in E minor in

179: 101:

sonatas for viola da gamba and harpsichord, BWV 1027–1029

34: 5177:(includes some digitised eighteenth century manuscripts) 4287:

Bach's Well-Tempered Clavier: The 48 Preludes and Fugues

4077:

The Bach Chaconne for Solo Violin: A Collection of Views

2331:

Adagio, BWV 1016/i, for violin and organ, 1885, Berlin:

2159:; her husband served as librarian to Beethoven's patron 1231:. The violin enters with the theme which is imitated in 2067:. In 1809, while arranging the future publication with 1821:. The son of a musically inclined Protestant pastor in 5363:

Canonic Sonata for oboe, violin and continuo, BWV 1040

5147:

Reader's Guide to Music: History, Theory and Criticism

2100:, the younger brother of Frederick the Great. In 1774 1093:

is scored as a tutti section for all three parts. The

5675: 5302:

Six Sonatas for Violin and Harpsichord, BWV 1014–1019

4905:

Bulletin of the American Academy of Arts and Sciences

4600:, translated by Ernest Newman, Breitkopf & Härtel 4394:(the subsequent expanded edition is available online) 4313:"Music reviews: J.S. Bach's chamber music for violin" 2212:. Of their performance of BWV 1014 in 1810 he wrote: 4263:

The Historical Performance of Music: An Introduction

3238:

The translation is adapted from the New Bach Reader.

2710:(harpsichord), Son an ero / Cordes & Ames, 2011. 199:; the period 1717–1723 when he was Capellmeister at 64: 5259:

Sonatas and Partitas for Solo Violin, BWV 1001–1006

4796:

The Chromatic Fourth During Four Centuries of Music

831:In the Adagio in triple time, the violin plays the 103:, and the three sonatas for flute and harpsichord, 4260: 3890: 3703: 2346:Allegro, BWV 1014/i, two pianos, Michael Gottlieb. 2248: 374:, solo episodes, fugal development sections and a 3828:Bach, J.S. (1993b), Richard Douglas Jones (ed.), 3816:Bach, J.S. (1993a), Richard Douglas Jones (ed.), 3806:Sonaten für Violine und Cembalo, 2 Bände (Urtext) 960:The second part of BWV 1017/4 starts as follows: 5699: 3891:Antokoletz, Elliott; Wheeldon, Marianne (2011), 2376:Arrangement of Adagio, BWV 1017/iii, for organ, 32:six sonatas for violin and obbligato harpsichord 2224:Encyclopédie méthodique ou par ordre de matière 1896:Six grandes sonates pour piano et violon obligé 276:; before that it had already been entered into 345: 5665:List of compositions by Johann Sebastian Bach 5215: 4692:Journal of the American Musicological Society 4481: 4347:Journal of the American Musicological Society 4258: 3518: 3123: 1008: 986: 502: 480: 458: 436: 272:as the Corrente in BWV 830, the sixth of the 236:describes the sonatas as being 50 years old. 5358:Sonata for two flutes and continuo, BWV 1039 5033:The Violin: A Research and Information Guide 4532:, Bach-Handbuch (in German), vol. 5/2, 1627: 263:Vivace, G major (repeat of opening movement) 5406:Sinfonia for violin and orchestra, BWV 1045 5125:Johann Sebastian Bach: The Learned Musician 4572: 4372: 3304: 1573:), the middle 58-bar "development" section 402: 5222: 5208: 5111:: CS1 maint: location missing publisher ( 4753:Richard Wagner's Zurich: The Muse of Place 4717: 4642:, Cambridge Musical Texts and Monographs, 4590: 4564:: CS1 maint: location missing publisher ( 4066:: CS1 maint: location missing publisher ( 3970:The Evolution of Annotated String Editions 3619: 3398: 2088:private performance of all six sonatas to 232:: a letter to him in 1774 from Bach's son 57:between 1720 and 1723, before he moved to 5446:For two harpsichords in C minor, BWV 1060 5175:International Music Score Library Project 4426:, Ph.D. eprints, University of Nottingham 4373:Little, Meredith; Jenne, Natalie (2001), 4306: 4284: 3938: 3176: 3111: 3030: 2927: 2783:(piano), BWV 1017, Warner Classics, 2016. 850: 5181:Digitised eighteenth century manuscripts 4837: 4815: 4793: 4768: 4602:(originally published in French in 1905) 4554:(in German), Göttingen, pp. 169–183 4131: 4122: 4092: 4079:, American String Teachers Association, 3915:Johann Sebastian Bach und die Aufklärung 3783:Bach, J.S. (1973), Hans Eppstein (ed.), 3774:Bach, J.S. (1960), Rudolf Gerber (ed.), 3534: 3472: 3392: 3386: 3292: 3260: 3255: 3250: 3216: 3210: 3204: 3164: 3158: 3099: 3082: 3076: 3064: 3033:, p. 286 The slur was described by 3012: 2995: 2983: 2977: 2966: 2197: 2127: 2116: 2043: 2028: 1998: 1980: 1928: 1918: 1863: 1855: 1781: 1765: 1691: 1683: 1403: 949: 933:, it follows the same plan as the fugal 862: 744: 356: 161: 143: 68: 18: 4659: 4637: 4463: 4445: 4419: 4397: 4233: 4049: 3861:Bach, J.S. (2014), Peter Wollny (ed.), 3763:Bach, J.S. (1860), Wilhelm Rust (ed.), 3630: 3613: 3594: 3582: 3568: 3452: 3265: 3235: 3117: 3047: 2222:an article in the music section of the 1724:, another of Graun's pupils. In Berlin 1665: 1622: 845: 396:, so can be permuted between the parts. 5700: 4948: 4915: 4750: 4623: 4344: 4259:Lawson, Colin; Stowell, Robin (1999), 3980: 3546: 3513: 3508: 3482: 3298: 3135: 2384: 337: 328: 260:Violin solo with figured bass, G minor 220:, movements also included in the 1725 5471:Orchestral Suite in G minor, BWV 1070 5203: 4895: 4859: 4689: 4666:The Cambridge Companion to the Violin 4605: 4549: 4527: 4211: 4186: 4074: 4032:, Musical Performance and Reception, 4027: 3966: 3925: 3912: 3827: 3815: 3698: 3624: 3563: 3540: 3503: 3477: 3416: 3410: 3404: 3369: 3358: 3352: 3346: 3331: 3316: 3310: 3275: 3270: 3221: 3181: 3170: 3141: 3129: 3105: 3070: 3024: 3018: 2989: 2972: 2949: 2944: 2921: 2909: 2870: 2793:(harpsichord), Harmonia Mundi, 2018./ 2324:Arrangements by the German violinist 2079:and Benjamin Jacobs, organist at the 1548: 1421: 211:edition, the editor and musicologist 5388:Violin Concerto in E major, BWV 1042 5383:Violin Concerto in A minor, BWV 1041 4960: 4886:(a reprint of a 1985 publication in 4499: 4448:Samuel Wesley: The Man and His Music 4163:Johann Sebastian Bach: Life and Work 4153: 4002: 3860: 3839: 3803: 3782: 3773: 3762: 3736:Informal commentary on BWV 1014–1019 3729: 3686:, pp. 99–100, 107, 111–112, 114 3683: 3671: 3659: 3644: 3498: 3467: 3440: 3364: 3187: 2915: 2903: 2888: 2875: 2855: 2843: 2734:(harpsichord), Zigzag Records, 2012. 2469:(piano), Columbia Masterworks, 1976. 1957:sonatas and partitas for solo violin 668: 316: 2407:(piano), 1951, Membran reissue 2007 1759:and Bella (maternal grandmother of 663:The second movement of BWV 1017 in 13: 5393:Concerto for Two Violins, BWV 1043 5026:, Scarecrow Press, pp. 87–108 4984: 2307:Problems playing these files? See 2255: 2024:to Benjamin Jacobs, September 1809 1534:Phoebus eilt mit schnellen Pferden 1511:time. Written for three voices in 1456: 1364: 1271: 1183: 1033: 885: 791: 623: 524: 14: 5729: 5426:Keyboard concertos, BWV 1052–1065 5164: 4869:Bach: Essays on His Life and Work 4127:, Upsalla: Almqvist & Wiksell 1964:did so while briefly sharing the 564:The opening Largo of BWV 1017 in 65:Origins and compositional history 5708:Sonatas by Johann Sebastian Bach 5685: 5466:Orchestral Suites, BWV 1066–1069 5286:Partita for Solo Flute, BWV 1013 4530:Bachs Orchester- und Kammermusik 4376:Dance and the Music of J.S. Bach 4165:, translated by John Hargraves, 2289: 2271: 1662:wundersam durcheinander arbeiten 1604: 1581: 1554: 1487:Problems playing this file? See 1472: 1447: 1395:Problems playing this file? See 1380: 1355: 1302:Problems playing this file? See 1287: 1262: 1243: 1214:Problems playing this file? See 1199: 1174: 1124: 1109: 1064:Problems playing this file? See 1049: 1024: 963: 916:Problems playing this file? See 901: 876: 822:Problems playing this file? See 807: 782: 731: 691: 676:and their relative major keys, E 654:Problems playing this file? See 639: 555:Problems playing this file? See 540: 515: 313:-like final Allegro in G major. 5171:6 Violin Sonatas, BWV 1014–1019 5002:The Cambridge Companion to Bach 4575:The Keyboard Music of J.S. Bach 3723: 3711: 3689: 3677: 3665: 3653: 3638: 3604: 3588: 3576: 3554: 3525: 3489: 3458: 3446: 3434: 3377: 3337: 3324: 3283: 3241: 3229: 3195: 3149: 3090: 3055: 2832:Johann Christoph Friedrich Bach 2670:(harpsichord), Ambroisie, 2006. 2249:Arrangements and transcriptions 1913:Allgemeine musikalische Zeitung 1656:of 1739, Mattheson wrote that, 1334:sixth keyboard partita, BWV 830 1223:The Largo begins with a simple 178:created the chronology for the 4865:"Bach's Leipzig Chamber Music" 3704:Antokoletz & Wheeldon 2011 3003: 2957: 2935: 2894: 2882: 2861: 2849: 2837: 2824: 2803:(piano), la dolce volta, 2018. 2559:(harpsichord), Opus 111, 1996. 2173:Jacques-Michel Hurel de Lamare 1851:Carl Friedrich Christian Fasch 1763:), were all keyboard players. 1539:Weichet nur, betrübte Schatten 939:keyboard partitas, BWV 825–830 1: 5551:Everything's Gonna Be Alright 5149:, Routledge, pp. 39–41, 4818:The Organ Music of J. S. Bach 4468:, Ashgate, pp. 215–314, 4212:Jones, Richard D. P. (2013), 3930:, Bach-Studien, vol. 9, 3917:, Bach-Studien, vol. 7, 3750: 3330:For more details, please see 2813:(harpsichord), Çedille, 2018. 2625:(harpsichord), Channel, 2002. 2569:(harpsichord), Chandos, 1996. 2549:, 1993 (Sonatas 1, 2 & 6) 2245:'s version of BWV 1014–1019. 1654:Der Vollkommene Capellmeister 1632:In the period 1700–1750, the 1543:dating from Bach's period in 1412:lectures of the Swiss artist 1258:(harpsichord solo) in E minor 698:In the opening ritornello of 5718:Compositions for harpsichord 5056:Archiv für Musikwissenschaft 4243:University of Illinois Press 4096:Archiv für Musikwissenschaft 2493:(harpsichord), Archiv, 1982. 1827:Bernhard Christoph Breitkopf 1342:Overture in the French Style 1160:Treatise on the figured bass 327:A History of Baroque Music, 7: 5565:Jesu, Joy of Man's Desiring 5281:Cello Suites, BWV 1007–1012 4573:Schulenberg, David (2006), 4482:O'Loghlin, Michael (2008), 4398:Neumann, Frederick (1983), 3921:, pp. 228–241, 266–277 3756:Selected published editions 3355:, pp. 235–236, 274–275 2690:(piano), Medici Arts, 2009. 1943:, was concertmaster at the 1340:or some movements from the 388:. Like dances, they have a 297:Adagio, B minor and G minor 257:Adagio, B minor and G minor 10: 5734: 5441:No. 4 in A major, BWV 1055 5436:No. 2 in E major, BWV 1053 5431:No. 1 in D minor, BWV 1052 5081:Cambridge University Press 4844:Cambridge University Press 4822:Cambridge University Press 4778:Cambridge University Press 4670:Cambridge University Press 4664:, in Robin Stowell (ed.), 4644:Cambridge University Press 4404:Princeton University Press 4269:Cambridge University Press 4034:Cambridge University Press 4012:Cambridge University Press 3983:A History of Baroque Music 3884:Books and journal articles 2680:(harpsichord), Onyx, 2007. 2635:(harpsichord), Sony, 2002. 2102:Johann Friedrich Reichardt 2098:Prince Heinrich of Prussia 1976: 1817:by the Swiss musicologist 1677:, Gottfried Kirchhoff and 1009:No. 6 in G major, BWV 1019 987:No. 5 in F minor, BWV 1018 503:No. 4 in C minor, BWV 1017 481:No. 3 in E major, BWV 1016 459:No. 2 in A major, BWV 1015 437:No. 1 in B minor, BWV 1014 342:organ sonatas, BWV 525–530 97:organ sonatas, BWV 525–530 25:Johann Christoph Altnickol 5660: 5614: 5516: 5480: 5456: 5373: 5294: 5251: 5101:, Mainz, pp. 176–184 5018:Fabian, Dorottya (2005), 4896:Wolff, Christoph (2005), 4840:Bach: A Musical Biography 4367:10.1525/jams.2001.54.1.49 4359:10.1525/jams.2001.54.1.49 4307:Ledbetter, David (2015), 4285:Ledbetter, David (2002), 4167:Houghton Mifflin Harcourt 3616:, pp. 19–24, 278–281 3124:Lawson & Stowell 1999 2112: 1836:The Well-Tempered Clavier 1786:Portrait of Sara Levy by 1628:German-speaking countries 1089:form, its opening 21 bar 403:Little & Jenne (2001) 307:Johann Friedrich Agricola 278:Anna Magdalena's Notebook 254:Harpsichord solo, E minor 148:Johann Friedrich Agricola 4994:"The Instrumental Music" 4873:Harvard University Press 4838:Williams, Peter (2016), 4816:Williams, Peter (2003), 4794:Williams, Peter (1997), 4606:Shute, Benjamin (2016), 4577:, Taylor & Francis, 4446:Olleson, Philip (2003), 4420:Olleson, Philip (2000), 4381:Indiana University Press 4159:"The Sonatas and Suites" 4050:Dörffel, Alfred (1884), 3987:Indiana University Press 3766:Kammermusik, Erster Band 2817: 2700:(organ), Classico, 2010. 2343:Arrangements for piano: 2210:Jérôme-Joseph de Momigny 2203:Jérôme-Joseph de Momigny 2183:as pupils in 1816–1817. 2081:Surrey Chapel, Southwark 1904:August Alexander Klengel 1716:, the violin teacher of 242:Sonate auf Concertenart. 5129:Oxford University Press 4967:Oxford University Press 4800:Oxford University Press 4747:(subscription required) 4733:Oxford University Press 4660:Stowell, Robin (1992), 4638:Stowell, Robin (1990), 4433:Oxford University Press 4218:Oxford University Press 4196:Oxford University Press 4123:Eppstein, Hans (1966), 4028:Dirst, Matthew (2012), 3941:Journal of Music Theory 3897:Oxford University Press 3844:; Andrew Manze (eds.), 3834:Oxford University Press 3822:Oxford University Press 3791: 979-0-2018-0223-7 3413:, pp. 101, 102–103 2267:BWV 1017 – 1. Siciliano 2121:Woodcut of the pianist 1847:Sing-Akademie zu Berlin 1808:Sing-Akademie zu Berlin 1796:Wilhelm Friedemann Bach 1718:Wilhelm Friedemann Bach 1671:Johann Adam Birkenstock 1099:invertible counterpoint 760:section to a three bar 492:Adagio ma non tanto in 394:invertible counterpoint 157:Sonate auf Concertenart 5605:A Whiter Shade of Pale 5586:Sheep may safely graze 5193:, Loeb Music Library, 4992:Breig, Werner (1997), 4955:Breitkopf & Härtel 4949:Wollny, Peter (2010), 4751:Walton, Chris (2007), 4723:"Johann Peter Salomon" 4148:10.13141/bjb.v19691929 4075:Eiche, Jon F. (1985), 3932:Breitkopf & Härtel 3919:Breitkopf & Härtel 3599:Royal College of Music 2732:Jörg-Andreas Bötticher 2698:Sven-Ingvart Mikkelsen 2684:Frank Peter Zimmermann 2425:Egida Giordani Sartori 2319:Breitkopf & Härtel 2260: 2219: 2205: 2136: 2125: 2069:Charles Frederick Horn 2060: 2041: 2027: 2006: 1996: 1994:Royal College of Music 1971:Breitkopf & Härtel 1939:The Berlin violinist, 1936: 1926: 1908:Gottfried Wilhelm Fink 1871: 1861: 1791: 1779: 1697: 1689: 1675:Johann David Heinichen 1461: 1416: 1369: 1276: 1188: 1165: 1038: 890: 796: 628: 529: 334: 230:Johann Nikolaus Forkel 171: 77: 27: 5599:Trio Sonata, BWV 525a 5412:Brandenburg Concertos 5244:Johann Sebastian Bach 5075:Tatlow, Ruth (2015), 4922:The Musical Quarterly 4331:10.1353/not.2015.0134 4291:Yale University Press 3967:Brown, Clive (2011), 3778:, Kassel: Bärenreiter 2791:Kristian Bezuidenhout 2653:Elizabeth Blumenstock 2259: 2214: 2201: 2188:François-Joseph Fétis 2131: 2120: 2073:Well Tempered Clavier 2053:Johann Christian Bach 2047: 2032: 2008: 2002: 1984: 1960:public but the young 1932: 1922: 1867: 1859: 1798:moved to Berlin from 1785: 1769: 1714:Johann Gottlieb Graun 1704:. During that period 1695: 1687: 1679:Johann Georg Pisendel 1460: 1407: 1368: 1338:Well Tempered Clavier 1275: 1187: 1145: 1037: 889: 795: 764:-like passage over a 627: 528: 320: 165: 72: 39:Johann Sebastian Bach 22: 5623:Bach's Greatest Hits 5545:Bach-Busoni Editions 5491:The Musical Offering 5348:in E major, BWV 1035 5343:in E minor, BWV 1034 5337:in C major, BWV 1033 5332:in A major, BWV 1032 5315:in B minor, BWV 1030 5004:, pp. 123–135, 4969:, pp. 283–334, 4846:, pp. 322–325, 4502:Revue de Musicologie 4245:, pp. 125–134, 4188:Jones, Richard D. P. 3989:, pp. 503–558, 2563:Catherine Mackintosh 2557:Rinaldo Alessandrini 2515:Leonore Klinckerfuss 2511:Susanne Lautenbacher 2477:Christiane Jaccottet 2285:BWV 1017 – 3. Adagio 2193:musique d'autre-fois 2107:Hanover Square Rooms 2085:Johann Peter Salomon 2049:Hanover Square Rooms 1986:Johann Peter Salomon 1910:, the editor of the 1734:Berlin State Library 1726:Princess Anna Amalia 1688:Princess Anna Amalie 1623:Reception and legacy 234:Carl Philipp Emanuel 5651:Switched-On Bach II 5637:Jazz Sebastian Bach 5525:Air on the G String 5031:Katz, Mark (2006), 4935:10.1093/mq/77.4.651 4536:, pp. 90–117, 3975:University of Leeds 3877:Part of the preface 3873: 9790006556328 3856: 9790006524235 3840:Bach, J.S. (2004), 3799:critical commentary 3787:, G. Henle Verlag, 3334:, pp. 392–395) 3138:, p. 60, 63–64 2797:Nicolas Dautricourt 2666:Stefano Montanari, 2629:Giuliano Carmignola 2385:Selected recordings 2241:was the editor for 2057:Carl Friedrich Abel 1898:. For the edition, 1894:. It had the title 1860:1841 Peters edition 1710:Frederick the Great 470:Andante un poco in 226:Anna Magdalena Bach 16:Works by J. S. Bach 5195:Harvard University 4728:Grove Music Online 4719:Unverricht, Hubert 4610:, Wipf and Stock, 4592:Schweitzer, Albert 3934:, pp. 151–164 3893:Rethinking Debussy 3585:, pp. 279–280 3443:, pp. VIII–IX 3419:, pp. 117–118 3389:, pp. 225–226 3361:, pp. 115–116 3278:, pp. 113–117 3224:, pp. 113–117 3108:, pp. 158–161 3073:, pp. 109–110 3050:, pp. 217–219 2998:, pp. 322–325 2952:, pp. 101–102 2846:, pp. VIII–IX 2807:Rachel Barton Pine 2722:Challenge Classics 2668:Christophe Rousset 2597:(viola da gamba), 2581:Brilliant Classics 2573:Luis Otavio Santos 2395:Marie-Claire Alain 2261: 2206: 2137: 2126: 2061: 2042: 2007: 1997: 1937: 1927: 1872: 1862: 1792: 1780: 1778:in the early 1800s 1698: 1690: 1652:. In his treatise 1468:Allegro BWV 1019/5 1462: 1417: 1370: 1283:Allegro BWV 1019/3 1277: 1189: 1045:Allegro BWV 1019/1 1039: 995:Allegro in F minor 897:Allegro BWV 1017/4 891: 797: 635:Allegro BWV 1017/2 629: 595:St Matthew Passion 530: 498:Allegro in E major 489:Allegro in E major 467:Allegro in A major 454:Allegro in B minor 445:Allegro in B minor 294:Cantabile, G major 176:Wolfgang Schmieder 172: 78: 28: 5673: 5672: 4742:978-1-56159-263-0 4543:978-3-89007-798-7 4450:, Boydell Press, 3543:, pp. 32, 91 2992:, pp. 97–105 2738:Michelle Makarski 2577:Pieter-Jan Belder 2449:Sigiswald Kuijken 2294: 2276: 2177:Felix Mendelssohn 2165:Baron van Swieten 1949:Felix Mendelssohn 1924:Felix Mendelssohn 1819:Hans Georg Nägeli 1772:Hans Georg Nägeli 1761:Felix Mendelssohn 1738:Baron van Swieten 1730:Johann Kirnberger 1696:Johann Kirnberger 1477: 1385: 1376:Adagio BWV 1019/4 1330:binary dance-form 1292: 1204: 1079:sonatas da chiesa 1054: 1004:Vivace in F minor 906: 812: 803:Adagio BWV 1017/3 644: 585:binary dance-form 545: 486:Adagio in E major 476:Presto in A major 442:Adagio in B minor 317:Musical structure 274:keyboard partitas 209:Neue Bach-Ausgabe 205:Collegium Musicum 5725: 5690: 5689: 5688: 5681: 5644:Switched-On Bach 5499:The Art of Fugue 5325: 5324: 5246: 5235:orchestral works 5224: 5217: 5210: 5201: 5200: 5173:: Scores at the 5159: 5141: 5121:Wolff, Christoph 5116: 5110: 5102: 5093: 5071: 5049: 5027: 5014: 4979: 4957: 4945: 4912: 4902: 4885: 4861:Wolff, Christoph 4856: 4834: 4820:(2nd ed.), 4812: 4790: 4765: 4755:, Camden House, 4746: 4731:(8th ed.). 4714: 4686: 4656: 4634: 4620: 4601: 4587: 4569: 4563: 4555: 4546: 4524: 4496: 4478: 4460: 4427: 4416: 4393: 4369: 4341: 4303: 4281: 4266: 4255: 4230: 4208: 4183: 4150: 4128: 4119: 4103:(3/4): 217–242, 4089: 4071: 4065: 4057: 4046: 4024: 3999: 3977: 3963: 3935: 3922: 3909: 3874: 3857: 3836: 3824: 3812: 3792: 3779: 3770: 3744: 3743: 3727: 3721: 3715: 3709: 3693: 3687: 3681: 3675: 3669: 3663: 3662:, pp. 89–90 3657: 3651: 3642: 3636: 3608: 3602: 3592: 3586: 3580: 3574: 3571:, pp. 89–93 3558: 3552: 3549:, pp. 13–17 3529: 3523: 3493: 3487: 3462: 3456: 3450: 3444: 3438: 3432: 3395:, pp. 13–14 3381: 3375: 3341: 3335: 3328: 3322: 3305:Schulenberg 2006 3287: 3281: 3245: 3239: 3233: 3227: 3207:, pp. 62–63 3199: 3193: 3161:, pp. 63–65 3153: 3147: 3126:, pp. 65–66 3102:, pp. 40–41 3094: 3088: 3067:, pp. 62–63 3059: 3053: 3043: 3015:, pp. 39–41 3007: 3001: 2986:, pp. 14–15 2980:, pp. 25–26 2961: 2955: 2939: 2933: 2924:, pp. 97–98 2898: 2892: 2886: 2880: 2865: 2859: 2853: 2847: 2841: 2835: 2828: 2714:Catherine Manson 2674:Viktoria Mullova 2539:Viktoria Mullova 2453:Gustav Leonhardt 2415:Zuzana Růžičková 2363:Alexander Siloti 2296: 2295: 2278: 2277: 2258: 2171:and the cellist 2161:Count Razumovsky 2025: 1900:Moritz Hauptmann 1876:Niccolò Paganini 1842:The Art of Fugue 1754: 1608: 1585: 1558: 1510: 1509: 1508: 1507: 1479: 1478: 1459: 1451: 1435: 1434: 1387: 1386: 1367: 1359: 1326: 1325: 1324: 1323: 1294: 1293: 1274: 1266: 1247: 1206: 1205: 1195:Largo BWV 1019/2 1186: 1178: 1163: 1128: 1113: 1106:countersubject. 1056: 1055: 1036: 1028: 967: 908: 907: 888: 880: 851:Ledbetter (2002) 814: 813: 794: 786: 735: 726: 725: 721: 718: 711: 710: 706: 703: 695: 687: 686: 681: 680: 646: 645: 626: 578: 577: 576: 575: 547: 546: 536:Largo BWV 1017/1 527: 519: 382:Concerto allegro 353:sonata da chiesa 332: 224:for Bach's wife 5733: 5732: 5728: 5727: 5726: 5724: 5723: 5722: 5698: 5697: 5696: 5692:Classical music 5686: 5684: 5676: 5674: 5669: 5656: 5610: 5512: 5476: 5452: 5414:, BWV 1046–1051 5399:Triple Concerto 5369: 5326:major, BWV 1031 5322: 5321: 5290: 5247: 5242: 5228: 5167: 5162: 5157: 5144: 5139: 5119: 5104: 5103: 5096: 5091: 5074: 5052: 5047: 5030: 5017: 5012: 4991: 4987: 4985:Further reading 4982: 4977: 4900: 4883: 4875:, p. 263, 4854: 4832: 4810: 4788: 4770:Williams, Peter 4763: 4743: 4684: 4654: 4625:Spitta, Philipp 4618: 4585: 4557: 4556: 4544: 4494: 4476: 4458: 4414: 4391: 4301: 4279: 4253: 4228: 4206: 4181: 4087: 4059: 4058: 4044: 4022: 3997: 3907: 3881: 3753: 3748: 3747: 3728: 3724: 3716: 3712: 3694: 3690: 3682: 3678: 3670: 3666: 3658: 3654: 3643: 3639: 3620:Unverricht 2001 3609: 3605: 3593: 3589: 3581: 3577: 3559: 3555: 3530: 3526: 3494: 3490: 3463: 3459: 3451: 3447: 3439: 3435: 3399:Schweitzer 1923 3382: 3378: 3342: 3338: 3329: 3325: 3288: 3284: 3246: 3242: 3234: 3230: 3200: 3196: 3154: 3150: 3095: 3091: 3060: 3056: 3037: 3008: 3004: 2969:, pp. 5–13 2962: 2958: 2940: 2936: 2899: 2895: 2887: 2883: 2866: 2862: 2854: 2850: 2842: 2838: 2829: 2825: 2820: 2781:Martha Argerich 2769:(harpsichord), 2755:(harpsichord), 2728:Chiara Banchini 2720:(harpsichord), 2678:Ottavio Dantone 2659:(harpsichord), 2645:(harpsichord), 2613:Virgin Classics 2611:(harpsichord), 2595:Jaap ter Linden 2593:(harpsichord), 2579:(harpsichord), 2517:(harpsichord), 2503:(harpsichord), 2487:Reinhard Goebel 2479:(harpsichord), 2473:Arthur Grumiaux 2455:(harpsichord), 2441:(harpsichord), 2427:(harpsichord), 2421:Arthur Grumiaux 2391:Michèle Auclair 2387: 2326:August Wilhelmj 2314: 2313: 2305: 2303: 2302: 2301: 2300: 2297: 2290: 2287: 2281: 2280: 2279: 2272: 2269: 2262: 2256: 2251: 2235:First World War 2179:and his sister 2115: 2077:Vincent Novello 2038:Joshua Reynolds 2026: 2019: 1979: 1953:Robert Schumann 1941:Ferdinand David 1934:Ferdinand David 1831:Mass in B minor 1748: 1630: 1625: 1506: 1501: 1500: 1499: 1498: 1497: 1494: 1493: 1485: 1483: 1482: 1481: 1480: 1473: 1470: 1463: 1457: 1432: 1431: 1402: 1401: 1393: 1391: 1390: 1389: 1388: 1381: 1378: 1371: 1365: 1322: 1317: 1316: 1315: 1314: 1313: 1311:In E minor and 1309: 1308: 1300: 1298: 1297: 1296: 1295: 1288: 1285: 1278: 1272: 1221: 1220: 1212: 1210: 1209: 1208: 1207: 1200: 1197: 1190: 1184: 1164: 1157: 1071: 1070: 1062: 1060: 1059: 1058: 1057: 1050: 1047: 1040: 1034: 1011: 989: 950:Eppstein (1966) 923: 922: 914: 912: 911: 910: 909: 902: 899: 892: 886: 863:Eppstein (1966) 829: 828: 820: 818: 817: 816: 815: 808: 805: 798: 792: 745:Eppstein (1966) 723: 719: 716: 714: 708: 704: 701: 699: 684: 683: 678: 677: 661: 660: 652: 650: 649: 648: 647: 640: 637: 630: 624: 574: 569: 568: 567: 566: 565: 562: 561: 553: 551: 550: 549: 548: 541: 538: 531: 525: 505: 483: 461: 439: 386:Antonio Vivaldi 372:countersubjects 357:Eppstein (1969) 333: 326: 319: 288:Vivace, G major 270:Clavier-Übung I 248:Vivace, G major 168:Café Zimmermann 144:Eppstein (1966) 67: 17: 12: 11: 5: 5731: 5721: 5720: 5715: 5713:Violin sonatas 5710: 5695: 5694: 5671: 5670: 5668: 5667: 5661: 5658: 5657: 5655: 5654: 5647: 5640: 5633: 5626: 5618: 5616: 5612: 5611: 5609: 5608: 5601: 5596: 5589: 5582: 5575: 5568: 5561: 5558:Feel My Rhythm 5554: 5547: 5542: 5535: 5528: 5520: 5518: 5514: 5513: 5511: 5510: 5509: 5508: 5495: 5486: 5484: 5478: 5477: 5475: 5474: 5468: 5462: 5460: 5454: 5453: 5451: 5450: 5449: 5448: 5443: 5438: 5433: 5423: 5422: 5421: 5408: 5403: 5395: 5390: 5385: 5379: 5377: 5371: 5370: 5368: 5367: 5366: 5365: 5360: 5352: 5351: 5350: 5345: 5340: 5334: 5329: 5317: 5311:Flute Sonatas 5309: 5304: 5298: 5296: 5292: 5291: 5289: 5288: 5283: 5278: 5277: 5276: 5271: 5266: 5264:Partita No. 1 5255: 5253: 5249: 5248: 5239:transcriptions 5227: 5226: 5219: 5212: 5204: 5198: 5197: 5188: 5178: 5166: 5165:External links 5163: 5161: 5160: 5156:978-1135942625 5155: 5142: 5137: 5117: 5094: 5090:978-1107088603 5089: 5072: 5063:(3): 215–240, 5050: 5045: 5028: 5015: 5010: 4988: 4986: 4983: 4981: 4980: 4976:978-0190247850 4975: 4958: 4946: 4929:(4): 651–688, 4913: 4893: 4881: 4857: 4853:978-1107139251 4852: 4835: 4830: 4813: 4808: 4791: 4786: 4766: 4762:978-1571133311 4761: 4748: 4741: 4715: 4704:10.2307/831926 4698:(3): 369–414, 4687: 4682: 4657: 4652: 4635: 4621: 4617:978-1498239417 4616: 4603: 4588: 4583: 4570: 4547: 4542: 4525: 4514:10.2307/927606 4497: 4493:978-0754658856 4492: 4479: 4474: 4461: 4456: 4443: 4417: 4412: 4395: 4389: 4370: 4342: 4325:(2): 415–419, 4304: 4299: 4282: 4277: 4256: 4252:978-0252090691 4251: 4231: 4226: 4209: 4204: 4184: 4179: 4151: 4129: 4120: 4109:10.2307/930329 4090: 4085: 4072: 4047: 4043:978-0521651608 4042: 4025: 4020: 4000: 3995: 3978: 3964: 3953:10.2307/843383 3936: 3923: 3910: 3906:978-0199755646 3905: 3887: 3880: 3879: 3858: 3837: 3825: 3813: 3801: 3780: 3771: 3759: 3752: 3749: 3746: 3745: 3722: 3718:Peter Watchorn 3710: 3708: 3707: 3701: 3688: 3676: 3664: 3652: 3637: 3635: 3634: 3628: 3622: 3617: 3603: 3587: 3575: 3573: 3572: 3566: 3553: 3551: 3550: 3544: 3538: 3524: 3522: 3521: 3519:O'Loghlin 2008 3516: 3511: 3506: 3501: 3488: 3486: 3485: 3480: 3475: 3470: 3457: 3445: 3433: 3431: 3430: 3424:Peter Watchorn 3422:Commentary by 3420: 3414: 3408: 3402: 3396: 3390: 3376: 3374: 3373: 3367: 3362: 3356: 3350: 3336: 3323: 3321: 3320: 3314: 3308: 3302: 3296: 3282: 3280: 3279: 3273: 3268: 3263: 3258: 3253: 3240: 3228: 3226: 3225: 3219: 3214: 3208: 3194: 3192: 3191: 3185: 3179: 3177:Breslauer 1988 3174: 3168: 3162: 3148: 3146: 3145: 3139: 3133: 3127: 3121: 3115: 3112:Ledbetter 2002 3109: 3103: 3089: 3087: 3086: 3080: 3074: 3068: 3054: 3052: 3051: 3045: 3031:Ledbetter 2002 3028: 3022: 3016: 3002: 3000: 2999: 2993: 2987: 2981: 2975: 2970: 2956: 2954: 2953: 2947: 2934: 2932: 2931: 2930:, pp. 418 2928:Ledbetter 2015 2925: 2919: 2913: 2907: 2906:, p. VIII 2893: 2881: 2879: 2878: 2873: 2860: 2848: 2836: 2822: 2821: 2819: 2816: 2815: 2814: 2804: 2794: 2787:Isabelle Faust 2784: 2777:Itzhak Perlman 2774: 2771:Glossa Records 2763:Leila Schayegh 2760: 2751:Lucy Russell, 2749: 2735: 2725: 2711: 2701: 2691: 2681: 2671: 2664: 2661:Harmonia Mundi 2650: 2643:Peter Watchorn 2636: 2626: 2623:Trevor Pinnock 2616: 2609:Davitt Moroney 2602: 2599:Harmonia Mundi 2584: 2570: 2560: 2550: 2536: 2522: 2508: 2497:Monica Huggett 2494: 2484: 2470: 2460: 2457:Harmonia Mundi 2446: 2435:Henryk Szeryng 2432: 2418: 2408: 2401:Yehudi Menuhin 2398: 2386: 2383: 2382: 2381: 2374: 2371: 2370: 2369: 2366: 2359: 2356: 2353: 2350: 2347: 2341: 2340: 2339: 2336: 2322: 2304: 2298: 2288: 2283: 2282: 2270: 2265: 2264: 2263: 2254: 2253: 2252: 2250: 2247: 2239:Claude Debussy 2169:Pierre Baillot 2133:Pierre Baillot 2114: 2111: 2090:Charles Burney 2036:, portrait by 2034:Charles Burney 2017: 1988:, portrait by 1978: 1975: 1962:Joseph Joachim 1880:Karol Lipiński 1869:Karol Lipiński 1666:Stowell (1992) 1636:form became a 1629: 1626: 1624: 1621: 1502: 1484: 1471: 1466: 1465: 1464: 1455: 1454: 1453: 1445: 1444: 1392: 1379: 1374: 1373: 1372: 1363: 1362: 1361: 1353: 1352: 1318: 1299: 1286: 1281: 1280: 1279: 1270: 1269: 1268: 1260: 1259: 1211: 1198: 1193: 1192: 1191: 1182: 1181: 1180: 1155: 1144: 1143: 1061: 1048: 1043: 1042: 1041: 1032: 1031: 1030: 1022: 1021: 1010: 1007: 1006: 1005: 1002: 996: 993: 988: 985: 913: 900: 895: 894: 893: 884: 883: 882: 874: 873: 846:Stowell (1990) 839:passages, the 819: 806: 801: 800: 799: 790: 789: 788: 780: 779: 651: 638: 633: 632: 631: 622: 621: 620: 619: 618: 570: 552: 539: 534: 533: 532: 523: 522: 521: 513: 512: 504: 501: 500: 499: 496: 490: 487: 482: 479: 478: 477: 474: 468: 465: 460: 457: 456: 455: 452: 446: 443: 438: 435: 398: 397: 379: 331:, p. 523) 324: 318: 315: 299: 298: 295: 292: 291:Largo, E minor 289: 265: 264: 261: 258: 255: 252: 251:Largo, E minor 249: 129:viola da gamba 90:viola da gamba 66: 63: 47:viola da gamba 15: 9: 6: 4: 3: 2: 5730: 5719: 5716: 5714: 5711: 5709: 5706: 5705: 5703: 5693: 5683: 5682: 5679: 5666: 5663: 5662: 5659: 5653: 5652: 5648: 5646: 5645: 5641: 5639: 5638: 5634: 5632: 5631: 5627: 5625: 5624: 5620: 5619: 5617: 5613: 5606: 5602: 5600: 5597: 5594: 5590: 5587: 5583: 5580: 5576: 5573: 5569: 5566: 5562: 5559: 5555: 5552: 5548: 5546: 5543: 5540: 5536: 5533: 5529: 5526: 5522: 5521: 5519: 5515: 5507: 5504: 5503: 5502: 5500: 5496: 5494: 5492: 5488: 5487: 5485: 5483: 5479: 5472: 5469: 5467: 5464: 5463: 5461: 5459: 5455: 5447: 5444: 5442: 5439: 5437: 5434: 5432: 5429: 5428: 5427: 5424: 5420: 5417: 5416: 5415: 5413: 5409: 5407: 5404: 5402: 5400: 5396: 5394: 5391: 5389: 5386: 5384: 5381: 5380: 5378: 5376: 5372: 5364: 5361: 5359: 5356: 5355: 5354:Trio Sonatas 5353: 5349: 5346: 5344: 5341: 5338: 5335: 5333: 5330: 5327: 5318: 5316: 5313: 5312: 5310: 5308: 5305: 5303: 5300: 5299: 5297: 5293: 5287: 5284: 5282: 5279: 5275: 5272: 5270: 5267: 5265: 5262: 5261: 5260: 5257: 5256: 5254: 5250: 5245: 5240: 5236: 5232: 5231:Chamber music 5225: 5220: 5218: 5213: 5211: 5206: 5205: 5202: 5196: 5192: 5189: 5186: 5182: 5179: 5176: 5172: 5169: 5168: 5158: 5152: 5148: 5143: 5140: 5138:0-19-924884-2 5134: 5130: 5126: 5122: 5118: 5114: 5108: 5100: 5095: 5092: 5086: 5082: 5078: 5073: 5070: 5066: 5062: 5058: 5057: 5051: 5048: 5042: 5038: 5034: 5029: 5025: 5021: 5016: 5013: 5011:9781139002158 5007: 5003: 4999: 4995: 4990: 4989: 4978: 4972: 4968: 4964: 4959: 4956: 4952: 4947: 4944: 4940: 4936: 4932: 4928: 4924: 4923: 4918: 4917:Wollny, Peter 4914: 4910: 4906: 4899: 4894: 4891: 4890: 4884: 4878: 4874: 4870: 4866: 4862: 4858: 4855: 4849: 4845: 4841: 4836: 4833: 4831:0-521-89115-9 4827: 4823: 4819: 4814: 4811: 4805: 4801: 4797: 4792: 4789: 4783: 4779: 4775: 4771: 4767: 4764: 4758: 4754: 4749: 4744: 4738: 4734: 4730: 4729: 4724: 4720: 4716: 4713: 4709: 4705: 4701: 4697: 4693: 4688: 4685: 4679: 4675: 4671: 4667: 4663: 4658: 4655: 4649: 4645: 4641: 4636: 4632: 4631: 4626: 4622: 4619: 4613: 4609: 4604: 4599: 4598: 4593: 4589: 4586: 4580: 4576: 4571: 4567: 4561: 4553: 4548: 4545: 4539: 4535: 4534:Laaber-Verlag 4531: 4526: 4523: 4519: 4515: 4511: 4508:(1): 88–114, 4507: 4504:(in French), 4503: 4498: 4495: 4489: 4485: 4480: 4477: 4475:1-84014-666-4 4471: 4467: 4462: 4459: 4453: 4449: 4444: 4441: 4440:9780198164234 4437: 4434: 4430: 4425: 4424: 4418: 4415: 4409: 4405: 4401: 4396: 4392: 4390:9780253214645 4386: 4382: 4378: 4377: 4371: 4368: 4364: 4360: 4356: 4352: 4348: 4343: 4340: 4336: 4332: 4328: 4324: 4320: 4319: 4314: 4310: 4305: 4302: 4296: 4292: 4288: 4283: 4280: 4274: 4270: 4265: 4264: 4257: 4254: 4248: 4244: 4240: 4236: 4232: 4229: 4227:9780199696284 4223: 4219: 4215: 4210: 4207: 4205:9780198164401 4201: 4197: 4193: 4189: 4185: 4182: 4176: 4172: 4168: 4164: 4160: 4156: 4152: 4149: 4145: 4141: 4137: 4136: 4135:Bach-Jahrbuch 4130: 4126: 4121: 4118: 4114: 4110: 4106: 4102: 4099:(in German), 4098: 4097: 4091: 4088: 4082: 4078: 4073: 4069: 4063: 4055: 4054: 4048: 4045: 4039: 4035: 4031: 4026: 4023: 4017: 4013: 4009: 4005: 4001: 3998: 3992: 3988: 3984: 3979: 3976: 3972: 3971: 3965: 3962: 3958: 3954: 3950: 3946: 3942: 3937: 3933: 3929: 3924: 3920: 3916: 3911: 3908: 3902: 3898: 3894: 3889: 3888: 3886: 3885: 3878: 3872: 3868: 3864: 3859: 3855: 3851: 3847: 3843: 3838: 3835: 3831: 3826: 3823: 3819: 3814: 3811: 3807: 3802: 3800: 3796: 3790: 3786: 3781: 3777: 3772: 3768: 3767: 3761: 3760: 3758: 3757: 3742: 3738: 3737: 3732: 3726: 3719: 3714: 3706:, p. 151 3705: 3702: 3700: 3697: 3696: 3692: 3685: 3680: 3673: 3668: 3661: 3656: 3650: 3647:, p. 90 3646: 3641: 3633:, p. 105 3632: 3629: 3626: 3623: 3621: 3618: 3615: 3612: 3611: 3607: 3600: 3596: 3591: 3584: 3579: 3570: 3567: 3565: 3562: 3561: 3557: 3548: 3545: 3542: 3539: 3536: 3535:Williams 2003 3533: 3532: 3528: 3520: 3517: 3515: 3512: 3510: 3507: 3505: 3502: 3500: 3497: 3496: 3492: 3484: 3481: 3479: 3476: 3474: 3473:Williams 2003 3471: 3469: 3466: 3465: 3461: 3455:, p. 174 3454: 3449: 3442: 3437: 3429: 3425: 3421: 3418: 3415: 3412: 3409: 3407:, p. 274 3406: 3403: 3401:, p. 397 3400: 3397: 3394: 3393:Eppstein 1969 3391: 3388: 3387:Eppstein 1964 3385: 3384: 3380: 3371: 3368: 3366: 3363: 3360: 3357: 3354: 3351: 3349:, p. 102 3348: 3345: 3344: 3340: 3333: 3327: 3319:, p. 102 3318: 3315: 3313:, p. 116 3312: 3309: 3307:, p. 342 3306: 3303: 3301:, p. 523 3300: 3297: 3295:, p. 222 3294: 3293:Eppstein 1964 3291: 3290: 3286: 3277: 3274: 3272: 3269: 3267: 3264: 3262: 3261:Eppstein 1964 3259: 3257: 3256:Eppstein 1969 3254: 3252: 3251:Eppstein 1966 3249: 3248: 3244: 3237: 3232: 3223: 3220: 3218: 3217:Eppstein 1964 3215: 3212: 3211:Eppstein 1969 3209: 3206: 3205:Eppstein 1966 3203: 3202: 3198: 3190:, p. 190 3189: 3186: 3184:, p. 101 3183: 3180: 3178: 3175: 3173:, p. 111 3172: 3169: 3166: 3165:Eppstein 1969 3163: 3160: 3159:Eppstein 1966 3157: 3156: 3152: 3144:, p. 109 3143: 3140: 3137: 3134: 3132:, p. 100 3131: 3128: 3125: 3122: 3120:, p. 135 3119: 3116: 3114:, p. 252 3113: 3110: 3107: 3104: 3101: 3100:Eppstein 1966 3098: 3097: 3093: 3085:, p. 324 3084: 3083:Williams 2016 3081: 3079:, p. 100 3078: 3077:Williams 1997 3075: 3072: 3069: 3066: 3065:Eppstein 1966 3063: 3062: 3058: 3049: 3046: 3041: 3036: 3035:Saint Lambert 3032: 3029: 3026: 3023: 3020: 3017: 3014: 3013:Eppstein 1966 3011: 3010: 3006: 2997: 2996:Williams 2016 2994: 2991: 2988: 2985: 2984:Williams 2003 2982: 2979: 2978:Williams 1980 2976: 2974: 2971: 2968: 2967:Eppstein 1969 2965: 2964: 2960: 2951: 2948: 2946: 2945:Rempp 2001too 2943: 2942: 2938: 2929: 2926: 2923: 2920: 2918:, p. 109 2917: 2914: 2912:, p. 165 2911: 2908: 2905: 2902: 2901: 2897: 2890: 2885: 2877: 2874: 2872: 2869: 2868: 2864: 2857: 2852: 2845: 2840: 2833: 2827: 2823: 2812: 2811:Jory Vinikour 2808: 2805: 2802: 2801:Juho Pohjonen 2798: 2795: 2792: 2788: 2785: 2782: 2778: 2775: 2772: 2768: 2764: 2761: 2758: 2754: 2750: 2747: 2743: 2742:Keith Jarrett 2739: 2736: 2733: 2729: 2726: 2723: 2719: 2715: 2712: 2709: 2705: 2704:Louis Creac'h 2702: 2699: 2695: 2694:Jochen Brusch 2692: 2689: 2685: 2682: 2679: 2675: 2672: 2669: 2665: 2662: 2658: 2654: 2651: 2648: 2644: 2640: 2637: 2634: 2633:Andrea Marcon 2630: 2627: 2624: 2620: 2619:Rachel Podger 2617: 2614: 2610: 2606: 2605:John Holloway 2603: 2600: 2596: 2592: 2591:Richard Egarr 2588: 2585: 2582: 2578: 2574: 2571: 2568: 2564: 2561: 2558: 2554: 2551: 2548: 2544: 2540: 2537: 2534: 2533:Decca Records 2530: 2529:Martin Gester 2526: 2523: 2520: 2519:Bayer Records 2516: 2512: 2509: 2506: 2502: 2498: 2495: 2492: 2488: 2485: 2482: 2478: 2474: 2471: 2468: 2464: 2461: 2458: 2454: 2450: 2447: 2444: 2440: 2439:Helmut Walcha 2436: 2433: 2430: 2426: 2422: 2419: 2416: 2412: 2409: 2406: 2405:Louis Kentner 2402: 2399: 2396: 2392: 2389: 2388: 2379: 2375: 2372: 2367: 2364: 2360: 2357: 2354: 2351: 2348: 2345: 2344: 2342: 2337: 2334: 2330: 2329: 2327: 2323: 2320: 2316: 2315: 2312: 2310: 2286: 2268: 2246: 2244: 2240: 2236: 2231: 2229: 2225: 2218: 2213: 2211: 2204: 2200: 2196: 2194: 2189: 2184: 2182: 2178: 2174: 2170: 2166: 2162: 2158: 2154: 2150: 2146: 2142: 2134: 2130: 2124: 2119: 2110: 2108: 2103: 2099: 2093: 2091: 2086: 2082: 2078: 2074: 2070: 2066: 2065:Samuel Wesley 2058: 2054: 2050: 2046: 2039: 2035: 2031: 2023: 2022:Samuel Wesley 2016: 2014: 2013:Clavicembalum 2005: 2004:Samuel Wesley 2001: 1995: 1991: 1987: 1983: 1974: 1972: 1967: 1963: 1958: 1954: 1950: 1946: 1942: 1935: 1931: 1925: 1921: 1917: 1915: 1914: 1909: 1905: 1901: 1897: 1893: 1889: 1885: 1881: 1877: 1870: 1866: 1858: 1854: 1852: 1848: 1844: 1843: 1838: 1837: 1832: 1828: 1824: 1820: 1816: 1811: 1809: 1805: 1801: 1797: 1789: 1784: 1777: 1773: 1768: 1764: 1762: 1758: 1752: 1747: 1743: 1739: 1735: 1731: 1727: 1723: 1719: 1715: 1711: 1707: 1703: 1694: 1686: 1682: 1680: 1676: 1672: 1667: 1663: 1659: 1655: 1651: 1647: 1643: 1639: 1635: 1620: 1618: 1614: 1609: 1607: 1602: 1600: 1595: 1591: 1586: 1584: 1579: 1576: 1572: 1567: 1565: 1559: 1557: 1552: 1550: 1546: 1542: 1540: 1535: 1530: 1525: 1522: 1518: 1514: 1505: 1492: 1490: 1469: 1452: 1450: 1442: 1439: 1438: 1437: 1428: 1423: 1415: 1411: 1406: 1400: 1398: 1377: 1360: 1358: 1350: 1347: 1346: 1345: 1343: 1339: 1335: 1331: 1327: 1321: 1307: 1305: 1284: 1267: 1265: 1257: 1254: 1253: 1252: 1248: 1246: 1241: 1239: 1234: 1230: 1226: 1219: 1217: 1196: 1179: 1177: 1172: 1170: 1161: 1154: 1151: 1142: 1138: 1135: 1134: 1133: 1129: 1127: 1122: 1119: 1114: 1112: 1107: 1104: 1103:moto perpetuo 1100: 1096: 1092: 1088: 1084: 1080: 1076: 1069: 1067: 1046: 1029: 1027: 1019: 1016: 1015: 1014: 1003: 1001: 997: 994: 991: 990: 984: 980: 978: 974: 968: 966: 961: 958: 955: 951: 946: 944: 940: 936: 932: 928: 921: 919: 898: 881: 879: 871: 868: 867: 866: 864: 860: 856: 852: 847: 842: 838: 834: 827: 825: 804: 787: 785: 778: 774: 771: 770: 769: 767: 763: 759: 755: 749: 746: 741: 736: 734: 729: 696: 694: 689: 674: 670: 666: 659: 657: 636: 616: 613: 612: 611: 609: 605: 601: 597: 596: 591: 586: 582: 573: 560: 558: 537: 520: 518: 510: 507: 506: 497: 495: 494:C-sharp minor 491: 488: 485: 484: 475: 473: 472:F-sharp minor 469: 466: 463: 462: 453: 451: 447: 444: 441: 440: 434: 430: 427: 422: 418: 416: 410: 406: 404: 395: 391: 387: 383: 380: 378:at the close. 377: 373: 369: 365: 362: 361: 360: 358: 354: 349: 347: 343: 339: 338:Spitta (1884) 330: 323: 314: 312: 308: 303: 296: 293: 290: 287: 286: 285: 281: 279: 275: 271: 262: 259: 256: 253: 250: 247: 246: 245: 243: 237: 235: 231: 227: 223: 222:Notenbüchlein 219: 214: 213:Rudolf Gerber 210: 206: 202: 198: 194: 190: 186: 181: 177: 169: 164: 160: 158: 153: 149: 145: 140: 138: 134: 130: 126: 122: 118: 114: 110: 106: 102: 98: 93: 91: 87: 83: 76: 71: 62: 60: 56: 52: 48: 44: 41:are works in 40: 37:1014–1019 by 36: 33: 26: 21: 5649: 5642: 5635: 5630:Back to Bach 5628: 5621: 5498: 5490: 5411: 5398: 5301: 5185:Bach Archive 5146: 5124: 5098: 5076: 5060: 5054: 5032: 5023: 5001: 4962: 4950: 4926: 4920: 4908: 4904: 4887: 4868: 4839: 4817: 4795: 4773: 4752: 4726: 4695: 4691: 4665: 4662:"The Sonata" 4639: 4629: 4607: 4596: 4574: 4551: 4529: 4505: 4501: 4483: 4465: 4447: 4422: 4399: 4375: 4353:(1): 49–96, 4350: 4346: 4322: 4316: 4309:Peter Wollny 4286: 4262: 4238: 4235:Koopman, Ton 4213: 4191: 4162: 4155:Geck, Martin 4139: 4133: 4124: 4100: 4094: 4076: 4052: 4029: 4007: 3982: 3969: 3944: 3940: 3927: 3914: 3892: 3883: 3882: 3862: 3845: 3842:Peter Wollny 3829: 3817: 3805: 3784: 3775: 3765: 3755: 3754: 3741:Linn Records 3735: 3725: 3713: 3691: 3679: 3667: 3655: 3648: 3640: 3631:Olleson 2003 3627:, p. 61 3614:Olleson 2004 3606: 3595:Olleson 2000 3590: 3583:Olleson 2004 3578: 3569:Dörffel 1884 3556: 3527: 3491: 3460: 3453:Stowell 1992 3448: 3436: 3428:Musica Omnia 3379: 3339: 3326: 3285: 3266:Koopman 2010 3243: 3236:Koopman 2010 3231: 3213:, p. 13 3197: 3167:, p. 14 3151: 3118:Stowell 1990 3092: 3057: 3048:Neumann 1983 3027:, p. 99 3021:, p. 95 3005: 2959: 2937: 2896: 2891:, p. IX 2884: 2863: 2858:, p. IX 2851: 2839: 2826: 2767:Jörg Halubek 2757:Linn Records 2647:Musica Omnia 2587:Andrew Manze 2553:Fabio Biondi 2543:Bruno Canino 2525:Alice Piérot 2463:Jaime Laredo 2365:(1863–1945). 2306: 2232: 2227: 2223: 2220: 2215: 2207: 2192: 2185: 2138: 2094: 2062: 2051:, set up by 2020:Letter from 2012: 2009: 1990:Thomas Hardy 1938: 1911: 1895: 1873: 1840: 1839:in 1801 and 1834: 1812: 1793: 1742:Daniel Itzig 1699: 1661: 1657: 1653: 1638:sine qua non 1631: 1610: 1603: 1598: 1593: 1587: 1580: 1574: 1570: 1568: 1560: 1553: 1549:Jones (2007) 1538: 1533: 1520: 1516: 1512: 1503: 1495: 1486: 1446: 1440: 1422:Asmus (1982) 1418: 1394: 1354: 1348: 1319: 1310: 1301: 1261: 1255: 1249: 1242: 1229:figured bass 1225:walking bass 1222: 1213: 1173: 1166: 1159: 1149: 1146: 1136: 1130: 1123: 1115: 1108: 1072: 1063: 1023: 1017: 1012: 981: 969: 962: 959: 947: 924: 915: 875: 869: 858: 854: 840: 836: 830: 821: 781: 777:E-flat major 772: 750: 737: 730: 697: 690: 662: 653: 614: 603: 593: 571: 563: 554: 514: 508: 431: 423: 419: 411: 407: 399: 381: 368:figured bass 363: 350: 335: 329:Buelow (2004 321: 304: 300: 282: 266: 241: 238: 173: 156: 151: 141: 125:oboe d'amore 99:, the three 94: 86:figured bass 79: 74: 51:figured bass 31: 29: 5517:Adaptations 5506:discography 4889:Early Music 4672:, pp. 4486:, Ashgate, 4431:in 2001 by 4169:, pp. 3947:(1): 1–21, 3867:Bärenreiter 3850:Bärenreiter 3810:C.F. Peters 3547:Walton 2007 3537:, p. 4 3514:Wollny 2010 3509:Wollny 1993 3483:Wollny 2010 3426:, page 16, 3332:Rampe (2013 3299:Buelow 2004 3136:Lester 2001 3038: [ 2746:ECM Records 2718:Ton Koopman 2708:Jean-Luc Ho 2688:Enrico Pace 2567:Maggie Cole 2501:Ton Koopman 2491:Robert Hill 2467:Glenn Gould 2378:Franz Liszt 2333:Schlesinger 2141:Marie Bigot 2135:, violinist 2123:Marie Bigot 1892:Carl Czerny 1888:C.F. Peters 1804:Museuminsel 1788:Anton Graff 1755:, Zippora, 1749: [ 1722:Franz Benda 1634:trio sonata 1169:triple time 1150:concertante 1075:common time 927:binary form 766:pedal point 682:major and B 669:Butt (2015) 665:common time 600:arpeggiated 448:Andante in 390:binary form 364:Tutti fugue 82:trio sonata 43:trio sonata 5702:Categories 5579:Lady Lynda 5501:, BWV 1080 5493:, BWV 1079 5473:(doubtful) 5401:, BWV 1044 5339:(doubtful) 5328:(doubtful) 5187:, Leipzig. 5046:1135576963 4998:Butt, John 4882:0674059263 4809:0198165633 4787:0521217237 4683:0521399238 4653:0521397448 4584:0415974003 4457:1843830310 4413:0691027072 4300:0300097077 4278:0521627389 4239:About Bach 4180:0151006482 4086:0899174663 4021:0521372399 4004:Butt, John 3996:0253343658 3751:References 3731:Butt, John 3699:Brown 2011 3625:Eiche 1985 3564:Brown 2011 3541:Dirst 2012 3504:Wolff 2005 3478:Wolff 2005 3417:Rampe 2013 3411:Jones 2013 3405:Jones 2007 3370:Bach 1993b 3359:Rampe 2013 3353:Asmus 1982 3347:Jones 2013 3317:Jones 2013 3311:Rampe 2013 3276:Rampe 2013 3271:Jones 2013 3222:Rampe 2013 3182:Jones 2013 3171:Rampe 2013 3142:Rampe 2013 3130:Jones 2013 3106:Asmus 1986 3071:Rampe 2013 3025:Jones 2013 3019:Shute 2016 2990:Jones 2013 2973:Asmus 1986 2950:Jones 2013 2922:Jones 2013 2910:Wolff 1994 2871:Swack 1993 2639:Emlyn Ngai 2411:Joseph Suk 2309:media help 2143:. Born in 1966:first desk 1945:Gewandhaus 1529:Schweitzer 1489:media help 1443:in G major 1397:media help 1351:in B minor 1304:media help 1238:suspension 1216:media help 1091:ritornello 1066:media help 1020:in G major 998:Adagio in 992:in F minor 977:syncopated 973:diminution 948:Following 937:in Bach's 918:media help 872:in C minor 824:media help 754:concertino 673:ritornello 656:media help 617:in C minor 579:time is a 557:media help 511:in C minor 464:in A major 376:ritornello 193:Mühlhausen 5539:Ave Maria 5375:Concertos 5037:Routledge 4429:Published 4339:194293060 4056:, Leipzig 3684:Palm 1966 3672:Palm 1966 3660:Palm 1966 3645:Palm 1966 3499:Bach 2004 3468:Bach 2004 3441:Bach 2004 3372:, preface 3365:Butt 2015 3188:Butt 1990 2916:Geck 2006 2904:Bach 2004 2889:Bach 2004 2876:Zohn 2015 2856:Bach 2004 2844:Bach 2004 2753:John Butt 2744:(piano), 2657:John Butt 2545:(piano), 2531:(organ), 2157:Beethoven 1642:Mattheson 1541:, BWV 202 1414:Paul Klee 833:cantabile 590:anapaests 581:Siciliano 5532:Alphabet 5323:♭ 5295:Ensemble 5237:by, and 5123:(2002), 5107:citation 5069:25162366 4863:(1994), 4772:(1980), 4721:(2001). 4627:(1884), 4597:J.S.Bach 4594:(1923), 4560:citation 4190:(2007), 4157:(2006), 4142:: 5–30, 4062:citation 4006:(1990), 3733:(2015), 2018:— 1992:, 1792, 1947:, while 1823:Wetzikon 1617:BWV 1049 1613:Watchorn 1564:inverted 1433:♯ 1427:inverted 1156:— 943:inverted 685:♭ 679:♭ 608:ostinato 415:ostinato 346:BWV 1019 325:— 189:Arnstadt 185:Lüneburg 137:BWV 1027 133:BWV 1039 113:BWV 1032 109:BWV 1031 105:BWV 1030 5241:after, 5000:(ed.), 4911:: 25–31 4674:122–142 4311:(ed.), 4171:579–607 3795:preface 2773:, 2015. 2759:, 2015. 2748:, 2013. 2724:, 2012. 2663:, 2005. 2649:, 2002. 2615:, 2000. 2601:, 2000. 2583:, 1999. 2547:Philips 2535:, 1993. 2521:, 1989. 2507:, 1989. 2505:Philips 2483:, 1978. 2481:Philips 2459:, 1974. 2445:, 1970. 2443:Philips 2431:, 1964. 2429:Philips 2380:, 1866. 2153:Salieri 2071:of the 1977:England 1884:Dresden 1800:Dresden 1702:Leipzig 1646:Scheibe 1601:theme. 1590:caesura 1524:da capo 1441:Allegro 1410:Bauhaus 1256:Allegro 1162:, 1756. 1141:E minor 1095:toccata 1087:da capo 1083:Corelli 1018:Allegro 1000:C minor 931:BWV 525 870:Allegro 762:cadenza 758:stretto 722:⁄ 707:⁄ 615:Allegro 450:D major 218:BWV 830 123:, with 117:BWV 528 59:Leipzig 5678:Portal 5615:Albums 5458:Suites 5153: 5135: 5087: 5067: 5043: 5008: 4973: 4943:742352 4941: 4879: 4850: 4828: 4806: 4784: 4759: 4739: 4712:831926 4710: 4680: 4650: 4614: 4581: 4540: 4522:927606 4520: 4490: 4472: 4454: 4438: 4410: 4387: 4365: 4337: 4297: 4275: 4249: 4224: 4202: 4177: 4117:930329 4115: 4083: 4040: 4018: 3993: 3961:843383 3959: 3903: 2243:Durand 2145:Colmar 2113:France 2040:, 1781 1815:Zürich 1790:, 1786 1776:Zürich 1720:, and 1706:Berlin 1650:Quantz 1545:Weimar 1349:Adagio 935:gigues 773:Adagio 740:dactyl 610:bass. 201:Cöthen 197:Weimar 152:adagio 121:BWV 76 55:Cöthen 5482:Fugal 5419:No. 5 5274:No. 3 5269:No. 2 5065:JSTOR 4996:, in 4939:JSTOR 4901:(PDF) 4708:JSTOR 4518:JSTOR 4363:JSTOR 4335:S2CID 4318:Notes 4113:JSTOR 3957:JSTOR 3695:See: 3560:See: 3531:See: 3495:See: 3464:See: 3383:See: 3343:See: 3289:See: 3247:See: 3201:See: 3155:See: 3096:See: 3061:See: 3042:] 3009:See: 2963:See: 2941:See: 2900:See: 2867:See: 2818:Notes 2181:Fanny 2149:Haydn 1757:Fanny 1753:] 1233:canon 1153:deal. 1137:Largo 954:triad 859:piano 855:forte 841:piano 837:forte 604:tenue 509:Largo 426:canon 311:gigue 174:When 5593:They 5320:in E 5252:Solo 5233:and 5151:ISBN 5133:ISBN 5113:link 5085:ISBN 5041:ISBN 5006:ISBN 4971:ISBN 4877:ISBN 4848:ISBN 4826:ISBN 4804:ISBN 4782:ISBN 4757:ISBN 4737:ISBN 4678:ISBN 4648:ISBN 4612:ISBN 4579:ISBN 4566:link 4538:ISBN 4488:ISBN 4470:ISBN 4452:ISBN 4436:ISBN 4408:ISBN 4385:ISBN 4295:ISBN 4273:ISBN 4247:ISBN 4222:ISBN 4200:ISBN 4175:ISBN 4081:ISBN 4068:link 4038:ISBN 4016:ISBN 3991:ISBN 3901:ISBN 3871:ISMN 3854:ISMN 3789:ISMN 3610:See 2155:and 2055:and 1746:Sara 1648:and 1118:coda 583:, a 195:and 127:and 111:and 30:The 5572:Joy 4931:doi 4700:doi 4510:doi 4355:doi 4327:doi 4144:doi 4105:doi 3949:doi 1849:of 1774:in 1611:As 1139:in 1081:of 775:in 713:of 180:BWV 92:). 35:BWV 5704:: 5183:, 5131:, 5127:, 5109:}} 5105:{{ 5083:, 5079:, 5061:63 5059:, 5039:, 5035:, 5022:, 4965:, 4953:, 4937:, 4927:77 4925:, 4909:58 4907:, 4903:, 4871:, 4867:, 4842:, 4824:, 4802:, 4798:, 4780:, 4776:, 4735:. 4725:. 4706:, 4696:46 4694:, 4676:, 4668:, 4646:, 4562:}} 4558:{{ 4516:, 4506:52 4406:, 4402:, 4383:, 4379:, 4361:, 4351:54 4349:, 4333:, 4323:72 4321:, 4315:, 4293:, 4289:, 4271:, 4267:, 4241:, 4220:, 4216:, 4198:, 4194:, 4173:, 4161:, 4140:55 4138:, 4111:, 4101:21 4064:}} 4060:{{ 4036:, 4014:, 4010:, 3985:, 3973:, 3955:, 3945:32 3943:, 3899:, 3895:, 3875:, 3869:, 3852:, 3848:, 3832:, 3820:, 3808:, 3797:, 3793:, 3739:, 3040:fr 2809:, 2799:, 2789:, 2779:, 2765:, 2740:, 2730:, 2716:, 2706:, 2696:, 2686:, 2676:, 2655:, 2641:, 2631:, 2621:, 2607:, 2589:, 2575:, 2565:, 2555:, 2541:, 2527:, 2513:, 2499:, 2489:, 2475:, 2465:, 2451:, 2437:, 2423:, 2413:, 2403:, 2393:, 2328:: 2151:, 1973:. 1906:. 1853:. 1751:de 1681:. 1673:, 1644:, 1547:. 945:. 715:10 700:15 191:, 187:, 139:. 107:, 5680:: 5607:" 5603:" 5595:" 5591:" 5588:" 5584:" 5581:" 5577:" 5574:" 5570:" 5567:" 5563:" 5560:" 5556:" 5553:" 5549:" 5541:" 5537:" 5534:" 5530:" 5527:" 5523:" 5223:e 5216:t 5209:v 5115:) 4933:: 4892:) 4745:. 4702:: 4568:) 4512:: 4442:. 4357:: 4329:: 4146:: 4107:: 4070:) 3951:: 3601:. 2834:. 2335:. 2321:. 2311:. 1599:B 1594:B 1575:B 1571:A 1521:A 1519:– 1517:B 1515:– 1513:A 1504:8 1491:. 1399:. 1320:2 1306:. 1218:. 1068:. 920:. 826:. 724:2 720:1 717:+ 709:2 705:1 702:+ 658:. 572:8 559:.

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Index