happy birthday Bach: Willem van Twillert plays Bach, Dorische Toccata BWV 538, Deaken/Marcussen-organ Goes [NL]

happy birthday Bach!

Willem van Twillert plays Bach, Dorische Toccata BWV 538, Deaken/Marcussen-organ Goes [NL]

Willem van Twillert

Willem van Twillert plays Bach, Dorische Toccata BWV 538, at the Deaken/Marcussen-orgel, Magdalena church, Goes [NL]
http://nl.wikipedia.org/wiki/Willem_v…
http://de.wikipedia.org/wiki/Willem_v… [Auf Deutsch; German Text]

 

Bach – Toccata and Fugue in D minor, BWV 565, great compositions/performances

Bach – Toccata and Fugue in D Minor, BWV 565

MovieMongerHZ

Uploaded on Oct 5, 2010/3,887,444

I don’t know who performed this, but it’s by far the best recording I’ve ever heard!! Enjoy!!
*************************************************************************

From Wikipedia, the free encyclopedia

 

 Fragment of the first page of BWV 565 in Johannes Ringk‘s handwriting. Bach’s autograph does not survive, and this is the only known near-contemporary source.

The Toccata and Fugue in D minor, BWV 565, is a piece of organ music written by Johann Sebastian Bach. First published in 1833 through the efforts of Felix Mendelssohn, the piece quickly became popular, and is now one of the most famous works in the organ repertoire. Since the 1970s, some scholars have challenged the attribution of the piece to Bach.

History

As with most Bach organ works, no autograph manuscript of BWV 565 survives. The only near-contemporary source is an undated copy by Johannes Ringk, a pupil of Johann Peter Kellner. Several compositions by him^{[clarification needed]} survive, and he is also notable today for his copies of numerous keyboard works by Georg Böhm, Johann Pachelbel, Johann Heinrich Buttstett, Dieterich Buxtehude, and other important masters.^[1]

The title of the piece is given in Ringk’s manuscript as Toccata Con Fuga. It is most probably a later addition, similar to the title of Toccata, Adagio and Fugue, BWV 564, because in the Baroque era such organ pieces would most commonly be called simply Prelude (Praeludium, etc.) or Prelude and Fugue.^[2] Ringk’s copy abounds in Italian tempo markings, fermatas (a characteristic feature of Ringk’s copies) and staccato dots, all very unusual features for pre–1740 German music. All later manuscript copies that are known today originate directly or indirectly with Ringk’s.^[1]

BWV 565 exhibits a typical simplified north German structure with a free opening (toccata), a fugal section (fugue), and a short free closing section. The connection to the north German organ school was noted early by Bach biographer Philipp Spitta in 1873.^[3] However, the numerous recitative stretches are rarely found in the works of northern composers and may have been inspired by Johann Heinrich Buttstett,^[4] whose few surviving free works, particularly his Prelude and Capriccio in D minor, exhibit similar features. A passage in the fugue of BWV 565 is an exact copy of a phrase in one of Johann Pachelbel‘s D minor fantasias, and the first half of the subject is based on this Pachelbel passage as well.^[5] It was common practice at the time to create fugues on other composers’ themes, and a number of such pieces by Bach are known (BWV 574, 579, 950, etc.); moreover, the bass pattern of the Passacaglia and Fugue in C minor, BWV 582, is borrowed from André Raison‘s organ passacaglia, also using only the first half of Raison’s passage (just the way BWV 565 borrows from Pachelbel).

The work was first published by Breitkopf & Härtel in late 1833 as part of a collection of Bach’s organ works. The edition was conceived and partly prepared by Felix Mendelssohn, who had BWV 565 in his repertoire already by 1830.^[6] Mendelssohn’s opinion of the piece, expressed in one of his letters, was that it was “at the same time learned and something for the [common] people.”^[7] The first major public performance was also by Mendelssohn, on 6 August 1840 in Leipzig. The concert was very well received by the critics, among them Robert Schumann.^[8] Later in the 19th century, Franz Liszt adopted the piece into his organ repertoire, and a piano transcription was made by Liszt’s pupil Carl Tausig, which gained substantial fame. Another popular transcription was completed in 1899 by Ferruccio Busoni. In the 20th century, an orchestral version of the piece, created by Leopold Stokowski, popularized the work further when it was included in Walt Disney‘s film Fantasia, released in 1940.^[9]

The work’s famous opening drew attention and praise already from Schumann, who, however, admired it as an example of Bach’s sense of humor.^[10] In the 20th century the work was generally viewed very differently, as a bold and dramatic piece. Musicologist Hermann Keller, writing in 1948, described the opening bars’ unison passages as “descending like a lightning flash, the long roll of thunder of the broken chords of the full organ, and the stormy undulation of the triplets.”^[11] A similar view has been expressed by noted Bach scholar and former director of Bach-Archiv Leipzig, Hans-Joachim Schulze:

“Here is elemental and unbounded power, in impatiently ascending and descending runs and rolling masses of chords, that only with difficulty abates sufficiently to give place to the logic and balance of the fugue. With the reprise of the initial Toccata, the dramatic idea reaches its culmination amidst flying scales and with an ending of great sonority.^[12]”

Writing in 2005, organist and Bach scholar Hans Fagius commented that while the authorship issue may remain unresolved, the enduring popularity of the work is not difficult to understand, since there is “a fantastic drive and energy to the piece that simply make it irresistible.”^[13]

In popular culture

The Toccata has been used in a variety of popular media ranging from film, video games, to rock music, and ringtones.

It is used for the opening credits of the 1931 film Dr. Jekyll and Mr. Hyde.^[40]

In 1960 Federico Fellini featured the track in his movie La Dolce Vita, being played by a character at a church organ.

The 1962 film adaptation of The Phantom of the Opera by Hammer Productions featured the piece, and since then, the movie has helped to associate the music with horror movies, Halloween, and the like in popular culture.^[41]

The jazz/R&B group Brass Fever featured an arrangement of the composition on their self-titled 1975 album as “Bach Bone”.

Jon Lord of Deep Purple fame recorded a composition called “Bach onto this”, which is based on BWV 565. It appears on his 1982 album Before I Forget.

English progressive rock band Egg covered the piece for their 1970 debut album.

Dutch progressive/symphonic rock band Ekseption covered the piece for their 1973 album Trinity.

The English classical/rock fusion band Sky (featuring the classical guitarist John Williams and classical percussionist Tristan Fry) scored a Top 10 pop hit with their 1980 arrangement of the Toccata section of BWV 565. This version crossed over to the Billboard Hot 100, charting at #83.^[42]

Vanessa-Mae recorded a cover of this piece. It reached number 24 on the Billboard charts.^[43]

The track is used for the opening credits and final freeze-frame of the 1975 film Rollerball.

In Walt Disney’s 1940 film, Fantasia, it is used as the first piece of the film, transcribed for full symphony orchestra by the conducter, Leopold Stokowski. The Disney animators were given an abstract theme to create the image to the music.^[44]

 

 

 

 

Bach – Brandenburg Concerto No. 3 in G Major: Complete; Original Instruments, Voices of Music, great compositions/performances

Bach – Brandenburg Concerto No. 3 in G Major: Complete; Original Instruments, Voices of Music 4K UHD

Voices of Music

 

Published on Sep 11, 2014/ 31,126 views

J.S. Bach: Brandenburg Concerto No. 3 in G Major (BWV 1048), complete, performed on original instruments by the Early Music ensemble Voices of Music. I. (Allegro) 0:00 II. Adagio 5:34 III. Allegro 5:45
In March of 1721, Johann Sebastian Bach carefully inked six of his best concertos into a book for the Margrave of Brandenburg, Christian Ludwig. The original title, “Six Concerts à plusieurs instruments” is now known as the “Brandenburg” Concertos in English or “Brandenburgische Konzerte” in German.
These six concertos represent the summa of chamber music in the high baroque period, and the third concerto (BWV 1048) is noted for its rich texture of three violins, three violas and three cellos, with a continuo part for the harpsichord and violone. The original title is as follows: “Concerto 3zo [terzo] a tre Violini, tre Viole, è tre Violoncelli col Basso per il Cembalo”. On the continuo part, Bach has written “Violone & Cembalo”, and this is how it is performed in the video, just as it is indicated in the original manuscript.
This concerto is part of the Voices of Music Great Works project. A Creative Commons edition of the score, based on the composer’s manuscript, will be published to accompany the complete recording, and the recording will be available worldwide on Blu-Ray and CD, and for free on MP3 and high-definition, 24 bit FLAC files.

Voices of Music
Hanneke van Proosdij & David Tayler, directors

A note on this video: The Brandenburg Concertos are ensemble pieces, and every musician has a finely-wrought musical line. Rather than assemble clips of small solos, the goal in presenting this work was to show the entire ensemble–in this way, the viewer can follow the counter-subjects as well as the main themes in the musical composition. A specially designed hyperfocal lens was used for the center camera to render the entire soundstage in focus, edge to edge and front to back, so that at resolutions of 1080p and higher, one can view each individual musician. Graduated depth of field was used on the supporting cameras to throw the image into relief when showing sections of instruments. Surround sound techniques were used to place the listener in the middle of the ensemble, so that each part can be clearly heard, as well as seen.
Text: For this recording, a new edition of the concerto was made based on Bach’s autograph manuscript, with careful attention to the original articulation marks.
Original instruments: the Brandenburg concertos have been performed on every imaginable combination of instruments. We believe that the greatest transparency is achieved when the work is performed on instruments from the time of Bach, using the techniques and styles of the time. In Bach’s time, music was performed without a conductor, and each musician had a voice in the interpretation.
Tempo: The first movement has no tempo indication, so a tempo of allegro was chosen based on the style of the music. In the baroque period, the tempo of allegro “assai” or presto would not have been usual for the opening movement; however, the tempo is left to the performers’ imagination: the allegro tempo allows all the parts to be clearly heard. The second movement famously consists of two simple chords, to which Hanneke has improvised a very simple decoration from the harpsichord. The third movement is marked allegro by the composer; here we have decided upon an affect of fleetness, as the themes and counter-subjects whirl around the ensemble, but stopping just shy of the faster tempo marks–allegro assai and presto– which Bach reserves for other places in his Brandenburg manuscript.
Numerology: it is no coincidence that Bach attached special significance to the the numbers two and three, and their multiple of six. Since medieval times, the number three, the symbol of the trinity, was considered the “perfect” division for time signatures, and the combination of two and three form the rhythmic underpinnings of Western music. For the third concerto, it’s all about the number three: Bach employed the unusual combination of 3+3+3: three violins, three violas, three cellos, possibly reworking an earlier composition for these resources. To continue Bach’s tradition, nine HD cameras were used to film this work.
Recorded at St. Stephen’s Church, Belvedere, California.

Great compositions/Performances: Bach: Cantata, BWV 147, Jesu, Joy of Man’s Desiring: make music part of your life

Great compositions/Performances: Bach: Cantata, BWV 147, Jesu, Joy of Man’s Desiring

George Bost

Published on Feb 11, 2014

From Wikipedia, the free encyclopedia

Jesu, Joy of Man’s Desiring is the most common English title of the 10th and last movement of the cantata Herz und Mund und Tat und Leben, BWV 147 (“Heart and Mouth and Deed and Life”), composed by Johann Sebastian Bach in 1716 and 1723. Written during his first year in Leipzig, Germany, this chorale movement is one of Bach’s most enduring works.

Jesu, joy of man’s desiring,
Holy wisdom, love most bright;
Drawn by Thee, our souls aspiring
Soar to uncreated light.

Word of God, our flesh that fashioned,
With the fire of life impassioned,
Striving still to truth unknown,
Soaring, dying round Thy throne.

Through the way where hope is guiding,
Hark, what peaceful music rings;
Where the flock, in Thee confiding,
Drink of joy from deathless springs.

Theirs is beauty’s fairest pleasure;
Theirs is wisdom’s holiest treasure.
Thou dost ever lead Thine own
In the love of joys unknown.

Bach / I Musici, 1965: Brandenburg Concerto No. 6 in B flat major, BWV 1051: make music part of your life series

Bach / I Musici, 1965: Brandenburg Concerto No. 6 in B flat major, BWV 1051- Complete

davidhertzberg

From the LP shown above, issued on the Philips label in 1965.

Allegro (0:06)
Adagio ma non tanto (7:00)
Allegro (13:06)

The Brandenburg Concertos are a group of six concerts by Johann Sebastian Bach (BWV 1046-1051). They are dedicated to the Margrave Christian Ludwig of Brandenburg-Schwedt (1677–1734), the stream had met in winter 1718/1719 in Berlin. In September 1721 he sent him the score with an extensive dedication. The title Brandenburg Concertos was coined by Philipp Spitta incurred in its 1873–1879 Bach Biography and has now been generally adopted. Bach’s original title is “Six Concerts Avec plusieurs instruments”. The six concerts have a high stylistic and structural diversity. In its mixture of different historical and forward-looking elements to form a personal, yet universal form of expression.

Bach Busoni Chorale Prelude BWV 639 “Ich ruf zu dir Herr Jesu Christ”- VAlentina Lisitsa: great compositions/performances

Bach – Busoni: Chorale Prelude BWV 639 Ich ruf zu dir Herr Jesu Christ

  ValentinaLisitsa

For a moment of silence to remember the 26 victims of the Sandy Hook Elementary School massacre one week ago.

Read more: http://www.nydailynews.com/new-york/b…
Johann Sebastian Bach Feruccio Busoni from 10 Chorale Preludes, BV B 27 BWV 639 (BV B 27/5)
Ich ruf zu dir, Herr Jesu Christ (I call to Thee, Lord Jesus Christ)
Sheet music free download here at IMSLP library:
http://tinyurl.com/c6nkwoe

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Rostropovich plays the Sarabande from Bach’s Cello Suite # 1: great compositions/performances

Rostropovich plays the Sarabande from Bach’s Cello Suite # 1

   inwit
Mstislav Rostropovich plays the Sarabande from Bach’s Cello Suite No. 1 in G major, BWV 1007. Filmed at the Basilique Sainte Madeleine, Vézelay, Yvonne, France in 1991.

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J. S BACH ● BWV 645 ● Wachet Auf ! Sleepers Awake: make music part of your life series

J. S BACH ● BWV 645 ● Wachet Auf ! Sleepers Awake

  MontseAntares

Johann Sebastian Bach was born on a day like today is a March 31, 1685 … although many biographers agree not to celebrate her birthday … … I decided to upload one of his most beautiful cantatas Wachet Auf! (Sleepers Awake!) ..Performed by “The New Symphony Orchestra Of London” ..
Bach was a composer, organist, harpsichordist, violinist, violist, choirmaster and singer of German Baroque music, the most important member of one of the most prominent families of musicians in history, with more than 35 performers and many famous composers Featured.

Johann Sebastian Bach: Cantata #68, Aria “My heart ever faithful” BWV 68 (make music part of your life series)

 

Johann Sebastian Bach: Best of Cantatas 68

 

 

 

 

make music part of your life series: Bach / I Musici, 1965: Brandenburg Concerto No. 4 in G Major, BWV 1049

[youtube.com/watch?v=i5EOSjV0Vkw]

Bach / I Musici, 1965: Brandenburg Concerto No. 4 in G Major, BWV 1049 

From the LP shown above, issued on the Philips label in 1965.

I. Allegro (0:01)
II. Andante (7:22)
III. Presto (11:51)

Die Brandenburgischen Konzerte sind eine Gruppe von sechs Konzerten von Johann Sebastian Bach (BWV 1046–1051). Sie sind dem Markgrafen Christian Ludwig von Brandenburg-Schwedt (1677–1734) gewidmet, den Bach im Winter 1718/1719 in Berlin kennengelernt hatte. Im September 1721 schickte er ihm die Partitur mit einer umfangreichen Widmung. Der Titel Brandenburgische Konzerte wurde von Philipp Spitta in seiner 1873–1879 entstandenen Bach-Biografie geprägt und hat sich heute allgemein durchgesetzt. Bachs Originaltitel lautet „Six Concerts Avec plusieurs Instruments”. Die sechs Konzerte weisen eine hohe stilistische und strukturelle Vielfalt auf. In ihrer Mischung der verschiedensten historischen und zukunftsweisenden Elemente bilden sie eine ganz persönliche und trotzdem allgemeingültige Ausdrucksform.

Les concertos brandebourgeois sont un ensemble de six concertos de Johann Sebastian Bach (BWV 1046 à 1051), qui comptent parmi les plus renommés qu’il ait composés. Le qualificatif de brandebourgeois est dû à Philipp Spitta qui, suivant l’usage germanique, fait référence au dédicataire, le margrave Christian Ludwig de Brandebourg.

great compositions/performances: Johann Sebastian Bach – Fantasy and fugue in G minor BWV 542

[youtube.com/watch?v=-Br08w4qd80]

Johann Sebastian Bach – Fantasy and fugue in G minor BWV 542

Franz Hauk at the Great Klais Organ of Liebfrauenmünster Ingolstadt

*****From Wikipedia, the free encyclopedia*****
The Great Fantasia and Fugue in G minor, BWV 542, is an organ prelude and fugue by Johann Sebastian Bach. It acquired that name to distinguish it from the earlier Little Fugue in G minor, which is shorter. This piece is not to be confused with the Prelude and Fugue in A minor, which is also for organ and also sometimes called “the Great”.

It was transcribed for piano by Franz Liszt as S.463.

 

Robert Huw Morgan plays Bach’s Fantasia and Fugue in G minor on the Fisk-Nanney organ at the Stanford Memorial Church in Stanford, California.

 

 

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Great Compositions/Performances: Choral from Cantata No.147 (Jesu bleibet meine Freunde) by Johann Sebastian Bach. Conducted by Nikolaus Harnoncourt.

[youtube.com/watch?v=3Mn1ibFdXDU]

Bach – BWV 147 – 7 – Jesus bleibet meine Freude

Choral from Cantata No.147 by Johann Sebastian Bach. Conducted by Nikolaus Harnoncourt.

High Quality: http://www.youtube.com/watch?v=3Mn1ib…

Jesus bleibet meine Freude,
Meines Herzens Trost und Saft,
Jesus wehret allem Leide,
Er ist meines Lebens Kraft,
Meiner Augen Lust und Sonne,
Meiner Seele Schatz und Wonne;
Darum lass ich Jesum nicht
Aus dem Herzen und Gesicht.

1 – Herz und Mund und Tat und Leben http://youtube.com/watch?v=wraO_FOpFJ4
2 – Schäme dich, o Seele, nicht http://youtube.com/watch?v=QgLmLuRSDl8 
3 – Bereite dir, Jesu, noch itzo die Bahn http://youtube.com/watch?v=hIDRf-YlQVc
4 – Wohl mir, daß ich Jesum habe http://youtube.com/watch?v=3jFxeO63fj8
5 – Hilf, Jesu, hilf http://youtube.com/watch?v=Ae9trX3jKX4
6 – Ich will von Jesu Wundern singen http://youtube.com/watch?v=bKrsqh-H5YU

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Great compositions/Performances: Bach: Cantata, BWV 147, Jesu, Joy of Man’s Desiring

[youtube.com/watch?v=3jGbQfIXh44&feature=c4-overview&list=UU6sujip0vq_jTW69yQkKS2w]

From Wikipedia, the free encyclopedia

Jesu, Joy of Man’s Desiring is the most common English title of the 10th and last movement of the cantata Herz und Mund und Tat und Leben, BWV 147 (“Heart and Mouth and Deed and Life”), composed by Johann Sebastian Bach in 1716 and 1723. Written during his first year in Leipzig, Germany, this chorale movement is one of Bach’s most enduring works.

Jesu, joy of man’s desiring,

Holy wisdom, love most bright;

Drawn by Thee, our souls aspiring

Soar to uncreated light.

Word of God, our flesh that fashioned,

With the fire of life impassioned,

Striving still to truth unknown,

Soaring, dying round Thy throne.

Through the way where hope is guiding,

Hark, what peaceful music rings;

Where the flock, in Thee confiding,

Drink of joy from deathless springs.

Theirs is beauty’s fairest pleasure;

Theirs is wisdom’s holiest treasure.

Thou dost ever lead Thine own

In the love of joys unknown.

Enjoy, It’s all good!

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Great compositions/Performances: Bach: Cantata, BWV 147, Jesu, Joy of Man’s Desiring

Culture Studies: Classical Music: Bach
(A series of well-known classical music pieces one should known about.)

Bach, Johann Sebastian (1685-1750)
Style/Period: Late German Baroque (w/eclectic German, French & Italian elements); German, Leipzig-based from 1723

Bach Cantata, BWV 147, Jesu, Joy of Man’s Desiring

 

Brilliant Music: Bach – Cantata BWV 140 – Peter Schreier – Sleepers wake

Bach – Cantata BWV 140 – Peter Schreier – Sleepers wake

Zion hoert die Waechter singen 
Conductor: Karl Richter
Tenor: Peter Schreier
Orchestra: Munich Bach Choir, Munich Bach Orchestra
Sleepers Wake

from wikipedia

Wachet auf, ruft uns die Stimme (Awake, calls the voice to us), BWV 140, also known as Sleepers Wake, is achurch cantata by Johann Sebastian Bach. He composed the chorale cantata in Leipzig for the 27th Sunday afterTrinity and first performed it on 25 November 1731. It is based on the hymn “Wachet auf, ruft uns die Stimme” (1599) by Philipp Nicolai. Movement 4 of the cantata is the base for the first of Bach’s Schübler Chorales, BWV 645. The cantata is a late addition to Bach’s cycle of chorale cantatas, featuring additional poetry for two duets of Jesus and the Soul which expand the theme of the hymn.

History and text

Bach composed the cantata in Leipzig for the 27th Sunday after Trinity. This Sunday occurs only when Easter is extremely early.^[1] The prescribed readings for the Sunday were from the First Epistle to the Thessalonians, be prepared for the day of the Lord (1 Thessalonians 5:1–11), and from the Gospel of Matthew, the parable of the Ten Virgins (Matthew 25:1–13).^[2] The chorale cantata is based on the Lutheran hymn in three stanzas, “Wachet auf, ruft uns die Stimme” of Philipp Nicolai, which is based on the Gospel.^[1] Bach composed the cantata to complete his cycle of chorale cantatas which he had begun in 1724.^[3][4] The text of the three stanzas appears unchanged in movements 1, 4 and 7, while an unknown author supplied poetry for movements 2 and 3, 5 and 6, both a sequence ofrecitative and duet.^[5] He refers to the love poetry of the Song of Songs, showing Jesus as the bridegroom of the Soul.^[3] According to Christoph Wolff, the text was already available when Bach composed his cycle of chorale cantatas.^[6]

Bach performed the cantata only once, in Leipzig’s main church Nikolaikirche on 25 November 1731.^[3] According toChristoph Wolff, Bach performed it only this one time, although the 27th Sunday after Trinity occurred one more time during his tenure in Leipzig, in 1742.^[1] He used movement 4 of the cantata as the base for the first of his Schübler Chorales, BWV 645.^[6]

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J.S.Bach: Variatio 25 from Goldberg Variations (Catrin Finch, harp)

[youtube.com/watch?v=Jtm8zfUlFdE]

J.S.Bach: Variatio 25 from Goldberg Variations 
Catrin Finch, harp

The tale of how the variations came to be composed comes from an early biography of Bach by Johann Nikolaus Forkel:
[For this work] we have to thank the instigation of the former Russian ambassador to the electoral court of Saxony, Count Kaiserling, who often stopped in Leipzig and brought there with him the aforementioned Goldberg, in order to have him given musical instruction by Bach. The Count was often ill and had sleepless nights. At such times, Goldberg, who lived in his house, had to spend the night in an antechamber, so as to play for him during his insomnia. … Once the Count mentioned in Bach’s presence that he would like to have some clavier pieces for Goldberg, which should be of such a smooth and somewhat lively character that he might be a little cheered up by them in his sleepless nights. Bach thought himself best able to fulfill this wish by means of Variations, the writing of which he had until then considered an ungrateful task on account of the repeatedly similar harmonic foundation. But since at this time all his works were already models of art, such also these variations became under his hand. Yet he produced only a single work of this kind. Thereafter the Count always called them his variations. He never tired of them, and for a long time sleepless nights meant: ‘Dear Goldberg, do play me one of my variations.’ Bach was perhaps never so rewarded for one of his works as for this. The Count presented him with a golden goblet filled with 100 louis-d’or. Nevertheless, even had the gift been a thousand times larger, their artistic value would not yet have been paid for.
Forkel wrote his biography in 1802, more than 60 years after the events related, and its accuracy has been questioned. The lack of dedication on the title page of the “Aria with Diverse Variations” also makes the tale of the commission unlikely. Goldberg’s age at the time of publication (14 years) has also been cited as grounds for doubting Forkel’s tale, although it must be said that he was known to be an accomplished keyboardist and sight-reader. In a recent book-length study, keyboardist and Bach scholar Peter Williams contends that the Forkel story is entirely spurious.
The aria on which the variations are based was suggested by Arnold Schering not to have been written by Bach. More recent scholarly literature (such as the edition by Christoph Wolff) suggests that there is no basis for such doubts.
After a statement of the aria at the beginning of the piece, there are thirty variations. The variations do not follow the melody of the aria, but rather use its bass line and chord progression.
Variation 25 is the third and last variation in G minor; a three-part piece, it is marked adagio in Bach’s own copy and is in 3/4 time. The melody is written out predominantly in 16th and 32nd notes, with many chromaticisms. This variation generally lasts longer than any other piece of the set.
Wanda Landowska famously described this variation as “the black pearl” of the Goldberg Variations. Peter Williams writes that “the beauty and dark passion of this variation make it unquestionably the emotional high point of the work”, and Glenn Gould said that “the appearance of this wistful, weary cantilena is a master-stroke of psychology.” In an interview with Gould, Tim Page described this variation as having an “extraordinary chromatic texture”; Gould agreed: “I don’t think there’s been a richer lode of enharmonic relationships any place between Gesualdo and Wagner.”

For many years Catrin has delighted audiences with her performances in the UK and worldwide. Inspired to learn the harp at the age of five, her rise to prominence started almost immediately, achieving the highest mark in the UK for her Grade VIII exam at the age of nine. She studied with Elinor Bennett for eight years before entering the Purcell School. Catrin graduated from the Royal Academy of Music in 2002 where she studied with Skaila Kanga and received the Queen’s Award for the most outstanding student of her year. More about Catrin Finch: http://www.catrinfinch.com
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J.S. Bach / Wie schön leuchtet der Morgenstern, BWV 1 (Harnoncourt)

Johann Sebastian Bach (1685-1750)

Cantata BWV 1: Wie schön leuchtet der Morgenstern (25 March 1725)

1. Wie schön leuchtet der Morgenstern (Chorus)
2. Du wahrer Gottes und Marien Sohn (Recitative: T) 09:36
3. Erfüllet, ihr himmlischen göttlichen Flammen (Aria: S) 10:33
4. Ein irdscher Glanz, ein leiblich Licht (Recitative: B) 15:43
5. Unser Mund und Ton der Saiten (Aria: T) 16:42
6. Wie bin ich doch so herzlich froh (Chorale) 24:04

Soloists:
Boy Soprano: Soloist of the Wiener Sängerknaben 
Tenor: Kurt Equiluz 
Bass: Max van Egmond

Performed by the Wiener Sängerknaben & Chorus Viennensis (Chorus Master: Hans Gillesberger), and Concentus Musicus Wien under the direction of Nikolaus Harnoncourt. Recorded by Teldec in 1970.

“Wie schön leuchtet der Morgenstern (How brightly gleams the morning star) (BWV 1), composed for the Festival of the Annunciation (25th March) 1725, is the last chorale of the Year II cycle, since texts in the customary form follow from Easter onward. Bach’s unknown librettist has retained the outer verses, 1 and 7, of Philipp Nikolai’s well-known hymn (1599) in their original wording, but rewritten the inner verses as recitatives and arias. Nikolai’s hymn is only loosely connected with the Gospel reading for the day, the story of the Annunciation (Luke 1, 26-38). The last verse can most likely be interpreted as referring to the coming of the Saviour, and Bach’s librettist has woven further allusions into the second movement. Yet the profound feeling and ‘bridal’ character of the hymn well suit the subject of the festival. 

“The cantata has an unusual instrumental clothing; whereas the wind, with two horns and two oboes da caccia, emphasize the middle register only, the treble register is supplied by two concertante violins, in whose figurative playing the glittering of the ‘morning star’ is reflected. The opening chorus is a standard example of the form most frequently used in the chorale cantatas: the hymn melody, stated in long notes by the soprano (+ Horn I) with counter-points in the other choral parts, is built line by line into an independent orchestral texture.

“The recitatives, mainly set in syllabic declamation, are contrasted with the concertante, joyful agitation of the two arias, in which again instruments characteristic of the cantata’s orchestration are given prominence: oboe da caccia in the third movement, concertante violins with solo-tutti contrasts in the fifth. The simple setting of the final chorale is enriched by the independent part for the second horn.” – Alfred Dürr

Painting: Easter Morning, Caspar David Friedrich

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Bach – Brandenburg Concerto No. 1 In F Major, BWV 1046

The Brandenburg concertos by Johann Sebastian Bach (BWV 1046–1051, original title: Six Concerts à plusieurs instruments) are a collection of six instrumental works presented by Bach to Christian Ludwig, margrave of Brandenburg-Schwedt, in 1721 (though probably composed earlier). They are widely regarded as among the finest musical compositions of the Baroque era.

Brandenburg Concerto No. 1 in F major, BWV 1046

Cologne Chamber Orchestra
Helmut Muller-Bruhl

Title on autograph score: Concerto 1mo à 2 Corni di Caccia, 3 Hautb: è Bassono, Violino Piccolo concertato, 2 Violini, una Viola è Violoncello, col Basso Continuo.
Allegro
Adagio
Allegro
Menuet – Trio I – Menuet da capo – Polacca – Menuet da capo – Trio II – Menuet da capo

Instrumentation: two corni da caccia, three oboes, bassoon, violino piccolo, and two violins, viola, cello, and basso continuo.

This concerto is the only one in the collection with four movements. An earlier version (Sinfonia, BWV 1046a) which does not use the violino piccolo was used for the opening of cantata BWV 208. This version lacks the third movement entirely, and the Polacca from the final movement, leaving Menuet – Trio I – Menuet – Trio II – Menuet. The first movement can also be found as the sinfonia of the cantata Falsche Welt, dir trau ich nicht, BWV 52. The third movement was used as the opening chorus of cantata BWV 207.

 

J.S. Bach – Brandenburg Concerto No.4 in sol-major BWV 1049

1. Allegro   00:00 
2. Andante  07:17
3. Presto  12:42

Johann Sebastian Bach (Eisenach, Thuringia, March 21. / March 31, 1685 – Leipzig, July 28, 1750) was an organist, harpsichordist and composer of Baroque music German member of a family of musicians most extraordinary of history, with more than 35 famous composers and many outstanding performers. 
His reputation as an organist and harpsichordist was legendary, famed throughout Europe. Apart from the organ and harpsichord, also played the violin and the viola da gamba as well as being the first great improviser renowned music. 
His prolific work is considered the pinnacle of Baroque music. He was distinguished for his intellectual depth, technical perfection and artistic beauty, and also for the synthesis of various international styles of his time and of the past and unparalleled extension. Bach is considered the last great master of the art of counterpoint, which is the source of inspiration and influence to later composers and musicians from Mozart through Schoenberg, until today.

 

J.S. Bach French Suite No.5 in G Major BWV 816 Svetlana Ponomareva piano

Extract from Svetlana Ponomareva plays Schnittke / Bach CD
Recorded in 2008 at CBC Studio One in Vancouver yet never played on CBC Radio 2

For those who do not care about musical name dropping and want to listen to a fine and informed articulation of the French Suite No.5

(Finally available for download, “Touching a Mystery” the book on rules of articulation for Baroque Clavier Music:
http://ponomarevapianist.com/news.php… )

This CD commemorates Alfred Schnittke‘s 10th passing anniversary. The selected “Five Aphorisms” written in 1990 and Sonata No. 3 written in 1992 are among his late works for piano solo, rarely performed. Svetlana’s performing of Schnittke solo piano is among the finest.

The CD also focuses on Bach’s music as the result of Svetlana’s serious work based on several in-depth researches by Alexandrov, Teregulov and Nosina from Russia on Baroque music – in particular, about articulation in Bach’s Clavier music and the symbolism of his music. Svetlana chose the Prelude and Fugue BWV 849 from the Well Tempered Clavier book 1 and the French Suite No. 5 BWV 816 to illustrate this research and demonstrate how through the rules of articulation the polyphony is serving a complex dramaturgy that is both true to the epoch -in style- and still quite personal to the performer.

http://ponomarevapianist.com/music_de…

 

J.S. Bach – Brandenburg Concerto No.5 in re-major BWV 1050

Johann Sebastian Bach ( Eisenach , Thuringia , March 21 . / March 31, 1685 – Leipzig , July 28, 1750 ) was an organist , harpsichordist and composer of Baroque music German member of a family of musicians most extraordinary of history, with more than 35 famous composers and many outstanding performers .
His reputation as an organist and harpsichordist was legendary , famed throughout Europe. Apart from the organ and harpsichord , also played the violin and the viola da gamba as well as being the first great improviser renowned music .
His prolific work is considered the pinnacle of Baroque music . He was distinguished for his intellectual depth , technical perfection and artistic beauty, and also for the synthesis of various international styles of his time and of the past and unparalleled extension . Bach is considered the last great master of the art of counterpoint, which is the source of inspiration and influence to later composers and musicians from Mozart through Schoenberg , until today.

 

Bach Notebook for Anna Magdalena Concerto die liebe Minuet in G major, BWV114

Bach Notebook for Anna Magdalena Concerto die liebe Minuet in G major, BWV114

Johann Sebastian Bach (1685 † 1750)
Work: Minuet No.1 in G major (Anna Magdalena Notebook II/1), BWV Anh.114 Anna Magdalena Bach Clavier-Büchlein

J.S. Bach – Harpsichord or (Organ) Concerto in d minor, BWV 1059 / Ton Koopman, organ

Johann Sebastian Bach (1685~1750)
Konzert für Clavier, Streicher und Basso Continuo d-moll, BWV 1059
(incomplete work, revision by Ton Koopman version)
I. Sinfonia (from cantata, BWV 35: Sinfonia) – 00:00
II. Aria (from cantata, BWV 35: “Gott hat alles wohlgemacht”) – 05:18
III. Sinfonia: presto (from cantata, BWV 35: Second Sinfonia) – 08:59
Ton Koopman (orgel)
Ku Ebbinge (oboe da caccia)
The Amsterdam Baroque Orchestra
Ton Koopman (conductor)
＊Clavier(Keyboard): harpsichord, clavichord, claviorganum, or organ etc.＊ 
 Concerto in d minor, BWV 1059 (incomplete) – 

Fragment consisting of 9 bars(only the first 9 bars survive in Bach’s own hand). Taken from the opening Sinfonia of the Cantata, BWV 35 “Geist und Seele wird verwirret” (1726) In the cantata, Bach uses an obbligato organ not only in the two sinfonias (which evidently form the first and last movements of a lost instrumental concerto, possibly for Oboe) but also in the aria No. 1, whose siciliano character likewise points to its original function as a concerto movement. Bach intended to write this out as a harpsichord concerto but abandoned the endeavor after only 9 bars.

Orchestral Suite No. 3 in D Major, BWV 1068, Air – J. S. Bach

Title: Orchestral Suite No. 3 in D Major, BWV 1068, 2. Air.

Composer: Johann Sebastian Bach.
Artist: Neville Marriner, Academy Of St Martin In The Fields.

Painting by Jacob Philipp Hackert.

“Toccata and Fugue in D minor” , BWV 565, Johann Sebastian Bach, Organ: Karl Richter.

“Toccata and Fugue in D minor” , BWV 565, Johann Sebastian Bach,
Organ: Karl Richter. 

J. S. Bach – Gigue from Suite in e-minor for lute BWV 996 played by Arvid Graeber

John Williams, Chaconne – complete

Guitarist John Williams performing Bach’s Chaconne. Recorded live at the MacMillan Theatre, University of Toronto, 1987

John Williams live concert in Cordoba, 1986
Background information
Born	24 April 1941 (age 71) Melbourne, Australia
Genres	Classical music, Rock Music
Occupations	Guitarist, arranger and composer.
Instruments	Guitar
Years active	fl. ca. 1958 – present
Labels	Sony Records
Website	www.JohnWilliamsGuitarNotes.com
Notable instruments
Smallman guitar, Paulino Bernabe II, Ignacio Fleta, Hernandez y Aguado, Gibson Les Paul, Didgeridoo

 

Biography

 

John Williams was born on 24 April 1941 in Melbourne, Australia to an English father, Len Williams, who was later the founder of the London Guitar School, and Malaan (née Ah Ket), an Australian-Chinese mother (a daughter of Melbourne barrister William Ah Ket). In 1952, the family relocated to England. Williams was taught initially by his father and educated at the Friern Barnet Grammar School, London.^[1] From the age of eleven he attended summer courses with Andrés Segovia at the Academia Musicale Chigiana in Siena, Italy. Later, he attended the Royal College of Music in London from 1956 to 1959, studying piano because the school did not have a guitar department at the time. Upon graduation, he was offered the opportunity to create such a department. He took the opportunity and ran the department for its first two years. Williams has maintained links with the college (and with the Royal Northern College of Music^[2] in Manchester) ever since.

 

Classical guitarist

 

Williams’s first professional performance was at the Wigmore Hall in London on 6 November 1958. Since then, he has been performing throughout the world and has made regular appearances on radio and TV. He has recorded almost the entire repertoire for the guitar and has extended it by commissioning guitar concertos from composers such as Stephen Dodgson, André Previn, Patrick Gowers, Richard Harvey and Steve Gray. He has recorded albums of duets with fellow guitarists Julian Bream and Paco Peña.

 

Williams is a visiting professor and honorary member of the Royal Academy of Music^[3] in London.

 

Williams mostly uses Greg Smallman guitars after using Spanish Fleta during the 1970s ^[4] He also plays a guitar by Paulino Bernabe II.^[5]

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