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Johann Sebastian Bach was better known as a virtuoso organist than as a composer in his day. His sacred music, organ and choral works, and other instrumental music had an enthusiasm and seeming freedom that concealed immense rigor. Bach's use of counterpoint was brilliant and innovative, and the immense complexities of his compositional style -- which often included religious and numerological symbols that seem to fit perfectly together in a profound puzzle of special codes -- still amaze musicians today. Many consider him the greatest composer of all time. Of Bach's three partitas for solo violin, the first is the most old-fashioned in its choice of dance movements. The work is structurally unusual among Bach's sonatas and partitas for solo instruments in that it consists of four pairs of movements, the second of each pair offering a variation (or, employing the French term double) on the first. Another nod to older forms is the overall layout of the movements; the pairs fall into the slow-fast-slow-fast pattern of the church sonata or sonata da chiesa. To complicate matters, each double is much faster than the movement it varies. The work is technically challenging, generally more difficult than the third partita but not as tough as the second, the famous Chaconne of which is clotted with double and triple stops. The opening Allemanda announces that it's not for sissy violinists with an immediate series of double stops (which were easier to play in Bach's time than today, thanks to the convex Baroque bow). This is a typical example of the allemanda (or allemande), a slow, serious German dance in quadruple meter and binary form, its improvisational-seeming melodies refusing to conform to the expected phrases. Its "Double" is faster and in 2/2, following the same contours as the original melodies, but now filling them in with even runs of notes. The "Correnta" is the Italian version of the dance form known in French as courante: fairly fast, in 3/4, sawing up and down the scale. Its 'Double," marked Presto, again rolls all over the staff, but the notes now fly by almost as fast as possible. The mood becomes somber with the Sarabande, the only movement in this partita to receive the French version of its title. Indeed, unlike the common Italian model, this French Sarabande is slow (in 3/4 meter) and expressive, its second half almost entirely in double stops. Its "Double" switches to 9/8 and increases the tempo, but the mood remains questioning and unsettled; at least Bach now eases off the multiple stops. Finally comes a movement in Tempo di Borea (related to the bourée), fast and sharply accented in a meter marked 2/4 but really feeling more like 2/2; again, Bach employs multiple stops through most of this movement. Its "Double" is in 12/4, the shape of the original melody obscured by the fast, nonstop passagework. Source: AllMusic (http://www.allmusic.com/composition/p...). Although originally written for Solo Violin. I created this Transcription of the Partita No. 1 in B Minor (BWV 1002) for Solo Violin.

Dietrich Buxtehude is probably most familiar to modern classical music audiences as the man who inspired the young Johann Sebastian Bach to make a lengthy pilgrimage to Lubeck, Buxtehude's place of employment and residence for most of his life, just to hear Buxtehude play the organ. But Buxtehude was a major figure among German Baroque composers in his own right. Though we do not have copies of much of the work that most impressed his contemporaries, Buxtehude nonetheless left behind a body of vocal and instrumental music which is distinguished by its contrapuntal skill, devotional atmosphere, and raw intensity. He helped develop the form of the church cantata, later perfected by Bach, and he was just as famous a virtuoso on the organ. This canzonetta in G major is the only multi-sectional canzonetta among the extant Buxtehude canzonetti. It is in two sections. It is links together two brief fugal passages with related subjects. The second section is a 12/8 variation on the first section which is in common time. The two fugal passages are separated by only a couple of measures of free material. Source: AllMusic (https://www.allmusic.com/composition/... ). I created this Interpretation of the Canzonetta in G Major (BuxWV 171) for Brass Quartet (Bb Trumpet, Flugelhorn, French Horn & Euphonium). Sheet music made with MuseScore - https://musescore.com

Johann Sebastian Bach was better known as a virtuoso organist than as a composer in his day. His sacred music, organ and choral works, and other instrumental music had an enthusiasm and seeming freedom that concealed immense rigor. Bach's use of counterpoint was brilliant and innovative, and the immense complexities of his compositional style -- which often included religious and numerological symbols that seem to fit perfectly together in a profound puzzle of special codes -- still amaze musicians today. Many consider him the greatest composer of all time. One lesson offered by historical studies of musical styles is that the greatest composers almost never abandon their musical heritage entirely even in their most progressive compositions. They tend to build their works upon existing styles and genres, and then transform them into new styles in ways unprecedented in their times. This is a transcription of the first movement of Bach's Sonata No. 3 in C major for solo violin (BWV 1005). While it is a finely crafted arrangement, it may be the work of his son Wilhelm Friedemann Bach. The movement is marked Adagio and since J.S. Bach scored the original for solo violin, the version for keyboard sounds quite different as harmonies and other details are added, thus putting flesh on a rather dainty, though quite adequate frame. Yet the piece is of such a distinctly barren character that it remains rather thinly scored in its keyboard incarnation. The work features a dark but elegant theme, whose serious manner translates well to the keyboard, but therein sounds a bit less intimate, albeit more colorful and fuller. Bach brilliantly weaves the melodic fibers, creating a richly nocturnal atmosphere in which the theme unfolds in lovely, descending waves. Harmonies often consist of arpeggiated chords and relatively little else. In the end, this piece is probably better-suited to the solo violin than to the keyboard, though Bach (whichever one fashioned it) made a quite workable version for the keyboard. Source: AllMusic (http://www.allmusic.com/composition/a...). Although originally written for Harpsichord. I created this Arrangement of the Adagio in G Major (BWV 968) for French Horn & Concert (Pedal) Harp. Sheet music made with MuseScore - https://musescore.com

The first book of J. S. Bach's Das Wohltemperierte Klavier (The Well-Tempered Clavier) was complete by 1722. Bach gave the present title to the work, which was composed "for the use and practice of musical youth eager to learn and for the amusement of those already skilled in this study." Bach composed a paired Prelude and Fugue in each of the 24 keys to demonstrate the viability of the new "equal-temperament" system, which allows one to play in all keys without producing out-of-tune intervals, as happened with Pythagorean and "mean tone" tunings. Furthermore, the pieces are as much compositional studies as keyboard works. Twenty years later, Bach assembled another set of preludes and fugues. The title page is missing from the manuscript, but its similarity to the "first" book of The Well-Tempered Clavier led editors to entitle it "Book II." Bach worked on the second book over a long period of time, even reworking pieces he had written for other purposes, as he had in the first book. Some of the preludes and fugues date from the 1720s. Possibly the most substantial revision for the second book was to No. 3, in C sharp major, which was originally in C major. Fugues Nos. 15 and 17 survive in earlier versions in which they are connected with different preludes than we find in The Well-Tempered Clavier. There are many musical differences between the works of Book II and those of Book I. The preludes in the second group explore a greater range of forms and styles than do the earlier examples. Most striking are the experiments in the style of the Italian bipartite keyboard sonata, codified by Domenico Scarlatti. Like earlier dance movements, these consist of two repeated sections. Some of the "sonata" preludes in Book II, such as Nos. 5, 12, and 21, feature a recapitulation of the opening material, while others (Nos. 10 and 15) have parallel closing sections. Prelude No. 17 is an Italian concert-ritornello movement; Nos. 13 and 23 also display concerto traits. The tenth is a two-part invention and Nos. 4 and 14 are ariosos. Those that are clearly derived form dance forms -- No. 5 from the gigue and No. 8 from the allemande -- lack the traditional binary form. Graceful ornamental notes, specifically appoggiaturas, characterize this especially lyrical prelude, which takes the form of a loure. It leads into an alla breve fugue, a canzona evoking the old, harmonically pure style of Palestrina. The fugue's four voices enter in ascending order, the subject seeming to test the water with its first two notes, then splashing steadily along through free counterpoint. Source: Allmusic (http://www.allmusic.com/composition/p...). Although originally written for Harpsichord. I created this Arrangement of the Prelude in Eb Major (BWV 876 No. 1) for Concert (Pedal) Harp. Sheet music made with MuseScore - https://musescore.com

Die Elenden sollen essen (The miserable shall eat), BWV 75, is a church cantata by Johann Sebastian Bach. Bach composed the cantata for the first Sunday after Trinity and first performed it in Leipzig on 30 May 1723. It is the first cantata of his first annual cycle of cantatas. Bach composed the cantata for the First Sunday after Trinity and first performed it in the service in the Nikolaikirche on 30 May 1723, to take up his position as Thomaskantor. From then he was responsible for the education of the Thomanerchor, performances in the regular services in the Thomaskirche and the Nikolaikirche, and until 1725 also for one of two services in the Paulinerkirche. He started a project of composing one cantata for each Sunday and holiday of the liturgical year, termed by Christoph Wolff "an artistic undertaking on the largest scale". The autograph score is written neatly on non-Leipzig paper, probably while Bach lived still in Köthen. The prescribed readings for the Sunday were from the First Epistle of John, "God is Love" (1 John 4:16–21), and from the Gospel of Luke, the parable of the Rich man and Lazarus (Luke 16:19–31). The unknown poet begins the cantata with a verse from a psalm, Psalms 22:26 (verse 27 in the Luther Bible), "The meek shall eat and be satisfied: they shall praise the Lord that seek him: your heart shall live for ever", connecting the gospel to the Old Testament as a starting point. The later cantata for the same occasion, Brich dem Hungrigen dein Brot, BWV 39, (Break your bread for the hungry) started similarly with a quotation from the Old Testament. The poet expands the contrast of "Reichtum und Armut" (wealth and poverty, rich and poor) in fourteen elaborate movements, arranged in two parts to be performed before and after the sermon. The focus of the second part is to be poor or rich in spirit. Both parts are concluded by a stanza of Samuel Rodigast's hymn "Was Gott tut, das ist wohlgetan", stanza 2 in movement 7, stanza 6 in movement 14. A Leipzig chronicle, "Acta Lipsiensium academica", reported the social event: "... führte ... Hr. Joh. Sebastian Bach ... mit gutem applauso seine erste Music auf" (... performed ... with good applause his first music). "Good applause" means "great approval" rather than clapping of hands. A different translation renders the note as "... the new Cantor and Director of the Collegium Musicum, Herr Johann Sebastian Bach, who has come hither from the Prince's court of Cöthen, produced his first music here with great success." Bach marked the occasion, creating the opening chorus reminiscent of a French overture, with a slow first section in dotted rhythm and a fast fugue. He chose the same form one year later to begin his second annual cycle with the chorale cantata O Ewigkeit, du Donnerwort, BWV 20. The composition can also be seen as a prelude and fugue on a large scale. The prelude is again in two sections separated by a short interlude, in the way of a motet according to the different ideas of the text. In the fugue on the words "Euer Herz soll ewiglich leben" (your heart shall live for ever), the subject is developed three times, again separated by interludes. Four of the recitatives are "secco", accompanied only by the continuo, but the first one of each part is "accompagnato", brightened by the strings. In the arias, the voice and the instruments mostly share the themes. The arias can be considered as a suite of French dance movements, the tenor a Polonaise, the soprano aria a Minuet, the alto aria a Passepied and the bass aria a Gigue. In the last aria, the trumpet opens the setting and then accompanies the bass in virtuoso figuration, adding splendour to the words "Mein Herze glaubt und liebt" (My heart believes and loves). The music of the two stanzas of the chorale is identical. The tune is not a simple four-part setting as in most of Bach's later cantatas, but the voices are embedded in a concerto of the orchestra, lead by violin I and oboe I. The instrumental theme is derived from the first line of the chorale tune. The sinfonia beginning Part II, rare in Bach's cantatas, is especially remarkable because it is a chorale fantasia on the same chorale melody. The tune is played by the trumpet which was silent throughout Part I, as the cantus firmus against a polyphonic string setting, emphasizing once more "Was Gott tut, das ist wohlgetan" (What God does is well done). Although originally scored for four vocal soloists (soprano, alto, tenor and bass), a four-part choir, trumpet, two oboes, oboe d'amore, two violins, viola, and basso continuo including bassoon, I created this arrangement for Flute & Concert (Pedal) Harp.

The St Luke Passion (German: Lukas-Passion), BWV 246, is a Passion setting formerly attributed to Johann Sebastian Bach. It is included in the BWV catalog under the number 246. Now it appears in the catalogues under the heading apocryphal or anonymous. A surviving manuscript of the St Luke Passion from about 1730 is partly in Bach's hand, though scholars believe that the music is certainly not his own. Presumably Bach performed it, or intended to perform it, in Leipzig. C. P. E. Bach and Agricola may have mistaken it for a work of Bach's and thus included it in their census. Of course, given his delight in exhaustive cycles, Bach should have composed a St Luke Passion. Apparently J. S. Bach took the anonymous St Luke Passion and arranged it for four voices, chorus, orchestra, and continuo to meet an urgent deadline for Good Friday in 1730. With regard to the authorship of the passion, Felix Mendelssohn commented in a letter to Franz Hauser who had just paid a large sum of money to purchase the Lukaspassion: "I am sorry to hear you have given so much money for the St. Luke Passion." Mendelssohn repudiated Bach's authorship of the work upon the evidence of a single chorale, 'Weide mich und mach' mich satt' (No. 9). He continued, "No doubt, as an authentic autograph, it would be worth the price. But it is not by Bach. You ask, 'On what grounds do you maintain your opinion?' I answer, on intrinsic evidence, though it is unpleasant to say so, since it is your property. But just look at the chorale, 'Weide mich und mach' mich satt'! If that is by Sebastian, may I be hanged! It certainly is in his handwriting, but it is too clean. Evidently he copied it. 'Whose is it?' you ask; 'Telemann, or M. Bach, or Altnichol?' Jung Nichol or plain Nichol, how can I tell? It's not by Bach. Probably it is of North German origin." Source: Wikipedia (https://en.wikipedia.org/wiki/St_Luke...). I created this arrangement of the Chorale: "Die Seel' weiß hochzuschätzen" (The soul sets high in value) for Brass Quartet (Bb Trumpet, Flugelhorn, French Horn & Euphonium). Sheet music made with MuseScore - https://musescore.com

Turlough O'Carolan (1670-1738) was a blind Celtic harper, composer and singer in Ireland whose great fame is due to his gift for melodic composition. Often called “the last of the Irish Bards”, even though there were traditional Irish harpers living as late as 1792. Carolan is considered a national treasure — his compositions are still often played during a session and are also highly regarded. Focusing on Carolan’s works first will bring you high rewards as a player. By the way, though it is correct to say “Turlough O’Carolan” when giving the full name, when no first name is given one should simply refer to him as “Carolan.”. Although not a composer in the classical sense, Carolan is considered by many to be Ireland's national composer. Harpers in the old Irish tradition were still living as late as 1792, and ten, including Arthur O'Neill, Patrick Quin and Donnchadh Ó Hámsaigh, attended the Belfast Harp Festival. Ó Hámsaigh did play some of Carolan's music but disliked it for being too modern. Some of Carolan's own compositions show influences of the style of continental classical music, whereas others such as Carolan's Farewell to Music reflect a much older style of "Gaelic Harping". Captain O'Kane/O'Kain (AKA: "Cailin tighe moir," "Captain Henry O'Kain," "Giolla an Bimhoir" is believed to be a composition by O’Carolan. Captain Henry O'Kain who died of his wounds 'on the banks of the dark rolling Danube.'" O'Sullivan's attribution is based on a comment by Hardimann (who said O'Carolan wrote it) and because of stylistic similarities with other O'Carolan works. O'Neill (1913) quotes Patrick O'Leary, an Australian correspondent, who wrote that the Captain of the title was "the hero of a hundred fights, from Landon to Oudenarde, who, when old an war-worn, tottered back from the Low Countries to his birthplace to die, and found himself not only a stranger, but an outlawed, disinherited, homeless wanderer in the ancient territory that his fathers ruled as Lords of Limavady." The earliest printing of the tune Captain Francis O'Neill could locate was in James Aird's 1788 Selection of Scotch, English, Irish and Foreign Airs (vol. 3), although he also found it (under the title "Captain Oakhain: A Favourite Irish Tune") in McGoun's Repository of Scots and Irish Airs, Strathspeys, Reels, etc. (Glasgow, 1803) – the same title and presumably the same tune was printed in Alexander McGlashan's 1786 collection. Gow also gives "Irish" as the tune's provenance. Piper O'Farrell's 1804 setting of "Captain O'Cain" was entered into the mid-19th century music manuscript copybook of County Cork uilleann piper and Church of Ireland cleric James Goodman. The song "The Wounded Hussar" was written to the melody by Alexander Campbell (O'Sullivan gives his name as Thomas) and appears in Smith's Irish Minstrel (Edinburgh, 1825). It was also included in Surenne's Songs of Ireland without Words (Edinburgh, 1854). The Scots poet Robert Burns wrote his song "The Chevalier's Lament" to the tune of "Captain O'Kean". Source: Tune Archive (https://tunearch.org/wiki/Annotation:...). Although originally composed for Traditional Irish Instruments, I created this interpretation of the "Captain Henry O'Kain" for Oboe & Strings (2 Violins, Viola & Cello).

This traditional Irish Jig was originally attributed to Turlough O'Carolan. Scholars beieve that as it’s not in the ‘Book’ by O’Sullivan. In searching further, it was determined that it is actually from a song "Tho’ Leixlip is Proud", about Leixlip near Dublin having lovely woods etc . It seems that O’Neill may have seen Tho’ (Though) as Thos. short for Thomas and attributed it as another Carolan tune. Although a great tune, there were then many Baroque influenced tunes and songs from operas etc at the time from all over Britain and Ireland. Carolan was certainly open to all influences. There is a song from the opera Poor Soldier that starts ‘Tho’ Leixlip is proud of it’s close shady bowers.’ It’s likely that this was read as "Thos." i.e. Thomas and as it sounded like a Baroque tune , attributed to Carolan. It’s not in O’Sullivan’s book of Carolan tunes and Bonnie Shaljean the harpist doesn’t know it as one of his. Leixlip is now a suburb of Dublin and the song sung by Pat, the Poor Soldier praises Norah his beloved. The tune is similar to The Humours of Glynn or The Sligo Rambler and was widely played as a jig so may have been lifted from the tradition. Burns also used it for a song. Although this work was originally written for Folk Instruments, I created this arrangement of the "Thomas Leixlip The Proud" for Flute, Oboe & Celtic or Concert (Pedal) Harp Sheet music made with MuseScore - https://musescore.com

Johann Sebastian Bach was better known as a virtuoso organist than as a composer in his day. His sacred music, organ and choral works, and other instrumental music had an enthusiasm and seeming freedom that concealed immense rigor. Bach's use of counterpoint was brilliant and innovative, and the immense complexities of his compositional style -- which often included religious and numerological symbols that seem to fit perfectly together in a profound puzzle of special codes -- still amaze musicians today. Many consider him the greatest composer of all time. Of Bach's three partitas for solo violin, the first is the most old-fashioned in its choice of dance movements. The work is structurally unusual among Bach's sonatas and partitas for solo instruments in that it consists of four pairs of movements, the second of each pair offering a variation (or, employing the French term double) on the first. Another nod to older forms is the overall layout of the movements; the pairs fall into the slow-fast-slow-fast pattern of the church sonata or sonata da chiesa. To complicate matters, each double is much faster than the movement it varies. The work is technically challenging, generally more difficult than the third partita but not as tough as the second, the famous Chaconne of which is clotted with double and triple stops. The opening Allemanda announces that it's not for sissy violinists with an immediate series of double stops (which were easier to play in Bach's time than today, thanks to the convex Baroque bow). This is a typical example of the allemanda (or allemande), a slow, serious German dance in quadruple meter and binary form, its improvisational-seeming melodies refusing to conform to the expected phrases. Its "Double" is faster and in 2/2, following the same contours as the original melodies, but now filling them in with even runs of notes. The "Correnta" is the Italian version of the dance form known in French as courante: fairly fast, in 3/4, sawing up and down the scale. Its 'Double," marked Presto, again rolls all over the staff, but the notes now fly by almost as fast as possible. The mood becomes somber with the Sarabande, the only movement in this partita to receive the French version of its title. Indeed, unlike the common Italian model, this French Sarabande is slow (in 3/4 meter) and expressive, its second half almost entirely in double stops. Its "Double" switches to 9/8 and increases the tempo, but the mood remains questioning and unsettled; at least Bach now eases off the multiple stops. Finally comes a movement in Tempo di Borea (related to the bourée), fast and sharply accented in a meter marked 2/4 but really feeling more like 2/2; again, Bach employs multiple stops through most of this movement. Its "Double" is in 12/4, the shape of the original melody obscured by the fast, nonstop passagework. Source: AllMusic (http://www.allmusic.com/composition/p...). Although originally written for Solo Violin. I created this Transcription of the Partita No. 1 in B Minor (BWV 1002) for Solo Violin.

Dietrich Buxtehude is probably most familiar to modern classical music audiences as the man who inspired the young Johann Sebastian Bach to make a lengthy pilgrimage to Lubeck, Buxtehude's place of employment and residence for most of his life, just to hear Buxtehude play the organ. But Buxtehude was a major figure among German Baroque composers in his own right. Though we do not have copies of much of the work that most impressed his contemporaries, Buxtehude nonetheless left behind a body of vocal and instrumental music which is distinguished by its contrapuntal skill, devotional atmosphere, and raw intensity. He helped develop the form of the church cantata, later perfected by Bach, and he was just as famous a virtuoso on the organ. This canzonetta in G major is the only multi-sectional canzonetta among the extant Buxtehude canzonetti. It is in two sections. It is links together two brief fugal passages with related subjects. The second section is a 12/8 variation on the first section which is in common time. The two fugal passages are separated by only a couple of measures of free material. Source: AllMusic (https://www.allmusic.com/composition/... ). I created this Interpretation of the Canzonetta in G Major (BuxWV 171) for Brass Quartet (Bb Trumpet, Flugelhorn, French Horn & Euphonium). Sheet music made with MuseScore - https://musescore.com

Johann Sebastian Bach was better known as a virtuoso organist than as a composer in his day. His sacred music, organ and choral works, and other instrumental music had an enthusiasm and seeming freedom that concealed immense rigor. Bach's use of counterpoint was brilliant and innovative, and the immense complexities of his compositional style -- which often included religious and numerological symbols that seem to fit perfectly together in a profound puzzle of special codes -- still amaze musicians today. Many consider him the greatest composer of all time. One lesson offered by historical studies of musical styles is that the greatest composers almost never abandon their musical heritage entirely even in their most progressive compositions. They tend to build their works upon existing styles and genres, and then transform them into new styles in ways unprecedented in their times. This is a transcription of the first movement of Bach's Sonata No. 3 in C major for solo violin (BWV 1005). While it is a finely crafted arrangement, it may be the work of his son Wilhelm Friedemann Bach. The movement is marked Adagio and since J.S. Bach scored the original for solo violin, the version for keyboard sounds quite different as harmonies and other details are added, thus putting flesh on a rather dainty, though quite adequate frame. Yet the piece is of such a distinctly barren character that it remains rather thinly scored in its keyboard incarnation. The work features a dark but elegant theme, whose serious manner translates well to the keyboard, but therein sounds a bit less intimate, albeit more colorful and fuller. Bach brilliantly weaves the melodic fibers, creating a richly nocturnal atmosphere in which the theme unfolds in lovely, descending waves. Harmonies often consist of arpeggiated chords and relatively little else. In the end, this piece is probably better-suited to the solo violin than to the keyboard, though Bach (whichever one fashioned it) made a quite workable version for the keyboard. Source: AllMusic (http://www.allmusic.com/composition/a...). Although originally written for Harpsichord. I created this Arrangement of the Adagio in G Major (BWV 968) for French Horn & Concert (Pedal) Harp. Sheet music made with MuseScore - https://musescore.com

The first book of J. S. Bach's Das Wohltemperierte Klavier (The Well-Tempered Clavier) was complete by 1722. Bach gave the present title to the work, which was composed "for the use and practice of musical youth eager to learn and for the amusement of those already skilled in this study." Bach composed a paired Prelude and Fugue in each of the 24 keys to demonstrate the viability of the new "equal-temperament" system, which allows one to play in all keys without producing out-of-tune intervals, as happened with Pythagorean and "mean tone" tunings. Furthermore, the pieces are as much compositional studies as keyboard works. Twenty years later, Bach assembled another set of preludes and fugues. The title page is missing from the manuscript, but its similarity to the "first" book of The Well-Tempered Clavier led editors to entitle it "Book II." Bach worked on the second book over a long period of time, even reworking pieces he had written for other purposes, as he had in the first book. Some of the preludes and fugues date from the 1720s. Possibly the most substantial revision for the second book was to No. 3, in C sharp major, which was originally in C major. Fugues Nos. 15 and 17 survive in earlier versions in which they are connected with different preludes than we find in The Well-Tempered Clavier. There are many musical differences between the works of Book II and those of Book I. The preludes in the second group explore a greater range of forms and styles than do the earlier examples. Most striking are the experiments in the style of the Italian bipartite keyboard sonata, codified by Domenico Scarlatti. Like earlier dance movements, these consist of two repeated sections. Some of the "sonata" preludes in Book II, such as Nos. 5, 12, and 21, feature a recapitulation of the opening material, while others (Nos. 10 and 15) have parallel closing sections. Prelude No. 17 is an Italian concert-ritornello movement; Nos. 13 and 23 also display concerto traits. The tenth is a two-part invention and Nos. 4 and 14 are ariosos. Those that are clearly derived form dance forms -- No. 5 from the gigue and No. 8 from the allemande -- lack the traditional binary form. Graceful ornamental notes, specifically appoggiaturas, characterize this especially lyrical prelude, which takes the form of a loure. It leads into an alla breve fugue, a canzona evoking the old, harmonically pure style of Palestrina. The fugue's four voices enter in ascending order, the subject seeming to test the water with its first two notes, then splashing steadily along through free counterpoint. Source: Allmusic (http://www.allmusic.com/composition/p...). Although originally written for Harpsichord. I created this Arrangement of the Prelude in Eb Major (BWV 876 No. 1) for Concert (Pedal) Harp. Sheet music made with MuseScore - https://musescore.com

Die Elenden sollen essen (The miserable shall eat), BWV 75, is a church cantata by Johann Sebastian Bach. Bach composed the cantata for the first Sunday after Trinity and first performed it in Leipzig on 30 May 1723. It is the first cantata of his first annual cycle of cantatas. Bach composed the cantata for the First Sunday after Trinity and first performed it in the service in the Nikolaikirche on 30 May 1723, to take up his position as Thomaskantor. From then he was responsible for the education of the Thomanerchor, performances in the regular services in the Thomaskirche and the Nikolaikirche, and until 1725 also for one of two services in the Paulinerkirche. He started a project of composing one cantata for each Sunday and holiday of the liturgical year, termed by Christoph Wolff "an artistic undertaking on the largest scale". The autograph score is written neatly on non-Leipzig paper, probably while Bach lived still in Köthen. The prescribed readings for the Sunday were from the First Epistle of John, "God is Love" (1 John 4:16–21), and from the Gospel of Luke, the parable of the Rich man and Lazarus (Luke 16:19–31). The unknown poet begins the cantata with a verse from a psalm, Psalms 22:26 (verse 27 in the Luther Bible), "The meek shall eat and be satisfied: they shall praise the Lord that seek him: your heart shall live for ever", connecting the gospel to the Old Testament as a starting point. The later cantata for the same occasion, Brich dem Hungrigen dein Brot, BWV 39, (Break your bread for the hungry) started similarly with a quotation from the Old Testament. The poet expands the contrast of "Reichtum und Armut" (wealth and poverty, rich and poor) in fourteen elaborate movements, arranged in two parts to be performed before and after the sermon. The focus of the second part is to be poor or rich in spirit. Both parts are concluded by a stanza of Samuel Rodigast's hymn "Was Gott tut, das ist wohlgetan", stanza 2 in movement 7, stanza 6 in movement 14. A Leipzig chronicle, "Acta Lipsiensium academica", reported the social event: "... führte ... Hr. Joh. Sebastian Bach ... mit gutem applauso seine erste Music auf" (... performed ... with good applause his first music). "Good applause" means "great approval" rather than clapping of hands. A different translation renders the note as "... the new Cantor and Director of the Collegium Musicum, Herr Johann Sebastian Bach, who has come hither from the Prince's court of Cöthen, produced his first music here with great success." Bach marked the occasion, creating the opening chorus reminiscent of a French overture, with a slow first section in dotted rhythm and a fast fugue. He chose the same form one year later to begin his second annual cycle with the chorale cantata O Ewigkeit, du Donnerwort, BWV 20. The composition can also be seen as a prelude and fugue on a large scale. The prelude is again in two sections separated by a short interlude, in the way of a motet according to the different ideas of the text. In the fugue on the words "Euer Herz soll ewiglich leben" (your heart shall live for ever), the subject is developed three times, again separated by interludes. Four of the recitatives are "secco", accompanied only by the continuo, but the first one of each part is "accompagnato", brightened by the strings. In the arias, the voice and the instruments mostly share the themes. The arias can be considered as a suite of French dance movements, the tenor a Polonaise, the soprano aria a Minuet, the alto aria a Passepied and the bass aria a Gigue. In the last aria, the trumpet opens the setting and then accompanies the bass in virtuoso figuration, adding splendour to the words "Mein Herze glaubt und liebt" (My heart believes and loves). The music of the two stanzas of the chorale is identical. The tune is not a simple four-part setting as in most of Bach's later cantatas, but the voices are embedded in a concerto of the orchestra, lead by violin I and oboe I. The instrumental theme is derived from the first line of the chorale tune. The sinfonia beginning Part II, rare in Bach's cantatas, is especially remarkable because it is a chorale fantasia on the same chorale melody. The tune is played by the trumpet which was silent throughout Part I, as the cantus firmus against a polyphonic string setting, emphasizing once more "Was Gott tut, das ist wohlgetan" (What God does is well done). Although originally scored for four vocal soloists (soprano, alto, tenor and bass), a four-part choir, trumpet, two oboes, oboe d'amore, two violins, viola, and basso continuo including bassoon, I created this arrangement for Flute & Concert (Pedal) Harp.

The St Luke Passion (German: Lukas-Passion), BWV 246, is a Passion setting formerly attributed to Johann Sebastian Bach. It is included in the BWV catalog under the number 246. Now it appears in the catalogues under the heading apocryphal or anonymous. A surviving manuscript of the St Luke Passion from about 1730 is partly in Bach's hand, though scholars believe that the music is certainly not his own. Presumably Bach performed it, or intended to perform it, in Leipzig. C. P. E. Bach and Agricola may have mistaken it for a work of Bach's and thus included it in their census. Of course, given his delight in exhaustive cycles, Bach should have composed a St Luke Passion. Apparently J. S. Bach took the anonymous St Luke Passion and arranged it for four voices, chorus, orchestra, and continuo to meet an urgent deadline for Good Friday in 1730. With regard to the authorship of the passion, Felix Mendelssohn commented in a letter to Franz Hauser who had just paid a large sum of money to purchase the Lukaspassion: "I am sorry to hear you have given so much money for the St. Luke Passion." Mendelssohn repudiated Bach's authorship of the work upon the evidence of a single chorale, 'Weide mich und mach' mich satt' (No. 9). He continued, "No doubt, as an authentic autograph, it would be worth the price. But it is not by Bach. You ask, 'On what grounds do you maintain your opinion?' I answer, on intrinsic evidence, though it is unpleasant to say so, since it is your property. But just look at the chorale, 'Weide mich und mach' mich satt'! If that is by Sebastian, may I be hanged! It certainly is in his handwriting, but it is too clean. Evidently he copied it. 'Whose is it?' you ask; 'Telemann, or M. Bach, or Altnichol?' Jung Nichol or plain Nichol, how can I tell? It's not by Bach. Probably it is of North German origin." Source: Wikipedia (https://en.wikipedia.org/wiki/St_Luke...). I created this arrangement of the Chorale: "Die Seel' weiß hochzuschätzen" (The soul sets high in value) for Brass Quartet (Bb Trumpet, Flugelhorn, French Horn & Euphonium). Sheet music made with MuseScore - https://musescore.com

Turlough O'Carolan (1670-1738) was a blind Celtic harper, composer and singer in Ireland whose great fame is due to his gift for melodic composition. Often called “the last of the Irish Bards”, even though there were traditional Irish harpers living as late as 1792. Carolan is considered a national treasure — his compositions are still often played during a session and are also highly regarded. Focusing on Carolan’s works first will bring you high rewards as a player. By the way, though it is correct to say “Turlough O’Carolan” when giving the full name, when no first name is given one should simply refer to him as “Carolan.”. Although not a composer in the classical sense, Carolan is considered by many to be Ireland's national composer. Harpers in the old Irish tradition were still living as late as 1792, and ten, including Arthur O'Neill, Patrick Quin and Donnchadh Ó Hámsaigh, attended the Belfast Harp Festival. Ó Hámsaigh did play some of Carolan's music but disliked it for being too modern. Some of Carolan's own compositions show influences of the style of continental classical music, whereas others such as Carolan's Farewell to Music reflect a much older style of "Gaelic Harping". Captain O'Kane/O'Kain (AKA: "Cailin tighe moir," "Captain Henry O'Kain," "Giolla an Bimhoir" is believed to be a composition by O’Carolan. Captain Henry O'Kain who died of his wounds 'on the banks of the dark rolling Danube.'" O'Sullivan's attribution is based on a comment by Hardimann (who said O'Carolan wrote it) and because of stylistic similarities with other O'Carolan works. O'Neill (1913) quotes Patrick O'Leary, an Australian correspondent, who wrote that the Captain of the title was "the hero of a hundred fights, from Landon to Oudenarde, who, when old an war-worn, tottered back from the Low Countries to his birthplace to die, and found himself not only a stranger, but an outlawed, disinherited, homeless wanderer in the ancient territory that his fathers ruled as Lords of Limavady." The earliest printing of the tune Captain Francis O'Neill could locate was in James Aird's 1788 Selection of Scotch, English, Irish and Foreign Airs (vol. 3), although he also found it (under the title "Captain Oakhain: A Favourite Irish Tune") in McGoun's Repository of Scots and Irish Airs, Strathspeys, Reels, etc. (Glasgow, 1803) – the same title and presumably the same tune was printed in Alexander McGlashan's 1786 collection. Gow also gives "Irish" as the tune's provenance. Piper O'Farrell's 1804 setting of "Captain O'Cain" was entered into the mid-19th century music manuscript copybook of County Cork uilleann piper and Church of Ireland cleric James Goodman. The song "The Wounded Hussar" was written to the melody by Alexander Campbell (O'Sullivan gives his name as Thomas) and appears in Smith's Irish Minstrel (Edinburgh, 1825). It was also included in Surenne's Songs of Ireland without Words (Edinburgh, 1854). The Scots poet Robert Burns wrote his song "The Chevalier's Lament" to the tune of "Captain O'Kean". Source: Tune Archive (https://tunearch.org/wiki/Annotation:...). Although originally composed for Traditional Irish Instruments, I created this interpretation of the "Captain Henry O'Kain" for Oboe & Strings (2 Violins, Viola & Cello).

This traditional Irish Jig was originally attributed to Turlough O'Carolan. Scholars beieve that as it’s not in the ‘Book’ by O’Sullivan. In searching further, it was determined that it is actually from a song "Tho’ Leixlip is Proud", about Leixlip near Dublin having lovely woods etc . It seems that O’Neill may have seen Tho’ (Though) as Thos. short for Thomas and attributed it as another Carolan tune. Although a great tune, there were then many Baroque influenced tunes and songs from operas etc at the time from all over Britain and Ireland. Carolan was certainly open to all influences. There is a song from the opera Poor Soldier that starts ‘Tho’ Leixlip is proud of it’s close shady bowers.’ It’s likely that this was read as "Thos." i.e. Thomas and as it sounded like a Baroque tune , attributed to Carolan. It’s not in O’Sullivan’s book of Carolan tunes and Bonnie Shaljean the harpist doesn’t know it as one of his. Leixlip is now a suburb of Dublin and the song sung by Pat, the Poor Soldier praises Norah his beloved. The tune is similar to The Humours of Glynn or The Sligo Rambler and was widely played as a jig so may have been lifted from the tradition. Burns also used it for a song. Although this work was originally written for Folk Instruments, I created this arrangement of the "Thomas Leixlip The Proud" for Flute, Oboe & Celtic or Concert (Pedal) Harp Sheet music made with MuseScore - https://musescore.com