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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. 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

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

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

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