Prelude and Fugue No. 17 BMW 862 is part of the book named The Well-Tempered Clavier by Johann Sebastian Bach. Bach was born on March 21, 1685, in Eisenach, Germany. He grew up in a musical family; his father being the director of the musicians in his hometown and his uncles all skilled musicians. Respectively, his father and brother taught him the violin, harpsichord and clavichord. However, his brother, Johann Christoph Bach, was the one responsible for his introduction to contemporary music. Initially, he landed a position in a school in Luneburg due to his wonderful singing, but later, he switched to focusing on the violin and harpsichord. Throughout his childhood, he often looked up to the local organist, George Bohm, who later became his teacher. Subsequent to his …show more content…
In bars 9-13, it is evident that Bach had thought of the bass prior to the creation of the right-hand harmony, letting it remain the same from previous measures. Afterwards, in mm. 22-25, the move to the subdominant is emphasized by using extensive scales instead of the florid counterpoints. The inversion of bars 9-13 is then found in bars 26-29. Bars 26-34 recall the original key, modulating from subdominant D flat back to A flat, restating the main subject of the prelude. The fugue’s subject is introduced in the tenor voice, with the answer being in the bass. After a fairly prolonged codetta, the subject and answer comes in, in treble and alto respectively. Much of the piece is based on the counterpoint found in bar 2. Throughout the piece, there are five episodes. Bars 7-10 are formed on the counterpoint found in bar 2. The second episode is based from bar 3, with an inversion of the third voice; an inverted version is later identified in episode 4. Another inversion of the second is established in bars 14-17. At last, bars 25-27 is constructed from the passage of semiquavers in bars 2-3 in tenor, with the addition of treble and alto
Mozart’s use of melodic contour and repetitive rhythmic motives make this piece feel very connected throughout. He begins with a two eighth note followed by two quarter note pattern. This pattern is repeated twice more until finally at measure four a new melodic and rhythmic motive is introduced. At measure four a retardation occurs using a half note to delay the resolution to the quarter note, drawing out the resolution as much as possible to create a sense of relief upon arrival. This pattern of three measures of motive “A” followed by...
According to the article, “Johann Sebastian Bach”, “his Lutheran faith would influence his late musical works.” A tragic event occurred as both of his parents had passed away a few years later, which prompted him to live with his brother’s family. It was there that he continued learning about music. He continued to live there for five years as he left his brother when he was 15. He soon was enrolled in a school at a place called Luneburg. He was enrolled there due to him having “a beautiful soprano singing voice.”(Johann Sebastian Bach) However, as he got older, his voice didn’t sound the way it used to be, so he quickly transitioned back to playing the violin. His first job had also to do with music as he began to work in Weimar as a musician. According to the article, “Johann Sebastian Bach”, there were various jobs he did like serve as a violinist or occasionally fill in
First of all, the text is well organized in terms of its unity. The piece has seven movements. According to Fuller, "The first and last movements adopt the text of an established mid-seventeenth-century chorale by Johann Rist. The middle movements have new text by an unknown poet who occasionally quotes or paraphrases middle stanzas of the chorale." Moreover, this unknown pot himself repeates some words in the text.
* Please use MCD 560, Das Kautatenwerk vol. 20 (Bach's Cantata's volume 20), kantate 78, "Jesu, der meine Seele," CD 2.
...es into the opening of the last movement. Additionally, the diminution of number of lines and momentum can be compared with the long tonic octave at the end of the fugue in Op. 133.
Johann Sebastian Bach was born into a family of musicians. It was only natural for him to pick up an instrument and excel in it. His father taught him how to play the violin and harpsichord at a very young age. All of Bach’s uncles were professional musicians, one of them; Johann Christoph Bach introduced him to the organ. Bach hit a turning point in his life when both of his parents died at the age of ten years old. Bach’s older brother Johann Christoph Bach took him in and immediately expanded his knowledge in the world of music. He taught him how to play the clavichord and exposed him to great composers at the time. At the age of fourteen, Bach and his good friend George Erdmann were awarded a choral scholarship to the prestigious musical school St. Michael’s in Luneburg. From then on, Bach began to build his career in the music industry. His first two years at the school he sang in the school’s a cappella choir. Historical evidence has shown that Bach at a young age would visit Johanniskirche and would listen to the works of organ player Jasper Johannsen. This was thought to have been the inspiration to Bach’s Toccata and Fugue in D minor. Studying at the prestigious musical school has help Bach network his way around and become acquaintances’ with some of the best organ players at the time such as Georg Böhm, and Johann Adam Reincken. Through his acquaintance with Böhm and Reincken Bach had access to some of the greatest and finest instruments.
Johann Sebastian Bach was a composer, a musician, teacher, and organist who later became a specialist in construction of organs. Bach learnt to play the violin, the orchestra, and the organ from his father and his famous uncle and twin brother to the father, Johann Christoph at a young age. The organ was his chosen instrument. He also achieved success in the art of Fugue, choral polyphone, instrumental music and dance forms. In Eisenach he attended Old Latin Grammar School, the same school that Martin Luther had attended. He sang in the schools choir. His parents died before Bach was 10 years old. His mother died when Bach was nine years old, his father’s death followed nine months later (Sherrane, 2011). After the parents death Bach was taken in by his older brother Johann Christoph who had already established himself as an organist in Ohrdruf. Johann Christoph had a great influence in Bach’s success in music as he taught him and encouraged him to study music composition. At the same time Bach was attending the Gymnasium grammar school in Ohrdruf where he studied theology, Latin...
Johann Sebastian Bach was born at Eisenach, in the region of Thuringia, Germany, in 1685. He was a composer and musician of the Baroque period. Bach was born in a family of long musical tradition as his antecessors had been professional musicians for several generations. Johann Sebastian grew under a strictly musical environment. All of his closest relatives were musicians, and by being surrounded by these influences, the young Johann Sebastian developed his musical and instrumental skills. Bach 's mother died in 1694, and his father died eight months later. Thus, at age 10, he had to move in with his oldest brother, Johann Christoph Bach , who was an organist
In measure 54, the clarinet features the melody with 0257. The return of this set seems to prepare the return of the opening material in measure 66. Measure 57 presents a harmony in the bassoon and the basses with 01469 preparing the harmony of the next movement (0134689). In measure 71, after the return of the opening material, the bass clarinet plays a descending passage of overlapping 0257 and 0157. Both sets are important since they relate to major pitch sets in the
The Well-Tempered Clavier is" one of the world's great musical treasures. Each of its two volumes contains a prelude and fugue in every major and minor key of the chromatic scale." (Tim Smith,1) A fugue is a branch of the well tempered clavier its a put together composition with two or more sounds, built around a common theme, that is introduced at the beginning with a repetition and that occurs frequently throughout the work. Within the fugue stands the counterpoint which is relationship between those sounds. An interesting fugue that stood out to me was; fugue 3 in C-sharp on the piano. Typically when I hear a piano being played I picture its timbre as a nice dark mahogany color that is rich in its warmth. This stood out to me because
After listening to Bach’s Wachet auf, I was able to hear a four part chorus with an orchestra. The bar form for this work is A-A-B. Improvisation was very well liked in Baroque music. Bach used a tune written by another composer and used it as a melody. The tune heard is a chorale. While listening, I was able to hear clearly as the sopranos sing in a higher range, and then change pitches to a much slower rate than the other three parts of the chorus. The lower voices heard sing a complex, faster moving, imitative polyphony. While listening, there are three large sections of music, the first two are repetitive, and the third introduces new music.
Bach’s Brandenburg Concerto No. 4 is an orchestral work performed by the the Philharmonic Orchestra of New Jersey, conducted by George Marriner Maull. On top of being preformed by an orchestra consisting of violins, violas, cellos, and basses, it is accompanied by a harpsicord and recorders. The piece is performed in G major, major meter, and is in cut time, simple meter, with the vast majority of the piece is performed mezzo forte. However, that is not all the piece has to offer has it makes diversions through the main theme throughout the piece.
The 24 Préludes (Op 2) are often compared to the Préludes of J.S Bach's Well Tempered Clavier and although both sets are similar in many ways, Chopin's are not meant as introductory pieces as Bach's, which are designed to lead into fugues, as they stand strongly on their own as poetic miniature piano pieces.
Surprisingly, Bach’s only completely original composition in this work is the second movement, Sei Lob und Pries mit Ehren. The second movement “is listed individually as BWV 231 in Schmieder's catalogue and also was included in the Peters edition of the Bach motets.” It stands separately unlike the other two movements and was considered to be a motet itself without the association of the others. Although it does not have the double choir quality that most of Bach’s other motets do, it is still very characteristic of his writing. “The third and final movement Amen, Lob und Ehre und Weisheit und Dank, for double choir was published in volume III of Röchlitz’s publication Sammlung vorzüglicher Gesangstücke (1835), where it is listed as a separate piece by Telemann.” Each of the three pieces has a clearly different style from the others so it is obvious to see how they were each published separately under each composer name. It was not shocking to see their work put together though, because “there are indeed features in his [Bach’s] choruses and solo pieces which have a certain air of Telemann about them.” The three movements are not usually performed all together, and are in fact, entirely rarely performed by
...chestral introduction with an imperfect cadence. A strong rhythmic ¾ allegro passage, with sequences and descending scales is played by the orchestra, with timpani and cymbals. The music modulates, and a short, quiet woodwind passage is then alternated with an orchestral passage with dotted rhythms, creating a `terraced dynamics' effect. Part B begins with a major clarinet melody accompanied by pizzicato strings. A minor flute sequence follows, and is followed by a repetition of the oboe melody. A string sequence is then played, imitated by the oboe. There is a crescendo, then the rhythmic orchestral melody returns, alternated with a short flute passage. There are suspensions, descending scales and a crescendo, followed by a strong rhythmic passage with the timpani playing on the beat. Imperfect cadences are played, before the piece finishes with a perfect cadence.