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 musici...(+)
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.
Keyboard Works (Klavierwerke) by Johann Sebastian Bach
traditionally refers to the Nos. 772 to 994, Chapter 8
in the BWV catalogue, listing compositions for a solo
keyboard instrument like the harpsichord or the
clavichord. Despite the fact that organ is also a
keyboard instrument, and that in Bach's time the
distinction wasn't always made whether a keyboard
composition was for organ or another keyboard
instrument, Wolfgang Schmieder ranged organ
compositions in a separate section of the
Bach-Werke-Verzeichnis (Nos. 525-771). Also other
compositions for keyboard, like compositions for
lute-harpsichord and fortepiano were listed outside the
"Klavierwerke" range by Schmieder. Lute works are in
the range 995–1000, Chapter 9 in the BWV
catalogue.
Bach was a prodigious talent at the keyboard, well
known during his lifetime for both his technical and
improvisational abilities. Many of Bach's keyboard
works started out as improvisations.Bach wrote widely
for the harpsichord, producing numerous inventions,
suites, fugues, partitas, overtures, as well as
keyboard arrangements of concerto music by his
contemporaries. The fortepiano is an instrument Bach
would have encountered once, by the end of his life
when it was recently invented, while visiting his son
in Potsdam. The visit resulted in Das Musikalische
Opfer, parts of which may have been intended for the
new instrument.
Several of Bach's works for keyboard were published in
print in his own lifetime. Four such publications were
given the name Clavier-Übung (Keyboard Practice) by
the composer. Bach was not the first to use that name,
for example Bach's Leipzig predecessor Johann Kuhnau
had used it for two volumes published in the late 17th
century. The first volume, Bach's Opus 1, was published
in 1731, while the last was published a decade later.
The first, second and last volume contain music written
for harpsichord, while the third was mainly intended
for performance on the organ, only four duets contained
in that volume ending up in the BWV 772–994
range.
Suites and suite movements (Nos. 832–845) Includes
Suites and single movements from Bach and from possible
other composers.
Source: Wikipedia
(https://en.wikipedia.org/wiki/List_of_keyboard_and_lut
e_compositions_by_...).
Olthough originally composed for Keyboard
(Harpsichord), I created this arrangement of the
Allemande in C Minor (BWV 834) for Solo Concert (Pedal)
Harp.
PARTITION