Bach, Johann Sebastian 1685 - 1750
Author: Sumikura, Ichiro
Last updated：March 15, 2018
Author: Sumikura, Ichiro
1. Life of Bach
Eisenach Period (1685-1695)
Johann Sebastian Bach was born in 1685 in Eisenach, a small town in Thuringia, as the youngest son of a town musician. The Bach family was a large lineage that produced over 50 musicians over 200 years. Johann Christoph, considered the greatest Bach before Sebastian, was then the organist of the church in Eisenach where J. S. Bach was baptized. It could be said that it was a foregone conclusion that Sebastian, raised amidst music, would become a musician in the future.
Ohrdruf Period (1695-1700)
When he was nine or ten years old, his parents died in quick succession, so he was taken in by his eldest brother, who had already become an independent church organist, and moved to nearby Ohrdruf. Here, he continued his schooling, which had begun in Eisenach, and received serious musical training from his brother, who had once studied with Johann Pachelbel. The anecdote that he was not satisfied with the teaching materials given by his brother and secretly copied his brother's treasured scores every night is well known.
Lüneburg Period (1700-1703)
At the age of 15, Bach chose the path of independence and moved to Lüneburg in northern Germany, becoming a scholarship student at the Michaeliskirche school. While singing in the choir, he studied with Georg Böhm, organist of the Johanniskirche, and also visited Hamburg, where he received great inspiration from the organ playing of the elderly master Johann Adam Reincken. His earliest organ works are thought to date from this period. During this time, he also encountered French music at the nearby Celle court. Manuscripts of Buxtehude and Reincken copied by Bach during this period were discovered in 2006.
Arnstadt Period (1703-1707)
After serving briefly as a musician and servant at the Weimar court, Bach was appointed organist of the New Church (now Bach Church) in Arnstadt, his home region of Thuringia. In 1705, he visited Lübeck in northern Germany and received great inspiration from Dietrich Buxtehude, the great organist of the Marienkirche. In addition to organ and keyboard works, the composition of church cantatas also began during this period.
Mühlhausen Period (1707-1708)
Bach was appointed organist of St. Blasius Church in Mühlhausen, also in Thuringia, and primarily composed organ works and church cantatas, including Gott ist mein König (BWV 71). In 1707, he married his second cousin, Maria Barbara, and they eventually had seven children.
Weimar Period (1708-1717)
He became court organist to the Duke of Saxe-Weimar and composed most of his extant organ works, including the Orgelbüchlein (BWV 599-644), many of which were later revised during his Leipzig period. From 1714, he also served as Kapellmeister of the court orchestra, and the composition of church cantatas became part of his duties. He also became acquainted with Italian concertos, including those by Vivaldi, and arranged many of them for organ or solo keyboard, from which he was decisively influenced. It is possible that some of the chamber music and keyboard works completed during the Köthen period may have already been started in Weimar. His eldest son, Wilhelm Friedemann (1710-1784), who later served as organist in Dresden and Halle, and his second son, Carl Philipp Emanuel (1714-1786), who became harpsichordist to Frederick the Great and music director in Hamburg, were also born during this period.
Köthen Period (1717-1723)
This was his period as Kapellmeister at the court of Prince Leopold of Anhalt-Köthen. As part of his duties, he composed numerous concertos, including the Brandenburg Concertos (BWV 1046-1051), and various chamber music works, including the Sonatas and Partitas for Solo Violin (BWV 1001-1006) and the Suites for Solo Cello (BWV 1007-1012). Keyboard works were written intensively, primarily for the purpose of educating his pupils and for domestic performance, such as the two- and three-part Inventions (BWV 772-801), The Well-Tempered Clavier, Book I (BWV 846-869), English Suites (BWV 806-811), and French Suites (BWV 812-817). After the death of his first wife, he remarried in 1721 and presented his new wife with two volumes of the Clavierbüchlein für Anna Magdalena Bach. Eventually, 13 children were born to them, including his youngest son, Johann Christian (1735-1782), who greatly influenced Mozart. If the Weimar period can be called the period of Bach's organ works, the seven years in Köthen can be called the period of secular instrumental music.
Leipzig Period (1723-1750)
Bach was appointed to the important position of Thomaskantor in Leipzig, a major city in Saxony. The composition and performance of sacred vocal music became the central focus of his activities, including at least 160 extant church cantatas, Passions such as St. Matthew (BWV 244) and St. John (BWV 245), and the Christmas Oratorio (BWV 248). Later, he also took on the direction of the Collegium Musicum, a student ensemble, and composed many instrumental works such as secular cantatas like the Coffee Cantata (BWV 211), chamber music, and keyboard concertos (BWV 1052-1065). During this period, he also showed enthusiasm for publishing his own works, releasing four volumes of Clavier-Übung. These include six Partitas (BWV 825-830), the Italian Concerto (BWV 971), and the Goldberg Variations (BWV 988). After completing the Mass in B minor (BWV 232) the year before his death, he eventually lost his sight and, suffering from complications of surgery, passed away at the age of 65 without completing The Art of Fugue (BWV 1080). It was 8:15 PM on July 28, 1750.
2. Overview of Works
BWV Numbers
The widely used BWV numbers are based on W. Schmieder's Bach-Werke-Verzeichnis (Bach Works Catalogue, up to BWV 1080), first published in 1950. Currently, the revised second edition from 1990 (up to BWV 1120) and the abridged second edition from 1998 (up to BWV 1126) are used. Subsequently, with the addition of two works discovered in 2005 and 2008, numbers up to BWV 1128 have been assigned as of December 2008. However, approximately 60 works within this list have been identified as spurious. BWV numbers are classification numbers by genre and are not related to the date of composition.
Vocal Works
Church Cantatas
[BWV 1-52, 54-117, 119-140, 143-159, 161-188, 190-200]
Church cantatas were music performed as part of the worship service on Sundays and other feast days, though few in number, there are also works for weddings and funerals held in churches. Most are structured with an orchestral overture, chorus, soloists, and ensembles, but some pieces consist entirely of solo or ensemble singing except for the concluding four-part chorale, and these are called "solo cantatas." A type centered on the text of a chorale (Lutheran hymn) is specifically called a "chorale cantata." Bach wrote church cantatas intensively during his time as Thomaskantor in Leipzig. Particularly famous are No. 1 Wie schön leuchtet der Morgenstern (How beautifully shines the morning star), No. 80 Ein feste Burg ist unser Gott (A mighty fortress is our God), No. 140 Wachet auf, ruft uns die Stimme (Wake, awake, for night is flying), and the early No. 106 Gottes Zeit ist die allerbeste Zeit (God's time is the very best time). (The conventional cantata numbers correspond to the BWV numbers.)
Secular Cantatas
[BWV 30a, 36c, 134a, 198, 201-216]
The musical style does not differ significantly from church cantatas, but these were composed for special occasions such as birthday celebrations or tributes to dignitaries. Many were performed by the Collegium Musicum, a student ensemble, during his Leipzig period. Famous examples include the Jagdkantate (Hunting Cantata, BWV 208), Hochzeitskantate (Wedding Cantata, BWV 202), Kaffeekantate (Coffee Cantata, BWV 211), and Bauernkantate (Peasant Cantata, BWV 212).
Motets
[BWV 118, 225-230, 1083, Anh. 159]
Motets are a genre with a long history, but by Bach's time, new compositions became less common. Bach's few motets were also created for special occasions such as funerals. They are centered on choruses employing elaborate contrapuntal techniques and require high performance skill, so they continued to be used for choir training even after Bach's death. Singet dem Herrn ein neues Lied (Sing to the Lord a new song, BWV 225) and Jesu, meine Freude (Jesus, my joy, BWV 227) are particularly well known.
Masses | Mass Movements | Magnificat
- Masses [BWV 232-236]
- Mass Movements [BWV 237-242, 1081]
- Magnificat [BWV 243]
Most of Bach's vocal works have German texts, but only the Masses and Magnificat are written in Latin, following ancient tradition. The Masses used in the Lutheran church to which Bach belonged consisted only of the first two sections of the Ordinary of the Mass, namely "Kyrie" and "Gloria" (BWV 233-236). Only the Mass in B minor (BWV 232), completed the year before his death, uses all sections of the Ordinary. Along with the St. Matthew Passion, it is considered Bach's greatest church music, but it was never performed during his lifetime, and its purpose remains unclear.
The text of the Magnificat (BWV 243) is the hymn of the Virgin Mary from the Gospel of Luke. It consists of five-part chorus, soloists, ensembles, and orchestra, and is characterized by sophisticated writing.
Passions
[BWV 244, 245]
Passions are church music based on the Passion narrative of Jesus Christ found in the four Gospels of the New Testament, performed during Holy Week, immediately preceding Easter. Bach's Passions are of a type known as oratorio-style Passion, where the text is primarily based on biblical words, supplemented by free poetry and chorales. They are centered on the recitatives of the Evangelist, who narrates the biblical text, supplemented by large and small choruses, four-part chorales, soloists, ensembles, and orchestra. Only two of Bach's extant Passions, St. Matthew (BWV 244) and St. John (BWV 245), were written in Leipzig. Only the text of the St. Mark Passion (BWV 247) survives, its music having been lost. The St. Luke Passion (BWV 246) in the old Bach-Gesamtausgabe (BGA) is clearly spurious; however, an autograph manuscript (BWV 246/40a) of a portion arranged by Bach was discovered in Japan in 1966 (now held by the Maeda Ikutoku-kai Foundation).
Oratorios
[BWV 11, 248, 249]
Bach's oratorios were performed during worship services on special days of the church calendar. The Christmas Oratorio (BWV 248) is counted among Bach's four great church music works, along with the St. Matthew and St. John Passions and the Mass in B minor (BWV 232). It is a large work consisting of six parts, each structured as an independent cantata, and was originally performed one part at a time during Christmas and the subsequent period. There are also the smaller Ascension Oratorio (BWV 11) and Easter Oratorio (BWV 249).
Four-Part Chorales, Songs and Arias
- Four-Part Chorales [BWV 250-507, 1084, 1089, 1122-1127]
- Songs and Arias [BWV 508-523]
A chorale is a Lutheran hymn; while the melodies themselves have been sung in churches since ancient times, when referring to Bach's chorales, it means those to which he added harmony. Bach used such four-part chorales extensively in church cantatas and Passions, but the ones listed here are other pieces. Since chorales are strophic poems consisting of multiple stanzas, many have different titles even with the same melody. The richness of harmony, ingeniously crafted according to the content of each stanza, is truly astonishing and they are often used as teaching material for harmony.
Most of the songs and arias are short pieces entered in the Clavierbüchlein für Anna Magdalena Bach, which he presented to his wife. However, the strophic aria Alles mit Gott und nichts ohn' Ihn (All with God and nothing without Him, BWV 1127), discovered in Weimar in 2005, is noteworthy as a type of work previously unknown.
Organ Works
[BWV 525-552, 561-566, 568-575, 577-579, 582, 583, 585-596, 598-691, 694-745, 747, 749-758, 762-770, 957, 1085, 1090-1121, 1128]
Baroque Germany was still a developing country, and its music originated under Italian and French influence. Organ music, however, was an exception, boasting a rich tradition superior to other countries even before Bach's time. Bach, who was considered the greatest organist of his time, also began by studying the works of great predecessors such as Johann Adam Reincken (1623-1722) of Hamburg, Dietrich Buxtehude (ca. 1637-1707) of Lübeck, Johann Pachelbel (1653-1706) of Erfurt/Nuremberg, and Georg Böhm (1661-1733) of Lüneburg. He gradually absorbed elements of Italian music and established his unique style.
Bach's organ works are broadly divided into "organ chorales" based on chorales and "free organ works" unrelated to chorales. The former includes types such as chorale preludes, chorale fantasias, and chorale partitas (variations), and comprises works like the Orgelbüchlein (Little Organ Book, BWV 599-644), Schübler Chorales (BWV 645-650), Eighteen Great Chorale Preludes (BWV 651-668), and the late Canonic Variations (BWV 769). The Neumeister Chorales (BWV 1090-1120; BWV 1096 is spurious), discovered in America in 1984, and the Chorale Fantasia (BWV 1128), discovered in Halle in spring 2008, are also very early organ chorales.
The most common type among "free organ works" is "Prelude (Fantasia, Toccata) and Fugue," a group of works that recall Bach as a virtuoso, such as the Toccata, Adagio and Fugue in C major (BWV 564) and the "Dorian" Prelude and Fugue (BWV 538). There is also a theory that the most famous Toccata and Fugue in D minor (BWV 565) is spurious. There are also many standalone preludes and fugues; the Little Fugue in G minor (BWV 578) is particularly famous. The Passacaglia in C minor (BWV 582) is also an early masterpiece. The six Organ Sonatas (BWV 525-530) employ the form of a chamber trio sonata and have become indispensable teaching material for organists.
Keyboard Works
[BWV 772-823, 825-833, 836, 837, 841-844, 846-919, 921-944, 946-956, 958, 959, 961, 963-994]
Bach continued to write keyboard works from his very early period until his later years, challenging every type of form of his time and laying the foundation for subsequent piano music. Furthermore, in the history of Bach reception after his death, keyboard works, especially The Well-Tempered Clavier, would occupy the most important position.
It is difficult to ascertain the exact composition dates of his early works, but they include seven Toccatas (BWV 910-916) that incorporate fugal sections, the Capriccio on the Departure of his Most Beloved Brother (BWV 992), which is unusual for Bach in having programmatic descriptions for each movement, and Aria variata (Aria with Variations, BWV 989) among others.
During the Weimar period (1708-1714), he arranged concertos by Vivaldi, Alessandro Marcello, Giuseppe Torelli, and others for solo keyboard (BWV 972-987), absorbing their style and building a new foundation for his subsequent compositions.
Bach's keyboard works were written intensively during the subsequent Köthen period (1717-1723), primarily for the purpose of educating his pupils. This period saw the creation of the two- and three-part Inventions (BWV 772-801), The Well-Tempered Clavier, Book I (BWV 846-869), which opened new musical horizons by utilizing all 24 major and minor keys, and the English Suites (BWV 806-811) and French Suites (BWV 812-817), which assimilated and developed the style of French harpsichord music. The first version of the Chromatic Fantasia and Fugue (BWV 903), known for its bold harmonies and virtuosic expression, clearly dates from this period.
During the Leipzig period (1723-1750), The Well-Tempered Clavier, Book II (BWV 870-893) was compiled, and Bach also published the four-volume Clavier-Übung (Keyboard Practice) "for the delight of connoisseurs" (Volume 3 is a collection of organ works). The six Partitas (BWV 825-830) that constitute Volume 1 are a collection of works that can be considered the culmination of Baroque keyboard suites. The French Overture (BWV 831) and Italian Concerto (BWV 971) in Volume 2 can be said to be works that idealized the representative orchestral music forms of the time as keyboard solos. Volume 4 is Aria with Diverse Variations, commonly known as the Goldberg Variations (BWV 988). This is not only Bach's largest keyboard work in terms of scale, but also a culmination of his keyboard works in its diversity of technique and expression, as well as its innovative performance practices.
Editions There are too many editions of Bach's keyboard works to list, but the most standard Urtext edition currently is the "New Bach Edition" (NBA), completed in 2007. Individual keyboard works based on this edition are being published by Bärenreiter (the Japanese edition by Zen-On Music Company Ltd.).
Note: About Keyboard Instruments in Bach's Time
Bach himself used the term "Clavier" as a general term for keyboard instruments, including the organ. Today, however, "Clavier" usually refers to keyboard instruments other than the organ. This includes the harpsichord (also known as cembalo or clavecin) and the clavichord (the spinet and virginal are essentially variants of the harpsichord). While both are entirely different instruments in terms of shape, structure, and performance effect, Bach himself did not specify instruments in his scores, so one can only infer from the range and style of the works. However, works where Bach himself specified "two manuals," such as the French Overture (BWV 831), Italian Concerto (BWV 971), and Goldberg Variations (BWV 988), are clearly for harpsichord. Bach favored the touch-sensitive clavichord, but this instrument, with its low volume, was primarily for study and domestic use, and not suitable for ensemble playing or performances in large spaces. Clavichords were also used for the education and practice of organists, so some even had pedal keyboards. It is true that early pianos already existed during Bach's lifetime and that he was aware of them, but no works written by him specifically for the piano have been confirmed.
Note: Spurious Works
Not a few works among Bach's keyboard compositions have been identified as spurious. For example, the famous Minuets in G major and G minor (BWV Anh. 114, 115) included in Clavierbüchlein für Anna Magdalena Bach, Book II, were revealed to have been truly composed by Christian Petzold (1677-1733), who served as court organist in Dresden (1979).
Note: Later Piano Arrangements
Since the Bach revival in the 19th century, many composers and performers have arranged Bach's works in various ways. Here, representative arrangements for solo piano are listed. The names in parentheses are the arrangers; famous pieces often have multiple arrangements.
- Jesu, Joy of Man's Desiring (Jesus, always my joy) BWV 147/10 (M. Hess, W. Kempff)
- Prelude and Fugue in D major BWV 532 (M. Reger, E. d'Albert, F. Busoni)
- Prelude and Fugue in G major BWV 541 (F. Liszt, M. Reger)
- Fantasia and Fugue in G minor BWV 542 (F. Liszt, M. Reger)
- Prelude and Fugue in A minor BWV 543 (F. Liszt, M. Reger)
- Prelude and Fugue in B minor BWV 544 (F. Liszt, E. Sauer)
- Prelude and Fugue in C major BWV 545 (F. Liszt, E. Sauer)
- Prelude and Fugue in C minor BWV 546 (F. Liszt, E. Sauer)
- Prelude and Fugue in C major BWV 547 (F. Liszt, E. Sauer)
- Prelude and Fugue in E minor BWV 548 (F. Liszt, E. Sauer, M. Reger)
- Prelude and Fugue in E-flat major BWV 552 (M. Reger, F. Busoni)
- Eight Little Preludes and Fugues BWV 553-560 (D. Kabalevsky)
- Toccata, Adagio and Fugue in C major BWV 564 (F. Busoni, M. Hess)
- Toccata and Fugue in D minor BWV 565 (M. Reger, F. Busoni, C. Tausig)
- Prelude and Fugue in E major BWV 566 (F. Busoni, M. Reger)
- Passacaglia in C minor BWV 582 (E. d'Albert, M. Reger)
- Pastorale in F major BWV 590 (D. Lipatti)
- Numerous Chorale Preludes (M. Reger, F. Busoni, W. Kempff, M. Hess)
- Bourrée from Partita No. 1 for Solo Violin in B minor BWV 1002/2, 3 (C. Saint-Saëns)
- Chaconne from Partita No. 2 for Solo Violin in D minor BWV 1004/5 (C. Reinecke, F. Busoni, J. Brahms for left hand)
- Prelude from Partita for Solo Violin in E major BWV 1006/1 (S. Rachmaninoff, C. Saint-Saëns)
Other Instrumental Works
Lute Works
[BWV 995-1000, 1006a]
The lute is a six-stringed plucked instrument with a pear-shaped body, whose origin is shared with the Japanese biwa. Its heyday was the 16th-17th centuries, but there were also excellent performers around Bach. Bach's few lute works were likely written for them. Among these, the autograph manuscripts of the Prelude, Fugue and Allegro (BWV 998) and the Suite (BWV 1006a) are held by Ueno Gakuen University and Musashino Academia Musicae, respectively.
Chamber Music
[BWV 1001-1019, 1021-1023, 1025-1035, 1038, 1039]
Chamber music in the Baroque era was dominated by trio sonatas (three-part sonatas) and solo sonatas with basso continuo. Bach, however, ventured into a new genre: duo sonatas for melodic instruments (violin, flute, or viola da gamba) and keyboard. Furthermore, it is particularly noteworthy that he pioneered genres almost untouched by predecessors, such as the Sonatas and Partitas for Solo Violin (BWV 1001-1006) and the Suites for Solo Cello (BWV 1007-1012). These are counted among Bach's most important works due to their richness of expression and outstanding compositional technique. All of them were written during his time as Kapellmeister in Köthen.
Concertos
[BWV 1041-1065]
Bach was greatly influenced by Italian concertos by Vivaldi, Albinoni, and others during his Weimar period (1708-1717), and composed numerous concertos during his time as Kapellmeister in Köthen (1717-1723). However, only six Brandenburg Concertos (BWV 1046-1051) and three violin concertos (BWV 1041-1043) from this period are extant. While following Italian models, he also employed his characteristic contrapuntal writing, resulting in dense, vibrant works. It was in Brandenburg Concerto No. 5 (BWV 1050) that Bach liberated the keyboard from its traditional role as a basso continuo instrument, elevating it to a solo instrument within the ensemble for the first time. Furthermore, during his Leipzig period (1723-1750), he wrote concertos for one to four keyboards and orchestra (BWV 1052-1065), though they are arrangements, thereby laying the foundation for piano concertos of the Classical era and beyond.
Orchestral Suites
[BWV 1066-1069]
The four orchestral suites, which Bach himself simply titled "Overture" (Ouvertüre), derive from the French ballet suite tradition. They feature a lengthy French-style overture, as used in French opera and ballet, followed by various galant-style dance movements. No. 2 (BWV 1067), featuring a prominent solo flute, is particularly famous.
Canons
[BWV 1072-1078, 1086, 1087]
While the technique of canon is found throughout Bach's works, independent pieces are few. Many of them were entered in friends' autograph albums, with only the opening theme written down. All are riddle canons, where one must determine where and at what interval the next voice imitates the theme. There is no instrument specified, and they should be considered more as intellectual musical puzzles than pieces for performance. The most important work among them is 14 Canons (BWV 1087), based on the bass theme (first eight notes) of the Goldberg Variations (BWV 988). This work was discovered in Strasbourg, France, in 1976 and is now held by the Bibliothèque nationale de France in Paris.
Special Works
As the course of music history was shifting from the Baroque to the Classical style, Bach in his later years continued to consciously compose works employing advanced contrapuntal techniques, as if defying this trend or striving to preserve the fading tradition of polyphony. Examples include the nine canons within the Goldberg Variations (BWV 988), the Canonic Variations (BWV 769) for organ, and the "Credo" within the Mass in B minor (BWV 232). And the culmination of his contrapuntal technique can be found in The Musical Offering (BWV 1079) and The Art of Fugue (BWV 1080), both of which explore diverse possibilities of contrapuntal writing based on a single theme.
The Musical Offering consists of a three-part and a six-part "Ricercar" (an archaic canon), ten diverse "Canons", and one "Trio Sonata". No instruments are specified except for the Trio Sonata. The theme was given to him by Frederick the Great during his visit to the Potsdam palace in 1747, and the completed work was later dedicated to the King.
In The Art of Fugue, the number and order of pieces differ between the autograph manuscript and the posthumously printed edition. It consists of over a dozen fugues and various intricate canons. Except for one piece marked "for two keyboards," no instruments are specified, but Bach himself is thought to have intended performance on keyboard instruments. The final fugue, likely interrupted at measure 239 due to failing eyesight, became Bach's "swan song." The complete work was first performed in 1927, nearly 180 years after the composer's death (in an orchestral arrangement).
Author : Hara, Akiho
Last Updated: March 12, 2018
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Author : Hara, Akiho
Bach, Johann Sebastian
(March 21, 1685, Eisenach — July 28, 1750, Leipzig)
German composer and keyboardist. Bach composed in almost all genres of his time, with the exception of opera. Among his vocal works, Bach composed church cantatas most frequently, totaling approximately 200 pieces. For instrumental works, in addition to keyboard compositions, he composed orchestral suites, concertos, and chamber music.
Today, the Two-Part Inventions BWV 772-786 (1720-23) and the Three-Part Inventions (Sinfonias) BWV 787-801 (1720-23), which are frequently used in piano lessons, were compiled by Bach for the education of his eldest son, Wilhelm Friedemann.
Works(190)
Concerto (1)
concerto (15)
Concerto a cembalo concertato, 2 violini, viola e continuo No.1 BWV 1052
Key: d-moll Composed in: 1738 Playing time: 23 min 00 sec
Concerto a cembalo concertato, 2 violini, viola e continuo No.2 BWV 1053
Key: E-Dur Composed in: 1738 Playing time: 20 min 00 sec
Concerto a cembalo concertato, 2 violini, viola e continuo No.3 BWV 1054
Key: D-Dur Composed in: 1738 Playing time: 16 min 00 sec
Concerto a cembalo concertato, 2 violini, viola e continuo No.4 BWV 1055
Key: A-Dur Composed in: 1738 Playing time: 14 min 20 sec
Concerto a cembalo concertato, 2 violini, viola e continuo No.5 BWV 1056
Key: f-moll Composed in: 1738 Playing time: 9 min 50 sec
Concerto a cembalo concertato, 2 Flauti a bec, 2 violini, viola e continuo No.6 BWV 1057
Key: F-Dur Composed in: 1738 Playing time: 18 min 30 sec
Concerto a cembalo obbligato, 2 violini, viola e continuo No.7 BWV 1058
Key: g-moll Composed in: 1738 Playing time: 14 min 30 sec
Concerto a cembalo solo, 1 oboe, 2 violini, viola e continuo No.8 BWV 1059
Key: d-moll Playing time: 13 min 30 sec
Konzert für 2 Klaviere mit Begleitung von 2 Violinen, Viola und continuo Nr.1 BWV 1060
Key: c-moll Composed in: 1736 Playing time: 14 min 30 sec
Konzert für 2 Klaviere mit Begleitung von 2 Violinen, Viola und continuo Nr.2 BWV 1061
Key: C-Dur Composed in: 1732 Playing time: 17 min 00 sec
Konzert für 2 Klaviere mit Begleitung von 2 Violinen, Viola und continuo Nr.3 BWV 1062
Key: c-moll Composed in: 1736 Playing time: 13 min 15 sec
Konzert für 3 Klaviere mit Begleitung von 2 Violinen, Viola und continuo Nr.1 BWV 1063
Key: d-moll Composed in: 1730 Playing time: 12 min 00 sec
Konzert für 3 Klaviere mit Begleitung von 2 Violinen, Viola und continuo Nr.2 BWV 1064
Key: C-Dur Composed in: 1730 Playing time: 15 min 30 sec
Konzert für 4 Klaviere mit Begleitung von 2 Violinen, Viola und continuo BWV 1065
Key: a-moll Composed in: 1730 Playing time: 9 min 00 sec
Piano Solo (19)
concerto (16)
sonata (4)
pieces (10)
Das wohltemperierte Clavier, 1 teil, 24 Praludien und Fugen BWV 846‐869
Composed in: 1722 Playing time: 1 hr 55 min 30 sec
Das wohltemperierte Clavier, 2 teil, 24 Praludien und Fugen BWV 870-893
Composed in: 1738 Playing time: 2 hr 17 min 30 sec
Das zweiten Notenbuch für Anna Magdalena Bach BWV Anh.113-132,183, 508-517 etc.
Playing time: 41 min 25 sec
suite (32)
Praeludium e partita del tuono terzo BWV 833
Key: F-Dur Composed in: 1708 Playing time: 9 min 00 sec
toccata (7)
prelude (7)
fantasy (4)
variation (3)
Aria variata alla maniera italiana BWV 989
Key: a-moll Composed in: 1708 Playing time: 15 min 20 sec
Goldberg-Variationen Aria mit verschiedenen Veränderungen BWV 988
Key: G-Dur Playing time: 54 min 55 sec
fuga (21)
Fuge über Thema von Tomaso Albinoni BWV 951/951a
Key: h-moll Composed in: 1710 Playing time: 8 min 10 sec
Fuge nach einem Choral "Mach's mit mir, Gott, nach deiner Güt" BWV 957
Key: G-Dur Playing time: 1 min 20 sec
allemande (3)
salabande (2)
caprice (2)
Capriccio 'Sopra la lontananza del suo fratello dilettissimo' BWV 992
Key: B-Dur Composed in: 1703 Playing time: 11 min 30 sec
Reduction/Arrangement (2)
Various works (12)
prelude and fuga (7)
Piano Ensemble (4)
Chamber Music (6)
sonata (20)
6 Sonaten für Klavier und Violine Nr.6 BWV 1019
Key: G-Dur Composed in: 1724 Playing time: 17 min 50 sec
Sonate für Flöte und Obligates Cembalo BWV 1030
Key: h-moll Composed in: 1737 Playing time: 17 min 30 sec
etc (4)
suite (2)
Various works (3)
Chamber music (2)