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Leopold Stokowski made a large number of transcriptions for full orchestra, including the Toccata and Fugue in D minor for organ, which appeared in the film Fantasia and the Little Fugue in G minor. Alexander Siloti made many piano transcriptions of Bach, most famously his Prelude in B minor based on Bach's Prelude in E minor, BWV 855a.
BWV 884 – Prelude and Fugue in G major; BWV 885 – Prelude and Fugue in G minor; BWV 886 – Prelude and Fugue in A-flat major; BWV 887 – Prelude and Fugue in G-sharp minor; BWV 888 – Prelude and Fugue in A major; BWV 889 – Prelude and Fugue in A minor; BWV 890 – Prelude and Fugue in B-flat major; BWV 891 – Prelude and Fugue in B ...
The Prelude and Fugue in G-sharp minor, BWV 887, is the eighteenth prelude and fugue in the second volume of The Well-Tempered Clavier by Johann Sebastian Bach. It was written in 1738. It was written in 1738.
Bach's autograph of the 4th Fugue of Book 1 Bach's autograph of Fugue No. 17 in A ♭ major from the second part of Das Wohltemperirte Clavier. Each set contains 24 pairs of prelude and fugue. The first pair is in C major, the second in C minor, the third in C ♯ major, the fourth in C ♯ minor, and so on.
They also excluded C#/D♭ major, D#/E♭ minor, F#/G♭ major, G#/A♭ minor, and A#/B♭ minor. Bach modelled the sequence of his 48 Preludes on Fischer's example. [3] In 1735, between Bach's two sets, Johann Christian Schickhardt wrote his L'alphabet de la musique, Op. 30, which contained 24 sonatas for flute, violin, or recorder in all keys ...
BWV 577 – Fugue in G major "à la Gigue" (spurious) BWV 578 – Fugue in G minor "Little" BWV 579 – Fugue on a theme by Arcangelo Corelli (from Op. 3, No. 4); in B Minor; BWV 580 – Fugue in D major (spurious) BWV 581 – Fugue in G major (not by Bach, composed by Gottfried August Homilius) BWV 581a – Fugue in G major (spurious)
Bach's G minor fugue is "insistent and pathetic". [ citation needed ] The subject also appears in his funeral cantata Gottes Zeit ist die allerbeste Zeit (God's time is the very best time). [ 1 ] The subject of the fugue employs a minor 6th leap in the first measure, then resolves it with a more conventional stepwise motion.
Near the end of the Augmentation Canon of Bach's Canonic Variations on "Vom Himmel hoch da komm' ich her", BWV 769: [4] B–A–C–H (and its inversion) in the last bars of the Augmentation Canon of BWV 769. Near the end of Contrapunctus IV of The Art of Fugue: [7] B–A–C–H in the tenor part of the last bars of Contrapunctus IV of The Art ...