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Prelude and Fugue: A min. Organ 15: 189: IV/5: 186 after BWV 543/1a: 00619: 543/1a 7. bef. c.1725 Prelude: A min. Organ IV/6: 121 → BWV 543/1 00620: 544 7. 1727–1731 Prelude and Fugue B min. Organ 15: 199: IV/5: 198 00621: 545 529/2 7. 1708–1717 after 1722 Prelude and Fugue (middle movement BWV 529/2 e. v. removed after 1722) C maj. Organ ...
The 1741 organ of Johann Andreas Silbermann in St Thomas' Church, Strasbourg [a]. The Eight Short Preludes and Fugues (also Eight Little Preludes and Fugues), BWV 553–560, are a collection of works for keyboard and pedal formerly attributed to Johann Sebastian Bach.
This article lists the fugal works of Johann Sebastian Bach, defined here as the fugues, fughettas, and canons, as well as other works containing fugal expositions but not denoted as fugues, such as some choral sections of the Mass in B minor, the St Matthew Passion, the St John Passion, and the cantatas.
The beginning of the BWV 548 Prelude, in the hand of J.S. Bach. Prelude and Fugue in E minor, BWV 548 is a piece of organ music written by Johann Sebastian Bach sometime between 1727 and 1736, [1] during his time in Leipzig. The work is sometimes called "The Wedge" due to the chromatic outward motion of the fugue theme. [1]
In the published version of Peters, Liszt chose to place the B minor prelude and fugue, BWV 544 last, altering the standard order in most of the editions for organ. With his view that Bach was "the St. Thomas Aquinas of music," Liszt ultimately had an almost religious zeal for respecting the score as written by Bach.
The beginning of the BWV 546 Prelude, in the hand of Johann Peter Kellner. Prelude and Fugue in C minor, BWV 546 is a piece of organ music written by Johann Sebastian Bach, with the prelude dating around his time in Leipzig (1723–1750), and the fugue dating around his time in Weimar (1708–1717). [1]
The beginning of the BWV 544 Prelude, in the hand of J.S. Bach. Prelude and Fugue in B minor, BWV 544 is a piece of organ music written by Johann Sebastian Bach sometime between 1727 and 1731, during his tenure in Leipzig. [1] Unlike most other organ preludes and fugues of Bach, the autograph fair copy of the score survives. [2]
The different types of stretti result in a large variety of harmonisations of the theme and musical textures throughout the chorale prelude. Organ in the Johanniskirche, Lüneburg, where Bach heard Georg Böhm play. Kerman (2008) has given a detailed analysis of BWV 689 from the perspective of Bach's keyboard fugues: Section 1 (bars 1–18).