Lists of |
Compositions by Johann Sebastian Bach |
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Orchestral works by Johann Sebastian Bach refers to the compositions in the eleventh chapter of the Bach-Werke-Verzeichnis (BWV, catalogue of Bach's compositions), [1] or, in the New Bach Edition, the compositions in Series VII. [2]
The orchestra of the concertos for one or more accompanied soloists (BWV 1041–1044, 1049–1050 and 1052–1065) consists in most cases of strings (two parts for violins and one viola part) and continuo (for example performed on cello and harpsichord). Such orchestra of the Baroque era can be indicated as string orchestra or chamber orchestra. In the 19th century, the Bach-Gesellschaft published Bach's concertos BWV 1041–1044 and 1046–1065 as chamber music – the designation as orchestral music becoming more common in the second half of the 20th century. [3] Apart from the concertos for more than one performer listed in the sections below, Bach also wrote concertos for a single unaccompanied harpsichordist or organist:
In Series VII of the New Bach Edition: [33]
column | content | |
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1 | BWV | Bach-Werke-Verzeichnis (lit. 'Bach-works-catalogue'; BWV) numbers. Anhang (Annex; Anh.) numbers are indicated as follows: |
2 | 2a | Section in which the composition appears in BWV2a:
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3 | Date | Date associated with the completion of the listed version of the composition. Exact dates (e.g. for most cantatas) usually indicate the assumed date of first (public) performance. When the date is followed by an abbreviation in brackets (e.g. JSB for Johann Sebastian Bach) it indicates the date of that person's involvement with the composition as composer, scribe or publisher. |
4 | Name | Name of the composition: if the composition is known by a German incipit, that German name is preceded by the composition type (e.g. cantata, chorale prelude, motet, ...) |
5 | Key | Key of the composition |
6 | Scoring | See scoring table below for the abbreviations used in this column |
7 | BG | Bach Gesellschaft-Ausgabe (BG edition; BGA): numbers before the colon indicate the volume in that edition. After the colon an Arabic numeral indicates the page number where the score of the composition begins, while a Roman numeral indicates a description of the composition in the Vorwort (Preface) of the volume. [39] |
8 | NBE | New Bach Edition (German: Neue Bach-Ausgabe, NBA): Roman numerals for the series, followed by a slash, and the volume number in Arabic numerals. A page number, after a colon, refers to the "Score" part of the volume. Without such page number, the composition is only described in the "Critical Commentary" part of the volume. The volumes group Bach's compositions by genre: [40]
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9 | Additional info | may include:
Provenance of standard texts and tunes, such as Lutheran hymns and their chorale melodies, Latin liturgical texts (e.g. Magnificat) and common tunes (e.g. Folia), are not usually indicated in this column. For an overview of such resources used by Bach, see individual composition articles, and overviews in, e.g., Chorale cantata (Bach)#Bach's chorale cantatas, List of chorale harmonisations by Johann Sebastian Bach#Chorale harmonisations in various collections and List of organ compositions by Johann Sebastian Bach#Chorale Preludes. |
10 | BD | Bach Digital Work page |
Voices (see also SATB) | ||||||||||||
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a | A | b | B | s | S | t | T | v | V | |||
alto (solo part) | alto (choir part) | bass (solo part) | bass (choir part) | soprano (solo part) | soprano (choir part) | tenor (solo part) | tenor (choir part) | voice (includes parts for unspecified voices or instruments as in some canons) | vocal music for unspecified voice type | |||
Winds and battery (bold = soloist) | ||||||||||||
Bas | Bel | Cnt | Fl | Hn | Ob | Oba | Odc | Tai | Tbn | Tdt | Tmp | Tr |
bassoon (can be part of Bc, see below) | bell(s) (musical bells) | cornett, cornettino | flute (traverso, flauto dolce, piccolo, flauto basso) | natural horn, corno da caccia, corno da tirarsi, lituo | oboe | oboe d'amore | oboe da caccia | taille | trombone | tromba da tirarsi | timpani | tromba (natural trumpet, clarino trumpet) |
Strings and keyboard (bold = soloist) | ||||||||||||
Bc | Hc | Kb | Lu | Lw | Org | Str | Va | Vc | Vdg | Vl | Vne | |
basso continuo: Vdg, Hc, Vc, Bas, Org, Vne and/or Lu | harpsichord | keyboard (Hc, Lw, Org or clavichord) | lute, theorbo | Lautenwerck (lute-harpsichord) | organ (/man. = manualiter, without pedals) | strings: Vl I, Vl II and Va | viola(s), viola d'amore, violetta | violoncello, violoncello piccolo | viola da gamba | violin(s), violino piccolo | violone, violone grosso |
Colour | Meaning |
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green | extant or clearly documented partial or complete manuscript (copy) by Bach and/or first edition under Bach's supervision |
yellow | extant or clearly documented manuscript (copy) or print edition, in whole or in part, by close relative, i.e. brother (J. Christoph), wife (A. M.), son (W. F. / C. P. E. / J. C. F. / J. Christian) or son-in-law (Altnickol) |
orange-brown | extant or clearly documented manuscript (copy) by close friend and/or pupil (Kellner, Krebs, Kirnberger, Walther, ...), or distant family member |
BWV | 2a | Date | Name | Key | Scoring | BG | NBE | Additional info | BD |
---|---|---|---|---|---|---|---|---|---|
1041 | 11. | 1730 | Concerto for violin and orchestra No. 1 | A min. | Vl Str Bc | 211: 3 451: 233 | VII/3: 3 | → BWV 1058 | 01223 |
1042 | 11. | Concerto for violin and orchestra No. 2 | E maj. | Vl Str Bc | 211: 21 | VII/3: 35 | → BWV 1054 | 01224 | |
1043 | 11. | 1730–1731 or earlier | Concerto for 2 violins and orchestra – Double Concerto | D min. | 2Vl Str Bc | 211: 41 | VII/3: 71 | → BWV 1062 | 01225 |
1044 | 11. | 1727 or later | Concerto for flute, violin, harpsichord and orchestra – Triple Concerto | A min. | Fl Vl Hc Str Bc | 17: 223 | VII/3: 105 | after BWV 894/1, 527/2, 894/2 | 01226 |
1045 | 11. | 1743–1746 | Cantata opening: "Concerto" (Symphonic movement for violin and orchestra) | D maj. | Vl 3Tr Tmp 2Ob Str Bc | 211: 65 | I/34: 305 | after unknown model by other composer? [41] [42] [43] | 01227 |
1046.2 | 11. | 1721-03-24 | Brandenburg Concerto No. 1 | F maj. | 2Nho 3Ob Bas Vlp Str Bc | 19: 3 | VII/2: 3 | after BWV 1046.1; /3, /7 → BWV 207(a)/1, /5a | 01228 |
1046.1 | 11. | c.1712- 1713? | Sinfonia (opening of BWV 208?) | F maj. | 2Nho 3Ob Str Bas Bc | 311: 69 | VII/2: 225 | → BWV 1046.2; /1 → BWV 52/1; was BWV 1046a, 1071 [41] | 01229 |
1047 | 11. | 1721-03-24 | Brandenburg Concerto No. 2 | F maj. | Tr Fl Ob Vl Str Vne Bc | 19: 3 | VII/2: 43 | 01230 | |
1048 | 11. | 1721-03-24 | Brandenburg Concerto No. 3 | G maj. | 3Vl 3Vla 3Vc Vne Hc | 19: 3 | VII/2: 73 | → BWV 174/1 | 01231 |
1049 | 11. | 1721-03-24 | Brandenburg Concerto No. 4 | G maj. | Vl 2Fl Str Vc Vne Bc | 19: 3 | VII/2: 99 | → BWV 1057 | 01232 |
1050.2 | 11. | 1721-03-24 | Brandenburg Concerto No. 5 (early version) | D maj. | Fl Vl Hc Vl Va Vc Vne | 19: 3 | VII/2: 145 | after BWV 1050.1 | 01233 |
1050.1 | 11. | 1720–1721 | Brandenburg Concerto No. 5 (revised version) | D maj. | Fl Vl Hc Vl Va Vne | 19: 3 | VII/2: 145 | → BWV 1050.2 | 01234 |
1051 | 11. | 1721-03-24 | Brandenburg Concerto No. 6 | B♭ maj. | 2Vla 2Gam Vc Vne Hc | 19: 3 | VII/2: 197 | 01235 | |
1052.2 | 11. | c.1738 | Concerto for harpsichord and orchestra No. 1 (revised version) | D min. | Hc Str Bc | 17: 3 | VII/4: 3 | after BWV 1052.1, BWV 146/1, /2 and 188/1 | 01236 |
1052.1 | 11. | before 1726 | Concerto for harpsichord and orchestra No. 1 (early version) | D min. | Hc Str Bc | 17: 3 | VII/4: 317 | by Bach, C. P. E.?; → BWV 1052.2, BWV 146/1, /2 and 188/1 | 01237 |
1053 | 11. | c.1738 | Concerto for harpsichord and orchestra No. 2 | E maj. | Hc Str Bc | 17: 3 | VII/4: 79 | after BWV 169/1, /5 and 49/1 | 01238 |
1054 | 11. | c.1738 | Concerto for harpsichord and orchestra No. 3 | D maj. | Hc Str Bc | 17: 3 | VII/4: 127 | after BWV 1042 | 01239 |
1055 | 11. | c.1738 | Concerto for harpsichord and orchestra No. 4 | A maj. | Hc Str Bc | 17: 3 | VII/4: 161 | after BWV 1055R? | 01240 |
1056 | 11. | c.1738 | Concerto for harpsichord and orchestra No. 5 | F min. | Hc Str Bc | 17: 3 | VII/4: 197 | after BWV 1056R?; /2 after BWV 156/1 | 01241 |
1057 | 11. | c.1738 | Concerto for harpsichord and orchestra No. 6 | F maj. | Hc 2Fl Str Bc | 17: 3 | VII/4: 221 | after BWV 1049 | 01242 |
1058 | 11. | c.1738 | Concerto for harpsichord and orchestra No. 7 | G min. | Hc Str Bc | 17: 3 | VII/4: 283 | after BWV 1041 | 01243 |
1059 | 11. | c.1738 | Concerto for harpsichord and orchestra No. 8 (abandoned fragment of 1st movement) | D min. | Hc Ob Str Bc | 17: 3 | VII/4: 313 | after BWV 35/1 and earlier model (for oboe?); completions/ reconstructions usually based on BWV 35/1, /2 and /5 | 01244 |
1060 | 11. | c.1736 | Concerto for 2 harpsichords and orchestra No. 1 | C min. | 2Hc Str Bc | 212: 3 | VII/5: 3 | after BWV 1060R? | 01245 |
1061.2 | 11. | after 1732–1733 | Concerto for 2 harpsichords and orchestra No. 2 | C maj. | 2Hc Str Bc | 212: 39 | VII/5: 109 | after BWV 1061.1 | 01246 |
1061.1 | 11. | 1732–1733 or earlier | Concerto for 2 harpsichords (No. 2) | C maj. | 2Hc | 212: 39 | VII/5: 83 | → BWV 1061.2 | 01247 |
1062 | 11. | 1736 | Concerto for 2 harpsichords and orchestra No. 3 | C min. | 2Hc Str Bc | 212: 83 | VII/5: 43 | after BWV 1043 | 01248 |
1063 | 11. | c.1730 | Concerto for 3 harpsichords and orchestra No. 1 | D min. | 3Hc Str Bc | 313: 3 | VII/6: 3 | after unknown model? | 01249 |
1064 | 11. | c.1730 | Concerto for 3 harpsichords and orchestra No. 2 | C maj. | 3Hc Str Bc | 313: 53 | VII/6: 55 | after BWV 1064R? | 01250 |
1065 | 11. | c.1730 | Concerto for 4 harpsichords and orchestra | A min. | 4Hc Str Bc | 431: 71 | VII/6: 117 | after Vivaldi, Op. 3 No. 10 | 01251 |
1066 | 11. | May 1724–End 1725 | Orchestral Suite No. 1 | C maj. | 2Ob Bas Str Bc | 311: 3 | VII/1: 3 | Ouverture Courante 2Gavotte Forlane 2Minuet 2Bourrée 2Passepied | 01252 |
1067 | 11. | 1738–1739 | Orchestral Suite No. 2 | B min. | Fl Str Bc | 311: 24 | VII/1: 27 | Ouverture Rondeau Sarabande 2Bourrée 2Polonaise Minuet Badinerie | 01253 |
1068 | 11. | c.1730 | Orchestral Suite No. 3 | D maj. | 3Tr Tmp 2Ob (Vl) Str Bc | 311: 40 | VII/1: 49, 119 | Ouverture Air 2Gavotte Bourrée Gigue | 01254 |
1069 | 11. | before late 1727 | Orchestral Suite No. 4 | D maj. | 3Tr Tmp 2Ob Bas Str Bc | 311: 66 | VII/1: 79 | Ouverture 2Bourrée Gavotte 2Minuet Réjouissance; /1 → BWV 110/1 | 01255 |
1071 | see BWV 1046.1 | 01229 |
The Brandenburg Concertos by Johann Sebastian Bach are a collection of six instrumental works presented by Bach to Christian Ludwig, Margrave of Brandenburg-Schwedt, in 1721. The original French title is Six Concerts Avec plusieurs instruments, meaning "Six Concertos for several instruments". Some of the pieces feature several solo instruments in combination. They are widely regarded as some of the greatest orchestral compositions of the Baroque era.
The Bach-Werke-Verzeichnis is a catalogue of compositions by Johann Sebastian Bach. It was first published in 1950, edited by Wolfgang Schmieder. The catalogue's second edition appeared in 1990. An abbreviated version of that second edition, known as BWV2a, was published in 1998.
Trevor David Pinnock is a British harpsichordist and conductor.
A harpsichord concerto is a piece of music for an orchestra with the harpsichord in a solo role. Sometimes these works are played on the modern piano. For a period in the late 18th century, Joseph Haydn and Thomas Arne wrote concertos that could be played interchangeably on harpsichord, fortepiano, and pipe organ.
The Concerto for Two Violins in D minor, BWV 1043, also known as the Double Violin Concerto, is a violin concerto of the Late Baroque era, which Johann Sebastian Bach composed around 1730. It is one of the composer's most successful works.
The four orchestral suites BWV 1066–1069 are four suites by Johann Sebastian Bach from the years 1724–1731. The name ouverture refers only in part to the opening movement in the style of the French overture, in which a majestic opening section in relatively slow dotted-note rhythm in duple meter is followed by a fast fugal section, then rounded off with a short recapitulation of the opening music. More broadly, the term was used in Baroque Germany for a suite of dance-pieces in French Baroque style preceded by such an ouverture. This genre was extremely popular in Germany during Bach's day, and he showed far less interest in it than was usual: Robin Stowell writes that "Telemann's 135 surviving examples [represent] only a fraction of those he is known to have written"; Christoph Graupner left 85; and Johann Friedrich Fasch left almost 100. Bach did write several other ouverture (suites) for solo instruments, notably the Cello Suite no. 5, BWV 1011, which also exists in the autograph Lute Suite in G minor, BWV 995, the Keyboard Partita no. 4 in D, BWV 828, and the Overture in the French style, BWV 831 for keyboard. The two keyboard works are among the few Bach published, and he prepared the lute suite for a "Monsieur Schouster," presumably for a fee, so all three may attest to the form's popularity.
The keyboard concertos, BWV 1052–1065, are concertos for harpsichord, strings and continuo by Johann Sebastian Bach. There are seven complete concertos for a single harpsichord, three concertos for two harpsichords, two concertos for three harpsichords, and one concerto for four harpsichords. Two other concertos include solo harpsichord parts: the concerto BWV 1044, which has solo parts for harpsichord, violin and flute, and Brandenburg Concerto No. 5 in D major, with the same scoring. In addition, there is a nine-bar concerto fragment for harpsichord which adds an oboe to the strings and continuo.
The concerto for two harpsichords in C minor, BWV 1060, is a concerto for two harpsichords and string orchestra by Johann Sebastian Bach. It is likely to have originated in the second half of the 1730s as an arrangement of an earlier concerto, also in C minor, for oboe and violin. That conjectural original version of the concerto, which may have been composed in Bach's Köthen years (1717–1723), is lost, but has been reconstructed in several versions known as BWV 1060R.
Sinfonia in D major, BWV 1045, sometimes referred to as a violin concerto movement (Konzertsatz), is an orchestral work for solo violin, three trumpets, timpani, two oboes, strings and continuo, by Johann Sebastian Bach. A late work composed in Leipzig between c. 1742 and 1746, surviving only as a fragment, the movement is a sinfonia of an otherwise lost cantata. In particular, the piece ends abruptly, with the last two bars appearing in someone else's hand and attached as a separate page at the end of the manuscript, which is otherwise in Bach's hand. The work features a highly virtuosic concertato part with extensive chordal and arpeggiated passages and at one point reaches a''', unusually high for Bach's violin music.
The Telemann-Werke-Verzeichnis, abbreviated TWV, is the numbering system identifying compositions by Georg Philipp Telemann, published by musicologist Martin Ruhnke.
The Triple Concerto, BWV 1044, is a concerto in A minor for traverso, violin, harpsichord, and string orchestra by Johann Sebastian Bach. He based the composition on his Prelude and Fugue BWV 894 for harpsichord and on the middle movement of his Organ Sonata BWV 527, or on earlier lost models for these compositions.
Johann Sebastian Bach wrote his fifth Brandenburg Concerto, BWV 1050.2, for harpsichord, flute and violin as soloists, and an orchestral accompaniment consisting of strings and continuo. An early version of the concerto, BWV 1050.1, originated in the late 1710s. On 24 March 1721 Bach dedicated the final form of the concerto to Margrave Christian Ludwig of Brandenburg.
The Harpsichord Concerto in A major, BWV 1055, is a concerto for harpsichord and string orchestra by Johann Sebastian Bach. It is the fourth keyboard concerto in Bach's autograph score of c. 1738.
The Harpsichord Concerto in E major, BWV 1053, is a concerto for harpsichord and string orchestra by Johann Sebastian Bach. It is the second of Bach's keyboard concerto composed in 1738, scored for keyboard and baroque string orchestra. The movements were reworkings of parts of two of Bach's church cantatas composed in 1726: the solo obbligato organ played the sinfonias for the two fast movements; and the remaining alto aria provided the slow movement.
The Harpsichord Concerto in D minor, BWV 1052, is a concerto for harpsichord and Baroque string orchestra by Johann Sebastian Bach. In three movements, marked Allegro, Adagio and Allegro, it is the first of Bach's harpsichord concertos, BWV 1052–1065.
Lost versions of compositions by Johann Sebastian Bach can be reconstructed on the basis of extant versions of similar music. Reasons for such reconstructions include extension of the repertoire and testing hypotheses about the genesis history of known pieces. For instance, in the late 19th century it was discovered that Bach likely transcribed his Concerto for two harpsichords in C minor, BWV 1060, from a lost earlier version for violin and oboe. Reconstructions of BWV 1060 to its presumed original version, published from the 1920s, extended the Bach repertoire for oboists.