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 Violin Concerto in A minor, BWV 1041, is a violin concerto by Johann Sebastian Bach. While it is "generally thought to have been composed at Köthen in 1717–23", Christoph Wolff has argued that the work may have been written in Leipzig during Bach's time as director of the Collegium Musicum. John Butt also believes that Bach wrote it "probably soon after taking over the Leipzig Collegium Musicum in 1729". However, the only autograph source to survive is a set of parts Bach copied out in Leipzig c. 1730 from a now lost score or draft.
The sonatas and partitas for solo violin are a set of six works composed by Johann Sebastian Bach. They are sometimes referred to in English as the sonatas and partias for solo violin in accordance with Bach's headings in the autograph manuscript: "Partia" was commonly used in German-speaking regions during Bach's time, whereas the Italian "partita" was introduced to this set in the 1879 Bach Gesellschaft edition, having become standard by that time. The set consists of three sonatas da chiesa in four movements and three partitas in dance-form movements. The 2nd Partita is widely known for its Chaconne, considered one of the most masterly and expressive works ever written for solo violin.
L'estro armonico, Op. 3, is a set of 12 concertos for string instruments by Italian composer Antonio Vivaldi, first published in Amsterdam in 1711. Vivaldi's Twelve Trio Sonatas, Op. 1, and Twelve Violin Sonatas, Op. 2, only contained sonatas, thus L'estro armonico was his first collection of concertos appearing in print. It was also the first time he chose a foreign publisher, Estienne Roger, instead of an Italian. Each concerto was printed in eight parts: four violins, two violas, cello and continuo. The continuo part was printed as a figured bass for violone and harpsichord.
The Violin Concerto No. 5 in A major, K. 219, often referred to by the nickname "Turkish", was written by Wolfgang Amadeus Mozart in 1775, premiering during the Christmas season that year in Salzburg. It follows the typical fast-slow-fast musical structure.
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 Easter Oratorio, BWV 249, is an oratorio by Johann Sebastian Bach, beginning with Kommt, eilet und laufet. Bach composed it in Leipzig and first performed it on 1 April 1725.
An organ concerto is an orchestral piece of music in which a pipe organ soloist is accompanied by an an orchestra, although some works exist with the name "concerto" which are for organ alone.
Johann Ernst of Saxe-Weimar was a German prince, son by his second marriage of Johann Ernst III, Duke of Saxe-Weimar. Despite his early death he is remembered as a collector and commissioner of music and as a composer, some of whose concertos were arranged for harpsichord or organ by Johann Sebastian Bach, who was court organist in Weimar at the time.
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.
The six sonatas for violin and obbligato harpsichord BWV 1014–1019 by Johann Sebastian Bach are works in trio sonata form, with the two upper parts in the harpsichord and violin over a bass line supplied by the harpsichord and an optional viola da gamba. Unlike baroque sonatas for solo instrument and continuo, where the realisation of the figured bass was left to the discretion of the performer, the keyboard part in the sonatas was almost entirely specified by Bach. They were probably mostly composed during Bach's final years in Cöthen between 1720 and 1723, before he moved to Leipzig. The extant sources for the collection span the whole of Bach's period in Leipzig, during which time he continued to make changes to the score.
The sonatas for viola da gamba and harpsichord, BWV 1027–1029, are three sonatas composed by Johann Sebastian Bach for viola da gamba and harpsichord. They probably date from the late 1730s and early 1740s.
The organ sonatas, BWV 525–530 by Johann Sebastian Bach are a collection of six sonatas in trio sonata form. Each of the sonatas has three movements, with three independent parts in the two manuals and obbligato pedal. The collection was put together in Leipzig in the late 1720s and contained reworkings of prior compositions by Bach from earlier cantatas, organ works and chamber music as well as some newly composed movements. The sixth sonata, BWV 530, is the only one for which all three movements were specially composed for the collection. When played on an organ, the second manual part is often played an octave lower on the keyboard with appropriate registration. Commentators have suggested that the collection might partly have been intended for private study to perfect organ technique, some pointing out that its compass allows it to be played on a pedal clavichord. The collection of sonatas is generally regarded as one of Bach's masterpieces for organ. The sonatas are also considered to be amongst his most difficult compositions for the instrument.
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.
The organ concertos of Johann Sebastian Bach are solo works for organ, transcribed and reworked from instrumental concertos originally composed by Antonio Vivaldi and the musically talented Prince Johann Ernst of Saxe-Weimar. While there is no doubt about the authenticity of BWV 592–596, the sixth concerto BWV 597 is now probably considered to be spurious. Composed during Bach's second period at the court in Weimar (1708–1717), the concertos can be dated more precisely to 1713–1714.
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 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.
Grosso mogul, also Il grosso mogul, or capitalised [Il] Grosso Mogul, RV 208, is a violin concerto in D major by Antonio Vivaldi. The concerto, in three movements, is an early work by the Venetian composer. Around the mid-1710s Johann Sebastian Bach transcribed the concerto for organ, BWV 594, in C major. A simplified version of the violin concerto, RV 208a, without the elaborated cadenzas that appear in manuscript versions of RV 208, and with a different middle movement, was published around 1720 in Amsterdam as concerto #11 of Vivaldi's Op. 7.
, in ritornello form in E major
