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Ich freue mich in dir (I rejoice in you), BWV 133, is a church cantata by Johann Sebastian Bach. He composed the Christmas cantata in Leipzig in 1724 for the Third Day of Christmas and first performed it on 27 December 1724. The chorale cantata is based on the hymn by Caspar Ziegler (1697). Bach wrote the chorale cantata in his second year in Leipzig for the Third Day of Christmas as part of his second annual cycle. The prescribed readings for the feast day were from the Epistle to the Hebrews, Christ is higher than the angels, (Hebrews 1:1–14) and the prologue of the Gospel of John, also called Hymn to the Word (John 1:1–14). The cantata is based on the chorale in four stanzas Ich freue mich in dir (1697) by Caspar Ziegler. It is one of the newest of the chorales which served as a base for the second annual cycle, whereas Bach otherwise preferred the beloved hymns of poets such as Martin Luther and Paul Gerhardt. The unknown poet of the cantata text kept the first and the last stanza, and paraphrased the inner stanzas closely to a sequence of recitative and aria. The text has no reference to the readings nor to the feast of John the Evangelist. It expresses the intimate joy of the individual believer about the presence of God in the Jesus child. Bach first performed the cantata on 27 December 1724. Bach's successor Johann Friedrich Doles performed the cantata after Bach's death. The chorale is sung on a variant of a melody of O Gott, du frommer Gott. This melody was probably new to Bach who noted it in the score of the Sanctus, which he also composed for Christmas in 1724 and later made part of his Mass in B minor. The cornetto plays the cantus firmus with the soprano, the oboes play with violin II and viola, whereas violin 1 "shines above the rest". The lower voices are set mostly in homophony, with the exception of expressing "Der große Gottessohn" (the great son of God). John Eliot Gardiner summarizes: "I find it hard to imagine music that conveys more persuasively the essence, the exuberance and the sheer exhilaration of Christmas than the opening chorus of BWV 133". While Bach's Weimar cantata Christen, ätzet diesen Tag, BWV 63, expressed a communal joy in two choral movements and two duets, a sequence of four movements for a single voice reflects the joy of the individual believer. The alto aria is accompanied by the two oboi d'amore, the soprano aria by the strings, changing from an even time in the outer sections to a siciliano in the middle section. The tenor recitative is marked adagio twice, once to stress "Der allerhöchste Gotte kehrt selber bei uns ein" (Almighty God Himself here visits us), finally to quote from the chorale in both words and music "Wird er ein kleines Kind und heißt mein Jesulein" (He has become a little child and is called my little Jesus). The cantata is closed by a four-part setting of the last chorale stanza. Although scored for four vocal soloists (soprano, alto, tenor, and bass), a four-part choir, cornett to double the chorale melody, two oboes d'amore, two violins, viola, and basso continuo, I created a French Horn Solo part and made this arrangement for French Horn & Strings (2 Violins, Viola & Cello). Sheet music made with MuseScore - https://musescore.com/mike_magatagan/...

The French Suites, BWV 812–817, are six suites which Johann Sebastian Bach wrote for the clavier (harpsichord or clavichord) between the years of 1722 and 1725. Although Suites 1–4 are typically dated to 1722, it is possible that the first was written somewhat earlier. The suites were later given the name 'French' (first recorded usage by Friedrich Wilhelm Marpurg in 1762). Likewise, the English Suites received a later appellation. The name was popularised by Bach's biographer Johann Nikolaus Forkel, who wrote in his 1802 biography of Bach, "One usually calls them French Suites because they are written in the French manner." This claim, however, is inaccurate: like Bach's other suites, they follow a largely Italian convention. There is no surviving definitive manuscript of these suites, and ornamentation varies both in type and in degree across manuscripts. The Courantes of the first (in D minor) and third (in B minor) suites are in the French style, the Courantes of the other four suites are all in the Italian style. In any case Bach also employed dance movements (such as the Polonaise of the Sixth suite) that are foreign to the French manner. Usually, the swift second movement after the Allemande is named either Courante (French style) or Corrente (Italian style), but in all these suites the second movements are named Courante, according to the Bach catalog listing, which supports the suggestion that these suites are "French". Some of the manuscripts that have come down to us are titled "Suites Pour Le Clavecin", which is what probably led to the tradition of calling them "French" Suites. Two additional suites, one in A minor (BWV 818), the other in E-flat Major (BWV 819), are linked to the familiar six in some manuscripts. The Overture in the French style, BWV 831, which Bach published as the second part of Clavier-Übung, is a suite in the French style but not connected to the French suites. Some manuscripts have movements not found in other copies, which are probably spurious. Source: Wikipedia (https://en.wikipedia.org/wiki/French_...)). Although originally written for Harpsichord. I created this Arrangement of the Allemande from the French Suite No. 2 in C Minor (BWV 813 No. 1) for Viola & Classical Guitar.

The French Suites, BWV 812–817, are six suites which Johann Sebastian Bach wrote for the clavier (harpsichord or clavichord) between the years of 1722 and 1725. Although Suites 1–4 are typically dated to 1722, it is possible that the first was written somewhat earlier. The suites were later given the name 'French' (first recorded usage by Friedrich Wilhelm Marpurg in 1762). Likewise, the English Suites received a later appellation. The name was popularised by Bach's biographer Johann Nikolaus Forkel, who wrote in his 1802 biography of Bach, "One usually calls them French Suites because they are written in the French manner." This claim, however, is inaccurate: like Bach's other suites, they follow a largely Italian convention. There is no surviving definitive manuscript of these suites, and ornamentation varies both in type and in degree across manuscripts. The Courantes of the first (in D minor) and third (in B minor) suites are in the French style, the Courantes of the other four suites are all in the Italian style. In any case Bach also employed dance movements (such as the Polonaise of the Sixth suite) that are foreign to the French manner. Usually, the swift second movement after the Allemande is named either Courante (French style) or Corrente (Italian style), but in all these suites the second movements are named Courante, according to the Bach catalog listing, which supports the suggestion that these suites are "French". Some of the manuscripts that have come down to us are titled "Suites Pour Le Clavecin", which is what probably led to the tradition of calling them "French" Suites. Two additional suites, one in A minor (BWV 818), the other in E-flat Major (BWV 819), are linked to the familiar six in some manuscripts. The Overture in the French style, BWV 831, which Bach published as the second part of Clavier-Übung, is a suite in the French style but not connected to the French suites. Some manuscripts have movements not found in other copies, which are probably spurious. Source: Wikipedia (https://en.wikipedia.org/wiki/French_...)). Although originally written for Harpsichord. I created this Arrangement of the Allemande from the French Suite No. 2 in C Minor (BWV 813 No. 1) for Viola & Classical Guitar.

Johann Sebastian Bach was born in Eisenach, the capital of the duchy of Saxe-Eisenach, in present-day Germany, on 21 March 1685 O.S. (31 March 1685 N.S.). He was the son of Johann Ambrosius Bach, the director of the town musicians, and Maria Elisabeth Lämmerhirt. The second surviving son of J.S. Bach, Carl Philipp Emanuel was the most innovative and idiosyncratic member of an extremely talented musical family. His music, unlike that of his father or that of the master he influenced, Haydn, did not define an era so much as reveal a deeply personal response to the musical conventions of his time. C.P.E. Bach could play his father's technically demanding keyboard pieces at sight by the time he was seven. Also an exceptional student in areas other than music, he enrolled at the University of Leipzig in 1731 to study law, then transferred to the University of Frankfurt an der Oder. He graduated in 1734, but remained in that backwater town giving keyboard lessons, involving himself in public concerts, and learning the composer's craft The Trio Sonata in D Minor (BWV 1036) has been questioned as to it's authorship but scholars believe that it was composed in 1731, when C.P.E. Bach was around 17 years old and revised in 1747, when Bach was around 33. Source: Allmusic(http://www.allmusic.com/composition/t...). Although originally written for 2 Violins & continuo, I created this Arrangement of the Trio Sonata in D Minor (BWV 1036) for Solo Pipe Organ (2 Manuals w/o Pedals).

The English Suites, BWV 806–811, are a set of six suites written by the German composer Johann Sebastian Bach for harpsichord and generally thought to be the earliest of his 19 suites for keyboard, the others being the six French Suites, BWV 812–817, the six Partitas, BWV 825-830 and the Overture in the French style, BWV 831. These six suites for keyboard are thought to be the earliest set that Bach composed. Originally, their date of composition was thought to have been between 1718 and 1720, but more recent research suggests that the composition was likely earlier, around 1715, while the composer was living in Weimar. Bach's English Suites display less affinity with Baroque English keyboard style than do the French Suites to French Baroque keyboard style; the name "English" is thought to date back to a claim made by the 19th-century Bach biographer Johann Nikolaus Forkel that these works might have been composed for an English nobleman, but no evidence has emerged to substantiate this claim. It has also been suggested that the name is a tribute to Charles Dieupart, whose fame was greatest in England, and on whose Six Suittes de clavessin Bach's English Suites were in part based. Surface characteristics of the English Suites strongly resemble those of Bach's French Suites and Partitas, particularly in the sequential dance-movement structural organization and treatment of ornamentation. These suites also resemble the Baroque French keyboard suite typified by the generation of composers including Jean-Henri d'Anglebert, and the dance-suite tradition of French lutenists that preceded it. In the English Suites especially, Bach's affinity with French lute music is demonstrated by his inclusion of a prelude for each suite, departing from an earlier tradition of German derivations of French suite (those of Johann Jakob Froberger and Georg Boehm are examples), which saw a relatively strict progression of the dance movements (Allemande, Courante, Sarabande and Gigue) and which did not typically feature a Prelude. Unlike the unmeasured preludes of French lute or keyboard style, however, Bach's preludes in the English Suites are composed in strict meter. Source: Wikipedia (https://en.wikipedia.org/wiki/English...)). Although originally written for Harpsichord. I created this arrangement of the Gigue from the English Suite No. 3 in G Minor (BWV 808 No. 6) for String Trio (Violin, Viola & Cello). Sheet music made with MuseScore - https://musescore.com

The Goldberg Variations (BWV 988) is a work written for harpsichord by Johann Sebastian Bach, consisting of an aria and a set of 30 variations. First published in 1741, the work is considered to be one of the most important examples of variation form. The Variations are named after Johann Gottlieb Goldberg, who may have been the first performer. Rather unusually for Bach's works, the Goldberg Variations were published in his own lifetime, in 1741. The publisher was Bach's friend Balthasar Schmid of Nuremberg. Schmid printed the work by making engraved copper plates (rather than using movable type); thus the notes of the first edition are in Schmid's own handwriting. It is difficult to believe that Bach would have published a commissioned work without any dedication to either Keyserlingk or Goldberg, which makes the story doubtful, along with the fact that Goldberg was only 14 at the time. Goldberg, however, was a renowned prodigy, and there are links between Bach and Keyserlingk. Bach may have given Keyserlingk a copy of the printed edition and received a reward for it. The aria which is the subject of the variations is an original creation, an elegantly serene sarabande which contains everything Bach needs for a vast universe of variation. Do not listen for that exquisite tune in the variations, however. Only some unifying cadential phrasing survives Bach’s transformations, which are based on the aria’s architecture and harmonic pattern, particularly the bass line, making the Goldberg Variations a sort of mega passacaglia or chaconne. As András Schiff wrote in the liner notes for his live recording of the “Goldberg” Variations: “ ‘Aller guten Dinge sind drei’ – All good things are three, thus the 30 variations are divided into ten groups of three. Each group contains a brilliant virtuoso toccata-like piece, a gentle and elegant character piece, and a strictly polyphonic canon. The canons are presented in a sequence of increasing intervals, starting with the canon in unison up until the canon in ninths. In place of the canon in tenths we have a quodlibet (what pleases), which combines fragments of two folk songs with the ground bass. The tonality remains G major for the most part, with shadows of tonic minor in three variations (Nos. 15, 21, & 25).” -John Henken The work consists of an aria (sarabande) in 3/4 time, and features a heavily ornamented melody followed by 30 variations. Source: Wikipedia (https://en.wikipedia.org/wiki/Goldber...) Although originally written for Harpsichord. I created this Arrangement of the Goldberg Variations (BWV 988) for Organ (2 Manuals w/o Pedals).

As organist at Weimar, Johann Sebastian Bach was charged with providing a harmonic underpinning for the singing of Lutheran chorale tunes chosen for each day. Bach wrote out many of these harmonizations, in part as instruction for younger composers (they are still used for this purpose). A derivation of this practice, Bach's conception of the organ chorale, as manifested in the chorale preludes, dates from 1713 -1714, about the time he became familiar with Vivaldi's concertos. Bach's Orgelbüchlein (Little Organ Book) contains chorale preludes for the church year written during the composer's service at Weimar (1708 - 1717). In about 1713, Bach began assembling the Orgel-Büchlein, and his earliest entries seem to be Her Christ, der ein'ge Gottes-Sohn, BWV 601, In dulci jubilo, BWV 608, Christ ist erstanden, BWV 627, and Heut' triumphieret Gottes Sohn, BWV 630. These were very original compositions, highly expressive miniatures based on a chorale melody, supported with refined counterpoint, and featuring highly condensed motivic writing. Bach's Orgelbüchlein was essentially complete by 1716. Only the fragment O Traurigkeit and the chorale prelude, Helft mir Gottes Güte preisen, BWV 613, were added later. "Complete" is used with some reservation here, because Bach originally projected 164 pieces but completed fewer than 50. In Bach's manuscript, pages with finished pieces alternate with blank ones intended for other chorale preludes. The later pieces differ from Bach's earlier chorale elaborations, in that they contain only one statement of the melody and are intended to demonstrate how to accompany a chorale with contrapuntally proper figurations that support the meaning of the text. This is one of Bach's large-scale chorale preludes, having both a sizeable scope and substantial length. Lasting about ten minutes, "Herr Gott, dich loben wir" (Lord God, we praise You) features a relatively terse theme and a cantus firmus in the upper register appearing throughout the work. This effort is the Germanic counterpart to the Te Deum and is one of Bach's more challenging compositions for organists, not so much because of technical considerations, but primarily owing to interpretive ones. In the wrong hands, the work can sound repetitive and lacking in color, leaving its audience bored. Good organists capture Bach's subtle developmental and motivic workings and his masterful sense for atmosphere. The work opens with the theme presented in a fairly straightforward and somber manner. Brief pauses at the ends of phrases give the music a sort of stop-and-start gait. Soon the pacing exhibits more animation and while the music retains its hesitant movement forward, it develops a more emphatic and more epic manner as if Bach has converted what seemed a limp into a steady proud stride. Textures gradually fatten, too, and the work takes on a more epic demeanor coupled with a growing sense of expectation. Bach makes the music sprout new motives and subtle contrapuntal ideas, in the end producing a work whose subtle nuances and expressive depth will reward the patient listener Source: Allmusic (http://www.allmusic.com/composition/h...). Although originally written for Pipe Organ, I created this Interpretation of the Chorale Prelude (BWV 725) "Herr Gott, dich loben wir" (Lord God, we praise You) for Wind Quintet (Flute, Oboe, English Horn, French Horn & Bassoon). Sheet music made with MuseScore - https://musescore.com

The French Suites, BWV 812–817, are six suites which Johann Sebastian Bach wrote for the clavier (harpsichord or clavichord) between the years of 1722 and 1725. Although Suites 1–4 are typically dated to 1722, it is possible that the first was written somewhat earlier. The suites were later given the name 'French' (first recorded usage by Friedrich Wilhelm Marpurg in 1762). Likewise, the English Suites received a later appellation. The name was popularised by Bach's biographer Johann Nikolaus Forkel, who wrote in his 1802 biography of Bach, "One usually calls them French Suites because they are written in the French manner." This claim, however, is inaccurate: like Bach's other suites, they follow a largely Italian convention. There is no surviving definitive manuscript of these suites, and ornamentation varies both in type and in degree across manuscripts. The Courantes of the first (in D minor) and third (in B minor) suites are in the French style, the Courantes of the other four suites are all in the Italian style. In any case Bach also employed dance movements (such as the Polonaise of the Sixth suite) that are foreign to the French manner. Usually, the swift second movement after the Allemande is named either Courante (French style) or Corrente (Italian style), but in all these suites the second movements are named Courante, according to the Bach catalog listing, which supports the suggestion that these suites are "French". Some of the manuscripts that have come down to us are titled "Suites Pour Le Clavecin", which is what probably led to the tradition of calling them "French" Suites. Two additional suites, one in A minor (BWV 818), the other in E-flat Major (BWV 819), are linked to the familiar six in some manuscripts. The Overture in the French style, BWV 831, which Bach published as the second part of Clavier-Übung, is a suite in the French style but not connected to the French suites. Some manuscripts have movements not found in other copies, which are probably spurious. Source: Wikipedia (https://en.wikipedia.org/wiki/French_...)). Although originally written for Harpsichord. I created this Arrangement of the Sarabande from the French Suite No. 1 in D Minor (BWV 812 No. 3) for Oboe & String Trio (Violin, Viola & Cello). Sheet music made with MuseScore - https://musescore.com

Ich freue mich in dir (I rejoice in you), BWV 133, is a church cantata by Johann Sebastian Bach. He composed the Christmas cantata in Leipzig in 1724 for the Third Day of Christmas and first performed it on 27 December 1724. The chorale cantata is based on the hymn by Caspar Ziegler (1697). Bach wrote the chorale cantata in his second year in Leipzig for the Third Day of Christmas as part of his second annual cycle. The prescribed readings for the feast day were from the Epistle to the Hebrews, Christ is higher than the angels, (Hebrews 1:1–14) and the prologue of the Gospel of John, also called Hymn to the Word (John 1:1–14). The cantata is based on the chorale in four stanzas Ich freue mich in dir (1697) by Caspar Ziegler. It is one of the newest of the chorales which served as a base for the second annual cycle, whereas Bach otherwise preferred the beloved hymns of poets such as Martin Luther and Paul Gerhardt. The unknown poet of the cantata text kept the first and the last stanza, and paraphrased the inner stanzas closely to a sequence of recitative and aria. The text has no reference to the readings nor to the feast of John the Evangelist. It expresses the intimate joy of the individual believer about the presence of God in the Jesus child. Bach first performed the cantata on 27 December 1724. Bach's successor Johann Friedrich Doles performed the cantata after Bach's death. The chorale is sung on a variant of a melody of O Gott, du frommer Gott. This melody was probably new to Bach who noted it in the score of the Sanctus, which he also composed for Christmas in 1724 and later made part of his Mass in B minor. The cornetto plays the cantus firmus with the soprano, the oboes play with violin II and viola, whereas violin 1 "shines above the rest". The lower voices are set mostly in homophony, with the exception of expressing "Der große Gottessohn" (the great son of God). John Eliot Gardiner summarizes: "I find it hard to imagine music that conveys more persuasively the essence, the exuberance and the sheer exhilaration of Christmas than the opening chorus of BWV 133". While Bach's Weimar cantata Christen, ätzet diesen Tag, BWV 63, expressed a communal joy in two choral movements and two duets, a sequence of four movements for a single voice reflects the joy of the individual believer. The alto aria is accompanied by the two oboi d'amore, the soprano aria by the strings, changing from an even time in the outer sections to a siciliano in the middle section. The tenor recitative is marked adagio twice, once to stress "Der allerhöchste Gotte kehrt selber bei uns ein" (Almighty God Himself here visits us), finally to quote from the chorale in both words and music "Wird er ein kleines Kind und heißt mein Jesulein" (He has become a little child and is called my little Jesus). The cantata is closed by a four-part setting of the last chorale stanza. Although scored for four vocal soloists (soprano, alto, tenor, and bass), a four-part choir, cornett to double the chorale melody, two oboes d'amore, two violins, viola, and basso continuo, I created a French Horn Solo part and made this arrangement for French Horn & Strings (2 Violins, Viola & Cello). Sheet music made with MuseScore - https://musescore.com/mike_magatagan/...

The French Suites, BWV 812–817, are six suites which Johann Sebastian Bach wrote for the clavier (harpsichord or clavichord) between the years of 1722 and 1725. Although Suites 1–4 are typically dated to 1722, it is possible that the first was written somewhat earlier. The suites were later given the name 'French' (first recorded usage by Friedrich Wilhelm Marpurg in 1762). Likewise, the English Suites received a later appellation. The name was popularised by Bach's biographer Johann Nikolaus Forkel, who wrote in his 1802 biography of Bach, "One usually calls them French Suites because they are written in the French manner." This claim, however, is inaccurate: like Bach's other suites, they follow a largely Italian convention. There is no surviving definitive manuscript of these suites, and ornamentation varies both in type and in degree across manuscripts. The Courantes of the first (in D minor) and third (in B minor) suites are in the French style, the Courantes of the other four suites are all in the Italian style. In any case Bach also employed dance movements (such as the Polonaise of the Sixth suite) that are foreign to the French manner. Usually, the swift second movement after the Allemande is named either Courante (French style) or Corrente (Italian style), but in all these suites the second movements are named Courante, according to the Bach catalog listing, which supports the suggestion that these suites are "French". Some of the manuscripts that have come down to us are titled "Suites Pour Le Clavecin", which is what probably led to the tradition of calling them "French" Suites. Two additional suites, one in A minor (BWV 818), the other in E-flat Major (BWV 819), are linked to the familiar six in some manuscripts. The Overture in the French style, BWV 831, which Bach published as the second part of Clavier-Übung, is a suite in the French style but not connected to the French suites. Some manuscripts have movements not found in other copies, which are probably spurious. Source: Wikipedia (https://en.wikipedia.org/wiki/French_...)). Although originally written for Harpsichord. I created this Arrangement of the Allemande from the French Suite No. 2 in C Minor (BWV 813 No. 1) for Viola & Classical Guitar.

Johann Sebastian Bach was born in Eisenach, the capital of the duchy of Saxe-Eisenach, in present-day Germany, on 21 March 1685 O.S. (31 March 1685 N.S.). He was the son of Johann Ambrosius Bach, the director of the town musicians, and Maria Elisabeth Lämmerhirt. The second surviving son of J.S. Bach, Carl Philipp Emanuel was the most innovative and idiosyncratic member of an extremely talented musical family. His music, unlike that of his father or that of the master he influenced, Haydn, did not define an era so much as reveal a deeply personal response to the musical conventions of his time. C.P.E. Bach could play his father's technically demanding keyboard pieces at sight by the time he was seven. Also an exceptional student in areas other than music, he enrolled at the University of Leipzig in 1731 to study law, then transferred to the University of Frankfurt an der Oder. He graduated in 1734, but remained in that backwater town giving keyboard lessons, involving himself in public concerts, and learning the composer's craft The Trio Sonata in D Minor (BWV 1036) has been questioned as to it's authorship but scholars believe that it was composed in 1731, when C.P.E. Bach was around 17 years old and revised in 1747, when Bach was around 33. Source: Allmusic(http://www.allmusic.com/composition/t...). Although originally written for 2 Violins & continuo, I created this Arrangement of the Trio Sonata in D Minor (BWV 1036) for Solo Pipe Organ (2 Manuals w/o Pedals).

The English Suites, BWV 806–811, are a set of six suites written by the German composer Johann Sebastian Bach for harpsichord and generally thought to be the earliest of his 19 suites for keyboard, the others being the six French Suites, BWV 812–817, the six Partitas, BWV 825-830 and the Overture in the French style, BWV 831. These six suites for keyboard are thought to be the earliest set that Bach composed. Originally, their date of composition was thought to have been between 1718 and 1720, but more recent research suggests that the composition was likely earlier, around 1715, while the composer was living in Weimar. Bach's English Suites display less affinity with Baroque English keyboard style than do the French Suites to French Baroque keyboard style; the name "English" is thought to date back to a claim made by the 19th-century Bach biographer Johann Nikolaus Forkel that these works might have been composed for an English nobleman, but no evidence has emerged to substantiate this claim. It has also been suggested that the name is a tribute to Charles Dieupart, whose fame was greatest in England, and on whose Six Suittes de clavessin Bach's English Suites were in part based. Surface characteristics of the English Suites strongly resemble those of Bach's French Suites and Partitas, particularly in the sequential dance-movement structural organization and treatment of ornamentation. These suites also resemble the Baroque French keyboard suite typified by the generation of composers including Jean-Henri d'Anglebert, and the dance-suite tradition of French lutenists that preceded it. In the English Suites especially, Bach's affinity with French lute music is demonstrated by his inclusion of a prelude for each suite, departing from an earlier tradition of German derivations of French suite (those of Johann Jakob Froberger and Georg Boehm are examples), which saw a relatively strict progression of the dance movements (Allemande, Courante, Sarabande and Gigue) and which did not typically feature a Prelude. Unlike the unmeasured preludes of French lute or keyboard style, however, Bach's preludes in the English Suites are composed in strict meter. Source: Wikipedia (https://en.wikipedia.org/wiki/English...)). Although originally written for Harpsichord. I created this arrangement of the Gigue from the English Suite No. 3 in G Minor (BWV 808 No. 6) for String Trio (Violin, Viola & Cello). Sheet music made with MuseScore - https://musescore.com

The Goldberg Variations (BWV 988) is a work written for harpsichord by Johann Sebastian Bach, consisting of an aria and a set of 30 variations. First published in 1741, the work is considered to be one of the most important examples of variation form. The Variations are named after Johann Gottlieb Goldberg, who may have been the first performer. Rather unusually for Bach's works, the Goldberg Variations were published in his own lifetime, in 1741. The publisher was Bach's friend Balthasar Schmid of Nuremberg. Schmid printed the work by making engraved copper plates (rather than using movable type); thus the notes of the first edition are in Schmid's own handwriting. It is difficult to believe that Bach would have published a commissioned work without any dedication to either Keyserlingk or Goldberg, which makes the story doubtful, along with the fact that Goldberg was only 14 at the time. Goldberg, however, was a renowned prodigy, and there are links between Bach and Keyserlingk. Bach may have given Keyserlingk a copy of the printed edition and received a reward for it. The aria which is the subject of the variations is an original creation, an elegantly serene sarabande which contains everything Bach needs for a vast universe of variation. Do not listen for that exquisite tune in the variations, however. Only some unifying cadential phrasing survives Bach’s transformations, which are based on the aria’s architecture and harmonic pattern, particularly the bass line, making the Goldberg Variations a sort of mega passacaglia or chaconne. As András Schiff wrote in the liner notes for his live recording of the “Goldberg” Variations: “ ‘Aller guten Dinge sind drei’ – All good things are three, thus the 30 variations are divided into ten groups of three. Each group contains a brilliant virtuoso toccata-like piece, a gentle and elegant character piece, and a strictly polyphonic canon. The canons are presented in a sequence of increasing intervals, starting with the canon in unison up until the canon in ninths. In place of the canon in tenths we have a quodlibet (what pleases), which combines fragments of two folk songs with the ground bass. The tonality remains G major for the most part, with shadows of tonic minor in three variations (Nos. 15, 21, & 25).” -John Henken The work consists of an aria (sarabande) in 3/4 time, and features a heavily ornamented melody followed by 30 variations. Source: Wikipedia (https://en.wikipedia.org/wiki/Goldber...) Although originally written for Harpsichord. I created this Arrangement of the Goldberg Variations (BWV 988) for Organ (2 Manuals w/o Pedals).

As organist at Weimar, Johann Sebastian Bach was charged with providing a harmonic underpinning for the singing of Lutheran chorale tunes chosen for each day. Bach wrote out many of these harmonizations, in part as instruction for younger composers (they are still used for this purpose). A derivation of this practice, Bach's conception of the organ chorale, as manifested in the chorale preludes, dates from 1713 -1714, about the time he became familiar with Vivaldi's concertos. Bach's Orgelbüchlein (Little Organ Book) contains chorale preludes for the church year written during the composer's service at Weimar (1708 - 1717). In about 1713, Bach began assembling the Orgel-Büchlein, and his earliest entries seem to be Her Christ, der ein'ge Gottes-Sohn, BWV 601, In dulci jubilo, BWV 608, Christ ist erstanden, BWV 627, and Heut' triumphieret Gottes Sohn, BWV 630. These were very original compositions, highly expressive miniatures based on a chorale melody, supported with refined counterpoint, and featuring highly condensed motivic writing. Bach's Orgelbüchlein was essentially complete by 1716. Only the fragment O Traurigkeit and the chorale prelude, Helft mir Gottes Güte preisen, BWV 613, were added later. "Complete" is used with some reservation here, because Bach originally projected 164 pieces but completed fewer than 50. In Bach's manuscript, pages with finished pieces alternate with blank ones intended for other chorale preludes. The later pieces differ from Bach's earlier chorale elaborations, in that they contain only one statement of the melody and are intended to demonstrate how to accompany a chorale with contrapuntally proper figurations that support the meaning of the text. This is one of Bach's large-scale chorale preludes, having both a sizeable scope and substantial length. Lasting about ten minutes, "Herr Gott, dich loben wir" (Lord God, we praise You) features a relatively terse theme and a cantus firmus in the upper register appearing throughout the work. This effort is the Germanic counterpart to the Te Deum and is one of Bach's more challenging compositions for organists, not so much because of technical considerations, but primarily owing to interpretive ones. In the wrong hands, the work can sound repetitive and lacking in color, leaving its audience bored. Good organists capture Bach's subtle developmental and motivic workings and his masterful sense for atmosphere. The work opens with the theme presented in a fairly straightforward and somber manner. Brief pauses at the ends of phrases give the music a sort of stop-and-start gait. Soon the pacing exhibits more animation and while the music retains its hesitant movement forward, it develops a more emphatic and more epic manner as if Bach has converted what seemed a limp into a steady proud stride. Textures gradually fatten, too, and the work takes on a more epic demeanor coupled with a growing sense of expectation. Bach makes the music sprout new motives and subtle contrapuntal ideas, in the end producing a work whose subtle nuances and expressive depth will reward the patient listener Source: Allmusic (http://www.allmusic.com/composition/h...). Although originally written for Pipe Organ, I created this Interpretation of the Chorale Prelude (BWV 725) "Herr Gott, dich loben wir" (Lord God, we praise You) for Wind Quintet (Flute, Oboe, English Horn, French Horn & Bassoon). Sheet music made with MuseScore - https://musescore.com

The French Suites, BWV 812–817, are six suites which Johann Sebastian Bach wrote for the clavier (harpsichord or clavichord) between the years of 1722 and 1725. Although Suites 1–4 are typically dated to 1722, it is possible that the first was written somewhat earlier. The suites were later given the name 'French' (first recorded usage by Friedrich Wilhelm Marpurg in 1762). Likewise, the English Suites received a later appellation. The name was popularised by Bach's biographer Johann Nikolaus Forkel, who wrote in his 1802 biography of Bach, "One usually calls them French Suites because they are written in the French manner." This claim, however, is inaccurate: like Bach's other suites, they follow a largely Italian convention. There is no surviving definitive manuscript of these suites, and ornamentation varies both in type and in degree across manuscripts. The Courantes of the first (in D minor) and third (in B minor) suites are in the French style, the Courantes of the other four suites are all in the Italian style. In any case Bach also employed dance movements (such as the Polonaise of the Sixth suite) that are foreign to the French manner. Usually, the swift second movement after the Allemande is named either Courante (French style) or Corrente (Italian style), but in all these suites the second movements are named Courante, according to the Bach catalog listing, which supports the suggestion that these suites are "French". Some of the manuscripts that have come down to us are titled "Suites Pour Le Clavecin", which is what probably led to the tradition of calling them "French" Suites. Two additional suites, one in A minor (BWV 818), the other in E-flat Major (BWV 819), are linked to the familiar six in some manuscripts. The Overture in the French style, BWV 831, which Bach published as the second part of Clavier-Übung, is a suite in the French style but not connected to the French suites. Some manuscripts have movements not found in other copies, which are probably spurious. Source: Wikipedia (https://en.wikipedia.org/wiki/French_...)). Although originally written for Harpsichord. I created this Arrangement of the Sarabande from the French Suite No. 1 in D Minor (BWV 812 No. 3) for Oboe & String Trio (Violin, Viola & Cello). Sheet music made with MuseScore - https://musescore.com