The second complete choral prelude from the “Zweiter Versuch in figurirten Choräle und Fugen”, by Friedrich Wilhelm Marpurg, is a prelude to the choral “Mir nach spricht Christus under Held”. It is a lively...
The second appendix to the catalogue of compositions by Johann Sebastian Bach, contains the works of which Bach’s authorship is doubtful. Of some of these compositions one wonders why they ever made to this...
Of Marpurg’s didactical writings, the Abhandlung von der Fuge (1753–4) is a authoritative discussion of fugal practice in late Baroque music. Marpurg’s descriptions of small- and large-scale contrapuntal and fugal procedures, based largely on...
Of Marpurg’s didactical writings, the Abhandlung von der Fuge (1753–4) is a authoritative discussion of fugal practice in late Baroque music. Marpurg’s descriptions of small- and large-scale contrapuntal and fugal procedures, based largely on...
Following the series of Caprici, based on composition by Sebastian Anton Scherer, manuscript Am.B. 340 contains several caprici based on compositions by Francois Roberday. I already published one of them, the Capricio in g....
The Bayerische Staatsbibliothek in München owns two collections of choral preludes and fugues by Friedrich Wilhelm Marpurg. The compositions by Marpurg’s hand that I published till now were transcribed from the first collection. The...
Marpurg’s prelude to the chorale “Herr, ich habe misgehandelt” is one of Marpurg’s more ambitious compositions. The choral melody is played with the pedals, while the hands play an elaborated accompaniment. The soprano voice...
Karges’ Capricio Septimi Toni is based on Sebastian Anton Scherer’s Intonatios Tertia and Secunda Septimi Toni. As with the Capricio in G the composition is almost identical to Scherer’s original. Karges omits some of...
A few days ago I published the score of one of the compositions of which Bach’s authorship is doubtful, namely the choral prelude “Wer nur den lieben Gott lässt walten” (BWV Anh. II 68)....
The melody of “Werde munter mein Gemüthe” is the same as the melody of “Freu dich sehr o meine Seele”. And Marpurg is not the first one who realises that the melody lends itself...
Karges’ Capricio in G is based on Scherer’s Intonatios Tertia and Secunda Octavi Toni. The composition is almost identical to Scherer’s original. Karges only glues them together to create a two movement composition in...
The melody of “Wer nur den lieben Gott lässt walten” is of itself already a bit chromatic. Marpurg enhances this aspect in his prelude based on this melody, and creates a composition full of...
Manuscript Mus ms P285, Rara lb 36 contains two compositions that were presumably not written by Johann Sebastian Bach. Hence their inclusion in the second supplement of the catalogue of Bach’s compositions that contains...
Karges’ Capricio Secundi Toni is based on Scherer’s Intonatio Tertia Secundi Toni. Scherer’s original only makes up the first half of Karges’ composition. Karges adds four bars to Scherer’s original before coming to a...
In his prelude to “Schmücke dich, o liebe Seele” Marpurg uses the same procedure as in het preludes to “Was Gott thut das ist wohlgetan”, “Von Gott will ich nicht lassen” and “Aus tiefer...
