Bach was a prodigious skill at the keyboard, popular during his life time for both his technical and improvisational abilities. A lot of Bach’s keyboard works begun as improvisations. Bach composed commonly for the harpsichord, producing numerous innovations, suites, fugues, partitas, overtures, as well as keyboard plans of concerto music by his contemporaries. The fortepiano is an instrument Bach would have experienced as soon as, by the end of his life when it was just recently created, while visiting his child in Potsdam. The go to resulted in Das Musikalische Opfer, parts of which might have been intended for the new instrument.
Several of Bach’s works for keyboard were published in print in his own lifetime. Four such publications were given the name Clavier-Übung (Keyboard Practice) by the composer. Bach was not the very first to utilize that name, for example Bach’s Leipzig predecessor Johann Kuhnau had used it for 2 volumes released in the late 17th century. The very first volume, Bach’s Opus 1, was published in 1731, while the last was released a decade later. The first, second and last volume contain music composed for harpsichord, while the third was composed for the organ, only four duets consisted of because volume ending up in the BWV 772– 994 range.
Modern composers have actually continued to draw inspiration from Bach’s keyboard output. Dmitri Shostakovich, for instance, wrote his own set of Preludes and Fugues after the Bach model. Jazz artists and authors, in particular, have actually been drawn to the contrapuntal design, harmonic expansion and rhythmic expression of Bach’s structures, specifically the works for keyboard.
|Composer:||Bach, Johann Sebastian|
|Opus/Catalogue Number:||BWV 910 ; BC L146|
|I-Catalogue Number:||IJB 634|
|Movements/Sections:||[No Tempo] – 199 bars|
|Year/Date of Composition:||1712|