Johann Sebastian Bach (1685-1750)
Nationality:
German
Born: March 21, 1685, Eisenach Died: July 28, 1750, Leipzig (age 65)
The Musical Offering [Das Musikalisches Opfer], BWV 1079
| 6:30 | I. | Ricercar a 3 | |
| 1:07 | II. | Canon perpetuus super Thema Regium | |
| 1:17 | III. | Canon a 2 cancrizans | |
| 0:50 | IV. | Canon a 2 violini in Unisono | |
| 1:05 | V. | Canon a 2 per Motum contrarium | |
| 1:47 | VI. | Canon a 2 per Augmentationem, contrario Motu | |
| 3:08 | VII. | Canon a 2 per tonos | |
| 2:34 | VIII. | Fuga canonica in Epidiapente | |
| 6:50 | IX. | Ricercar a 6 | |
| 1:26 | X. | Canon a 2 Quaerendo invenietis | |
| 2:14 | XI. | Canon a 4 Quaerendo invenietis | |
| 6:12 | XII. | Sonata sopr' il Sogetto Reale a Traversa, Violino e Continuo. Largo | |
| 2:52 | XIII. | Allegro | |
| 3:21 | XIV. | Andante | |
| 5:28 | XV. | Allegro | |
| 2:48 | XVI. | Canon perpetuus |
Duration: 54 minutes (approximately)
Composed:
1747 (age 61-62)
3 recordings,
18 videos
autoopen
autoplay
6:30
Barthold Kuijken, at. al.
I.
Ricercar a 3
1:07
Barthold Kuijken, at. al.
II.
Canon perpetuus super Thema Regium
1:17
Barthold Kuijken, at. al.
III.
Canon a 2 cancrizans
0:50
Barthold Kuijken, at. al.
IV.
Canon a 2 violini in Unisono
1:05
Barthold Kuijken, at. al.
V.
Canon a 2 per Motum contrarium
1:47
Barthold Kuijken, at. al.
VI.
Canon a 2 per Augmentationem, contrario Motu
3:08
Barthold Kuijken, at. al.
VII.
Canon a 2 per tonos
2:34
Barthold Kuijken, at. al.
VIII.
Fuga canonica in Epidiapente
6:50
Barthold Kuijken, at. al.
IX.
Ricercar a 6
1:26
Barthold Kuijken, at. al.
X.
Canon a 2 Quaerendo invenietis
2:14
Barthold Kuijken, at. al.
XI.
Canon a 4 Quaerendo invenietis
6:12
Barthold Kuijken, at. al.
XII.
Sonata sopr' il Sogetto Reale a Traversa, Violino e Continuo. Largo
2:52
Barthold Kuijken, at. al.
XIII.
Allegro
3:21
Barthold Kuijken, at. al.
XIV.
Andante
5:28
Barthold Kuijken, at. al.
XV.
Allegro
2:48
Barthold Kuijken, at. al.
XVI.
Canon perpetuus
57:12
Sonnleitner, Schaumann, Brunmayr-Tutz, Jochem
52:51
Menuhin, et. al.
Related Composers
Johann Christoph Friedrich Bach (1732-1795)
Son
Nationality:
German
Born: June 21, 1732, Leipzig Died: January 26, 1795, Bückeburg (age 62)
Carl Philipp Emanuel Bach (1714-1788)
Son
Nationality:
German
Born: March 8, 1714, Weimar Died: December 14, 1788, Hamburg (age 74)
Johann Christian Bach (1735-1782)
Son
Nationality:
German
Born: September 5, 1735, Leipzig Died: January 1, 1782, London (age 46)
Wilhelm Friedemann Bach (1710-1784)
Son
Nationality:
German
Born: November 22, 1710, Weimar Died: July 1, 1784, Berlin (age 73)
glossary
- allegro [I]—fast, lively tempo. From the Italian word for cheerful or gay.
- andante [I]—moderately slow tempo (e.g. walking). Faster than adagio but slower than allegretto
- augmentation, augmentationem [G]—transformation of a subject (theme) by making the note values longer
- cancrizans—"crab canon", a canon melody in retrograde motion (e.g. moving backwards).
- canon, kanon [G]—a strict form of polyphonic, contrapuntal imitation where a series of staggered parts share the same melodic material separated by time and possibly an interval creating both linear and horizontal counterpoint; a simple form of canon is a round (e.g. "Row, Row, Row your Boat")
- chamber music, Kammermusik [G], musique de chambre [F], musica da camera [I], musica cameralis [L]—"Classical Music" for a small ensemble, generally 8 or fewer players with a canonical emphasis on 3-6 players. explore
- continuo, basso continuo, b.c., figured bass, thorough bass, basse chifrée—During the Baroque Era, a term for an improvised (realized) instrumental accompaniment specified by a symbolic notation for chords and a written bass line (i.e. figured bass). A continuo "part" usually implies multiple (but typically unspecified) instruments, e.g. one for a strong bass line (e.g. cello) and another for chords (e.g. lute, keyboard, organ). A continuo part may be realized by keyboard alone, and sometimes played by a bass melody instrument alone (without harmonies). wiki
- contrary motion, contrario motu [L], Motum contrarium—typically implies retrograde motion, e.g. moving "backward" through a subject or theme
- Epidiapente [Greek], diapente—5th; [at] the 5th interval
- fugue, fuga, fuge [G], fuguette, fugen [G,pl]—a contrapuntal procedure (form) involving a musical subject (theme) that is successively imitated by multiple overlapping voices. There is a vast canon of rules (concepts) for creating elaborate and diverse fugues with an infinite variety of character based on fairly specific parameters. Fugues (or partial fugato) are found throughout classical music from the late Renaissance to the present.
- largo—slow, solemn, sustained.slower than lento. faster than grave
- perpetuus [L]—perpetual; used with compositions (typically canons) to indicate a piece that "never ends", e.g. its ending "logically" segues back into its beginning
- ricercar, ricercare, ricercate, recercada—instrumental composition from the late Renaissance and early Baroque with a variety of meanings and types. Typically a "searching", exploratory piece in the manner of a prelude, toccata or fugue. Generally, an early type of fugue.
- soggetto, soggetti (pl)—a musical subject or theme; typically used for contrapuntal writing such as a fugue and may well imply a relatively short subject.
- Super, sopra [I], sopr'—on, about
- trio sonata, sonate en trio, sonata a tre—one of the chief forms of chamber music in the Baroque era. Trio indicates three components: 2 soloists and continuo (accompaniment). Typically comprises four movements in one of many specific plans.
- Unisono—unison, starting from the same interval. Used with canons to indicate that all parts start on the same note.