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Toccata in E minor‚ composed for harpsichord‚ dates from 1707-11. An exploratory prelude first tests the possibilities of a three-note gesture‚ constructed of a small dip down and then a return to the starting note. When a four-voice fugue enters‚ it incorporates that same three-note motive within its subject. After the fugue‚ a free-flowing Adagio brings back the improvisatory mood‚ until it connects to a new fugue‚ this one weaving a fluid‚ perpetual-motion subject into counterpoint for three voices
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(1685-1750) Johann Sebastian Bach‚ a Baroque composer‚ is widely recognized for his contrapuntal music‚ characterized by many notes‚ simple rhythms‚ and steady shifts of underlying harmony. Bach is not only known for his vast compositions‚ which consist of hundreds of choral and instrumental works‚ but was also as an astoundingly gifted organ player and improviser. Compared to the other composers in his time‚ Bach explored much more harmony in his music. Bach’s music can contain extraordinarily ’jazzy’
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Johanna Sebastian Bach was a composer of the Baroque era‚ the most celebrated member of a large family of northern German musicians. Although he was admired by his contemporaries primarily as an outstanding harpsichordist‚ organist‚ and expert on organ building. Bach is now generally regarded as one of the greatest composers of all time and is celebrated as the creator of the Brandenburg Concertos‚ The Well-Tempered Clavier‚ the Mass in B Minor‚ and numerous other masterpieces of church and instrumental
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Mozart‚ Piano Concerto No. 21‚ in C‚mvt. ii (MEB 1/4) chromatic Fryderyk Chopin‚ Prelude in F minor‚ Op. 28 No. 18 Texture: Monophonic Hildegard of Bingen‚ Columbia aspexit (L 1/8) Homophonic Wolfgang A. Mozart‚ Piano Concerto No. 21‚ in C‚mvt. ii (MEB 1/4) Ludwig van Beethoven‚ The Ruins of Athens‚ “Turkish March” (MEB 1/9) Polyphonic‚ imitative Johann Sebastian Bach‚ The Art of Fugue‚ Contrapuntcus 1 Polyphonic‚ nonimitative Sergey Prokofiev‚ Montagues and
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Handel. He also has a touch of modernity in his music. His music has gone through all the centuries to be still played and studied today‚ in music schools‚ in conservatories‚ through private teachers all over the World. His works like the suites‚ fugues or chorales and Church Cantatas as of his richness of polyphonic texture and rich harmonies are still studied and admired by the greatest artists. We will try to develop and analyze his period and the works he created as well as their impact on the
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Sebastian Bach was one of the greatest composers in Western musical history. More than 1‚000 of his compositions survive. Some examples are the Art of Fugue‚ Brandenburg Concerti‚ the Goldberg Variations for Harpsichord‚ the Mass in B-Minor‚ the motets‚ the Easter and Christmas oratorios‚ Toccata in F Major‚ French Suite No 5‚ Fugue in G Major‚ Fugue in G Minor ("The Great")‚ St. Matthew Passion‚ and Jesu Der Du Meine Seele. He came from a family of musicians. There were over 53 musicians in his family
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texture prevails in many composers works. The music gives a sense of drama and urgency is incorporated into in vocal forms such as the cantata‚ mass‚ opera‚ oratorio and passion‚ and in instrumental forms such as the concerto‚ concerto grosso‚ prelude‚ fugue‚ toccata sonata and suite. Vibrant rhythms and expressive dissonances heighten tension in many Baroque works. Much of the Baroque keyboard music written for the harpsichord and clavichord was written in suites comprising separate dance pieces
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Bach is known for repeating a lot according to Johann Mattheson‚ and his playing skill on organ during that that was one of a kind where no one can compare. Even though during that time period there are other great player such as Frescobaldi and Carissimi‚ but Bach’s abilities to perform on keyboard have been way higher than their skill. In addition‚ Bach uses his composition as etude to help his student to master the skill on playing in clavier. He is known for adding ornamentation at the perfect
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Oratorio and cantata were two genres that re-emerged in the first half of the eighteenth century. They were already important musical alternatives to opera by the mid-seventeenth century‚ but differed in nearly every respect from the genres of the same names found in the early eighteenth century. As genres late in the period‚ they both bespoke the traditions from which they originally sprang and permitted new recombination of the musical elements of these same traditions. The oratorio and cantata
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