{"id":377,"date":"2012-12-02T18:25:28","date_gmt":"2012-12-02T18:25:28","guid":{"rendered":"http:\/\/faculty.wpengine.com\/david-schulenberg\/?page_id=377"},"modified":"2014-03-11T19:14:38","modified_gmt":"2014-03-11T19:14:38","slug":"w-f-bach-examples","status":"publish","type":"page","link":"https:\/\/faculty.wagner.edu\/david-schulenberg\/w-f-bach-examples\/","title":{"rendered":"W. F. Bach examples"},"content":{"rendered":"

Examples for\u00a0The Music of Wilhelm Friedemann Bach<\/em>\u00a0by David Schulenberg (University of Rochester Press, 2010)<\/strong><\/p>\n

Click below to view the example in score or to hear a synthesized audio version. If you are viewing the example, use the \u201cback\u201d button of your browser to return to this page.<\/p>\n

A few examples comprise more than one page. In those cases, the second page is shown as a separate image, but a single audio file contains the content of both pages.<\/p>\n

If your browser does not display the staff lines of the examples properly, try zooming in to the example (increase the magnification of your browser display from 100% to 125% or 150%).<\/p>\n

Chapter 1<\/strong><\/p>\n

Example 1.1. Sonata in E-flat, F. 5, mvt. 1, mm. 1\u20133:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 1.2. C. P. E. Bach, Concerto in D minor for keyboard and strings, W. 23, mvt. 1, mm. 1\u20138 (viola omitted):\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 1.3. Concerto in D, F. 41, mvt. 1, mm. 1\u20135:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 1.4. Concerto in E-flat, F. 42, mvt. 1, (a) mm. 1\u20134, (b) mm. 35b\u201338:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 1.5. (a) Sonata in E-flat, F. 5, mvt. 1, mm. 9\u201314; (b) Concerto in E-flat, F. 42, mvt. 1, mm. 55\u201357 (keyboard part only):\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 1.6. Concerto in F, F. 44, mvt. 3, mm. 104\u20137 (keyboard part only). In passagework, the direction of the note stems identifies which hand plays (upward stem = right hand, downward stem = left hand):\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 1.7. Sonata in C, F. 1, mvt. 1: (a) early version (F. 1B), mm. 13\u201315; (b) later version (F. 1A), mm. 12\u201314:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 1.8. Flute Concerto, mvt. 1, mm. 13\u201314:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Chapter 2<\/strong><\/p>\n

Example 2.1. Two-part invertible counterpoint from SA 3650, p. 5, staves 1\u20132. Examples (a) and (d) are in Friedemann’s hand, the remainder in Sebastian’s.\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 2.2. Two-part invertible counterpoint from SA 3650, p. 5, staves 17\u201318. Example (a) is in Sebastian’s hand, (b) in Friedemann’s.\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 2.3. Two-part counterpoint from SA 3650, p. 6, staves 1\u20132. The top staff of the example is a reconstruction of the original version of the embellished upper line.\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 2.4a. Trio sonata in D for two flutes and basso continuo, F. 47, mvt. 1, mm. 8\u201310:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 2.4b. Sinfonia in F for strings and continuo, F. 67, mvt. 3, mm. 1\u20136:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 2.5a. J. G. Graun, Sonata 6 in G for violin and basso continuo, GraunWV A:XVII:6, mvt. 1, mm. 1\u20132:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 2.5b. J. S. Bach, Partita in G, BWV 829, mvt. 1, mm. 1\u20134:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 2.6. J. G. Graun, Sonata 5 in G minor for violin and basso continuo, GraunWV A:XVII:7, mvt. 2, mm. 60\u201361, 65b\u201367:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 2.7. J. G. Graun (?), Sonata in C minor for viola and obbligato keyboard, GraunWV Av:XV:20, mvt. 2, mm. 13\u201316a:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 2.8. J. G. Graun (?), Sonata in C minor for viola and obbligato keyboard, GraunWV Av:XV:20, mvt. 1, mm. 1\u20138:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 2.9. J. G. Graun, Concerto in C minor for violin, viola da gamba, strings, and continuo, GraunWV A:XIII:3, mvt. 1, mm. 27\u201335 (gamba and continuo parts only):\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 2.10. (a) Fantasia in E minor, F. 21, mm. 19b\u201321; (b) J. C. Bach, Sonata in C minor, op. 17, no. 2, mm. 30\u201334:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 2.11. Concerto in F for two keyboards, F. 10, mvt. 3, mm. 40\u201348:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 2.12. C. P. E. Bach, \u201cW\u00fcrttemberg\u201d Sonata no. 1 in A minor, W. 49\/1, mvt. 1, (a) mm. 1\u20132, (b) mm. 9b\u201312a:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 2.13. Sonata in D, F. 3, mvt. 1, (a) mm. 1\u20134, (b) mm. 15\u201318:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 2.14. (a) Sonata in E-flat, F. 5, mvt. 3, mm. 1\u20136; (b) C. P. E. Bach, Sonata in E-flat, W. 65\/7 (early version), mvt. 3, mm. 1\u20137:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 2.15. (a) Sonata in F, F. 202, mvt. 1, mm. 1\u201312; (b) Italian Concerto in F, BWV 971, mvt. 1, mm. 1\u20138:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 2.16. Flute Concerto, mvt. 1, mm. 9\u201311:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 2.17. Concerto in A minor, F. 45, mvt. 3 (outer parts only; the draft lacks inner voices): (a) rejected draft; (b) final version, mm. 1\u201320:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 2.18. Concerto in E-flat, F. 42, mvt. 1, mm. 1\u201329 (opening ritornello):
\ngraphic (p. 1)
\n<\/a>graphic (p. 2)
\n<\/a>audio<\/a><\/p>\n

Example 2.19. Sinfonia in D, F. 64, mvt. 1, mm. 76\u201380 (winds omitted):\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Chapter 3<\/strong><\/p>\n

Example 3.1. Sonata in E-flat, F. 201, mvt. 1, mm. 67\u201370 (last four measures):\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 3.2. Sonata in E-flat, F. 201: (a) mvt. 1, mm. 1\u20134; (b) mvt. 3, mm. 1\u20136:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 3.3. Concerto in E minor, F. 43, mvt. 3, mm. 53\u201358 (keyboard part only):\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 3.4. Suite in G minor, F. 24, mvt. 2 (courante), mm. 40\u201343:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 3.5. Fantasia in D minor, F. 19, mm. 75\u201379:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 3.6a. Polonaise in D, F. 12\/3, mm. 1\u20133:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 3.6b. J. S. Bach,\u00a0Wer mich liebet, der wird mein Wort halten<\/em>, BWV 74, aria \u201cNichts kann mich erretten,\u201d mm. 10\u201315 (the solo violin part would have been realized as arpeggiation in thirty-seconds):\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 3.7. Fantasia in D minor, F. 19, (a) mm. 33\u201334, (b) mm. 41\u201342, (c) mm. 53\u201354:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 3.8. Minuet in G minor, F. 25\/1, (a) mm. 1\u20134, (b) mm. 41\u201345:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 3.9. Minuet in D minor, F. 25\/2: (a) later version, mm. 9\u201316 (b) earlier version, mm. 9\u201318:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 3.10. Prelude (?) in C minor, F. 29, ending: (a) autograph version; (b) manuscript copy:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 3.11. (a) Suite in G minor, F. 24, mvt. 6, mm. 13\u201316; (b) J. S. Bach,\u00a0Menuet Trio<\/em>, BWV 929, mm. 13\u201316:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 3.12. (a) Sonata in F, F. 202, mvt. 3, mm. 63\u201366; (b) Sonata in F, F. 6, mvt. 3, mm. 21\u201324:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 3.13. Sonata in F, F. 202, mvt. 2, mm. 1\u20134:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 3.14. Sonata in C, F. 1, mvt. 1: (a) early version (F. 1B), mm. 45\u201359; (b) late version (F. 1A), mm. 44\u201352:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 3.15. Sonata in C, F. 1, mvt. 1: (a) early version (F. 1B), mm. 29\u201334; (b) late version (F. 1A), mm. 28\u201333:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 3.16. Sonata in D, F. 3, mvt. 1, mm. 45\u201355:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 3.17. (a) J. S. Bach, Contrapunctus 11 from\u00a0Art of Fugue<\/em>, BWV 1080, mm. 158\u201362; (b) Sonata in D, F. 3, mvt. 2, mm. 42\u201346:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 3.18. Sonata in D, F. 3, mvt. 2, mm. 54\u201356, renotated on three staves to clarify voice leading:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 3.19. Sonata in G, F. 7, mvt. 1: (a) mm. 1\u20132; (b) mm. 15\u201316; (c) mm. 39\u201343:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 3.20. Sonata in G, F. 7, mvt. 2, mm. 17\u201324:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 3.21. Sonata in C, F. 2, mvt. 1, mm. 48\u201352\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 3.22. J. S. Bach (+ W. F. Bach?), Double Concerto in C, BWV 1061, mvt. 1, mm. 100\u2013107:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 3.23a\u2013b. (a) Concerto in F for two keyboards, F. 10, mvt. 3, mm. 1\u201310 (the two parts are in unison); (b) J. S. Bach, Concerto in D minor for three harpsichords and strings, BWV 1063, mvt. 1, mm. 1\u20138 (all parts are in unison or octaves):\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 3.23c. Vivaldi, Concerto in D for flute, oboe, violin, bassoon, and basso continuo, R. 90, \u201cIl giardinello,\u201d mvt. 1, mm. 1\u20136 (flute doubles oboe and violin one octave higher):\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 3.24. (a) Concerto in F for two keyboards, F. 10, mvt. 3, mm. 87\u201395; (b) J. S. Bach, Concerto in C minor for two harpsichords and strings, BWV 1060, mvt. 1, mm. 9\u201310 (strings omitted):\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 3.25a. J. S. Bach, Saint John Passion, BWV 245, aria \u201cEilt, ihr angefocht’nen Seelen,\u201d mm. 1\u20136:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 3.25b. Concerto in F for two keyboards, F. 10, mvt. 3, mm. 121\u201326:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 3.26. Concerto in G for solo keyboard, F. 40, mvt. 1: (a) early version (F. 40A), mm. 9\u201313; (b) late version (F. 40B), mm. 5\u20137:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 3.27. Concerto in G for solo keyboard, F. 40, mvt. 1: (a) early version (F. 40A), mm. 39\u201346; (b) late version (F. 40B), mm. 19\u201323:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 3.28a. Concerto in G for solo keyboard (late version), F. 40, mvt. 2, mm. 1\u20138, 56\u201360:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 3.28b.\u00a0Lasset uns ablegen die Werke der Finsternis<\/em>, F. 80, aria \u201cH\u00f6re, Vater, mit Erbarmen,\u201d mm. 23\u201332, 107\u201312 (two violins omitted):\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 3.29. J. G. Ziegler (?), (a) Polonaise no. 17 in A-flat, mm. 5\u20136; (b) Polonaise no. 18 in F minor, mm. 1\u20132:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 3.30. Polonaise in D, F. 12\/3, mm. 25\u201331:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 3.31. Polonaise in E-flat minor, F. 12\/6, with reduction and harmonic analysis, (a) mm. 1\u20135; (b) mm. 17\u201321. In the reduction, slurs represent arpeggiation or passing motion; parenthesized symbols represent substitute chords with the same function (\u201cV\u201d in parentheses is a substitute dominant):\u00a0graphic<\/a>\u00a0audio<\/a>\u00a0audio (reduction only)<\/a><\/p>\n

Example 3.32. Polonaise in C minor, F. 12\/2, mm. 9\u201324, with reduction and harmonic analysis:\u00a0graphic (p. 1)<\/a>\u00a0graphic (p. 2)<\/a>\u00a0audio<\/a>\u00a0audio (reduction only)<\/a><\/p>\n

Example 3.33. (a) Polonaise in C minor, F. 12\/2, mm. 5\u20136; (b) March in E-flat, F. 30, mm. 9\u201311:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 3.34. (a) Concerto in G, F. 40 (late version), mvt. 2, mm. 65\u201366; (b) Fantasia in C minor, F. 15, mm. 250\u201355:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 3.35 (a) Sonata in C, F. 2, mvt. 2, mm. 43\u201344; (b) Fantasia in C minor, F. 15, mm. 401\u20133:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 3.36. Fantasia in E minor, F. 20, mm. 13\u201318:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 3.37. Fantasia in E minor, F. 20, (a) mm. 3\u20135, (b) mm. 53\u201356:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 3.38. Fugue subjects from (a) Fischer,\u00a0Ariadne musica<\/em>, Fuga no. 5; (b) J. S. Bach,\u00a0Well-Tempered Clavier<\/em>, Fugue in G minor, BWV 861\/1; (c) Fantasia in D minor, F. 19; (d) Mass in G minor, F. 100, chorus \u201cDu bist allein\u201d:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 3.39. Fantasia in D minor, F. 19, mm. 131\u201336, with cadenza by C. P. E. Bach (W. 120\/3) adapted for use after the fermata in m. 135:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 3.40. Fantasia in E minor, F. 21, mm. 156ff., with gap after m. 157 filled conjecturally (a) by four additional measures; (b) by analogy to mm. 77\u201382 and 21\u201323:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 3.41. Cadenza for Fantasia in E minor, F. 21, last two measures:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 3.42. Subject of Fugue in C, F. 31\/1:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 3.43. Fantasia in D minor, F. 19, mm. 119\u201326 (note the presence of the \u201cB-A-C-H\u201d motive, transposed, in mm. 123\u201325, soprano):\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 3.44. Fugue in F, F. 36 (attribution doubtful), mm. 6b\u201310:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 3.45. Fugue exposition in C, F. 35 (complete):\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 3.46. Fugue in E minor, F. 31\/6, mm. 29\u201338:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 3.47. Domenico Scarlatti, Sonata in D minor, K. 120, mm. 12\u201315:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Chapter 4<\/strong><\/p>\n

Example 4.1. (a) Trio sonata in D for two flutes and continuo, F. 47, mvt. 1, mm. 5\u20136; (b) Trio sonata in D for two flutes and continuo, F. 48, mvt. 1, mm. 4\u20136, 9\u201310:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 4.2. Trio sonata in A minor for two flutes and continuo, F. 49, mvt. 2: (a) complete extant fragment, with conjectural completion of answer and addition of countersubject; (b) conjectural inversion of subject, with added countersubject:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 4.3. Trio sonata in B-flat, F. 50, mvt. 1, mm. 30\u201336, showing both flute and violin versions of the top part:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 4.4. Trio sonata in B-flat, F. 50, mvt. 3, mm. 29\u201333:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 4.5a. Trio sonata in D for two flutes and continuo, F. 47, mvt. 2, mm. 1\u20138 (without flute 1):\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 4.5b. Sonata in D, F. 3, mvt. 2, mm. 1\u20133:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 4.6. Trio sonata in D for two flutes and continuo, F. 47, mvt. 2, mm. 49\u201354:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 4.7. Subjects: (a) Trio sonata in A minor, F. 49, mvt. 1; (b) Sinfonia in D minor, F. 65, mvt. 2:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 4.8. Trio sonata in B-flat, F. 50, (a) mvt. 1, mm. 1\u20132, 59\u201362; (b) mvt. 2, mm. 33\u201334; (c) mvt. 3, mm. 61\u201364:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 4.9. Trio sonata in B-flat, F. 50, mvt. 3, (a) mm. 1\u201310; (b) mm. 83\u201392:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 4.10. (a) Duo in G for two flutes, F. 54, mvt. 3, mm. 47\u201351; (b) J. S. Bach, Goldberg Variations, variation 6, mm. 1\u20135:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 4.11. Duo in E-flat for two flutes, F. 55, mvt. 1, mm. 43\u201351:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 4.12. Duo in F for two flutes, F. 57, mvt. 1, mm. 7\u20138:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 4.13. Duo in F for two flutes, F. 57, mvt. 2, mm. 1\u20136 (flute 2 only):\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 4.14. (a) Duo in F for two flutes, F. 57, mvt. 3 (later version), mm. 1\u20134, 13\u201316; (b) Sonata in G, F. 7, mvt. 3, mm. 1\u20134, 9\u201312:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 4.15. Duo in E-flat for two flutes, F. 56, mvt. 2, (a) mm. 97\u2013101, as written; (b) mm. 100\u2013101, incorporating cadenza:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 4.16. Duo in G for two violas, F. 60, mvt. 2, mm. 1\u201312:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 4.17. (a) Sonata in E minor for flute and continuo, mvt. 2, mm. 14, 22, 30; (b) Sonata in F (for keyboard), F. 202, mvt. 2, mm. 14, 22, 30:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 4.18. (a) Sonata in F for flute and continuo, mvt. 1, mm. 7\u20138; (b) Sonata in F (for keyboard), intermediate version, F. 6B, mvt. 1, mm. 7\u20138:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 4.19. (a) Sonata in F for flute and continuo, mvt. 2, mm. 5\u201312; (b) Sonata in F (for keyboard), intermediate version, F. 6B, mvt. 2, mm. 5\u201312:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 4.20. (a) Sonata in F for flute and continuo, mvt. 3, mm. 104\u20137; (b) Sonata in C (for keyboard), early version, F. 1B, mvt. 3, mm. 101\u20133:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 4.21. (a) Sonata in F for flute and continuo, mvt. 1, mm. 73\u201376; (b) Sonata in F (for keyboard), *intermediate version, F. 6B, mvt. 1, mm. 73\u201376:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 4.22. Sonata in E minor for flute and continuo, (a) mvt. 1, mm. 29\u201332; (b) mvt. 3, mm. 45\u201350:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 4.23. Sinfonia in F, F. 67, mvt. 1, mm. 1\u201317:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 4.24. Sinfonia in C, F. 63, mvt. 1, (a) mm. 1\u20134; (b) mm. 10\u201313 (from Falck,\u00a0Wilhelm Friedemann Bach<\/em>, pp. 128\u201329):\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 4.25. Sinfonia in F, F. 67, mvt. 1, mm. 39\u201343:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 4.26. Sinfonia in F, F. 67, mvt. 2, mm. 1\u20136:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 4.27a. Sinfonia in G, F. 69, Falck’s incipits for mvts. 1 and 2:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 4.27b. Hasse,\u00a0Cleofide<\/em>, act 2, aria\u00a0\u201cGeneroso risuegliati, o core,\u201d\u00a0mm. 1\u20134 (winds omitted):\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 4.28a.\u00a0Wo geht die Lebensreise hin<\/em>, F. 91, sinfonia, mm. 1\u201312 (timpani omitted):\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 4.28b.\u00a0Wo geht die Lebensreise hin<\/em>, F. 91, sinfonia, mm. 35\u201341 (timpani omitted; oboes double violins):\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 4.28c. C. P. E. Bach,\u00a0Auferstehung<\/em>, W. 240, \u201cIhr Thore Gottes, \u00f6ffnet euch,\u201d mm. 16b\u201321a:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 4.29. Sinfonia in A, F. 70, mvt. 1, reconstruction of first section (m. 18 of the example is the first measure extant in the autograph fragment):\u00a0graphic (p. 1)<\/a>\u00a0graphic (p. 2)<\/a>\u00a0audio<\/a><\/p>\n

Example 4.30. Sinfonia in D minor, F. 65, mvt. 1, mm. 1\u201310:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 4.31. C. H. Graun,\u00a0Der Tod Jesu<\/em>, \u201cSein Odem ist schwach,\u201d mm. l\u20135:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 4.32. Sinfonia in D minor, F. 65, mvt. 2, (a) mm. 73\u201376; (b) mm. 104\u201310:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 4.33. Concerto in E minor, F. 43, mvt. 3, mm. 25\u201329:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 4.34. Concerto in F, F. 44, mvt. 3, (a) mm. 9\u201310, (b) mm. 142\u201351:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 4.35. Concerto in F, F. 44, mvt. 3, mm. 160\u201365:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 4.36. Vivaldi, Concerto in D for violin and strings, R. 208 (\u201cIl grosso mogul\u201d), arranged for organ by J. S. Bach as Concerto in C, BWV 594, mvt. 1, mm. 1\u20135:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 4.37. (a) Concerto in D, F. 41, mvt. 1, mm. 48\u201351; (b) C. H. (?) Graun, Concerto in C for keyboard and strings, GraunWV\u00a0C:XIII:63, mvt. 1, mm.\u00a030\u201331:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 4.38. Concerto in D, F. 41, mvt. 1, mm. 90\u201398:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 4.39a. Concerto in D, F. 41, mvt. 1, mm. 68\u201371:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 4.39b. Concerto in D, F. 41, mvt. 1, mm. 75b\u201377 (strings omitted):\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 4.40. Hasse,\u00a0Cleofide<\/em>, act 2, aria \u201cSon qual misera columba,\u201d mm. 143\u201359:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 4.41. (a) Concerto in A minor, F. 45, mvt. 1, mm. 23\u201325; (b) Concerto in D, mvt. 3, mm. 41\u201347 (strings omitted):\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 4.42. (a) Concerto in A minor, F. 45, mvt. 3, mm. 205\u20139 (strings omitted); (b) Fantasia in A minor, F. 23, mm. 68\u201373:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 4.43. Concerto in A minor, F. 45, mvt. 1, mm. 15\u201321:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 4.44. (a) Concerto in A minor, F. 45, mvt. 2, mm. 74\u201377; (b) C. H. (?) Graun, Concerto in C for keyboard and strings, GraunWV\u00a0C:XIII:63, mvt. 2, mm.\u00a047\u201349 (strings omitted):\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 4.45. (a) Concerto in D, F. 41, mvt. 2, mm. 39\u201341 (strings omitted); (b) C. H. (?) Graun, Concerto in D for keyboard and strings,\u00a0GraunWV C:XIII:72, mvt. 2, mm.\u00a027\u201328 (strings omitted); (c) J. S. Bach, Partita no. 4 in D, allemande, mm. 38\u201340:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 4.46. Concerto in A minor, F. 45, mvt. 3, mm. 1\u201310:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 4.47. Concerto in D, F. 41, mvt. 3, mm. 95\u2013101 (strings omitted):\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 4.48. Concerto in A minor, F. 45, mvt. 3, mm. 151\u201356 (upper strings omitted):\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 4.49. Concerto in F, F. 44, mvt. 1, (a) mm. 1\u20137, (b) mm. 16\u201319:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 4.50. Concerto in F, F. 44, mvt. 1, (a) mm. 91\u201394, (b) mm. 113\u201316:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 4.51. Concerto in F, F. 44, mvt. 1, mm. 123\u201325 (strings omitted):\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 4.52. (a) Concerto in F, F. 44, mvt. 3, mm. 1\u20136; (b) C. P. E. Bach, Concerto in G, W. 4 (early version), mvt. 3, mm. 1\u20138:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 4.53. Concerto in F, F. 44, mvt. 3, mm. 133\u201340:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 4.54. Concerto in F, F. 44, mvt. 3, mm. 182\u201385 (strings omitted):\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 4.55. (a)\u00a0Ert\u00f6net, ihr seligen V\u00f6lker<\/em>, F. 88, sinfonia, and (b) Concerto in E-flat, F. 42, mvt. 1: mm. 27\u201331:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 4.56. (a) Double Concerto, F. 46, mvt. 3, mm. 91\u201392 (first solo part only); (b) J. S. Bach, Fantasia in C minor, BWV 906\/1, m. 21:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 4.57. Flute Concerto, mvt. 2, mm. 13\u201318:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 4.58. Concerto in G minor, (a) mvt. 1, mm. 129\u201333; (b) mvt. 2, mm. 1\u20132; (c) mvt. 3, mm. 38\u201342; (d) mvt. 1, mm. 172\u201376:\u00a0graphic (p. 1)<\/a>\u00a0graphic (p. 2)<\/a>\u00a0audio<\/a><\/p>\n

Example 4.59. (a) Concerto in G minor, mvt. 1, mm. 1\u20138; (b) C. P. E. Bach, Concerto in G minor, W. 6 (early version), mvt. 1, mm. 1\u201311:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 4.60. Concerto in G minor, (a) mvt. 1, mm. 188\u2013193; (b) mvt. 3, mm. 249\u201355:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 4.61. Concerto in G minor, mvt. 2, mm. 57\u201361 (strings omitted):\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 4.62. Concerto in G minor, mvt. 2, mm. 61\u201365:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 4.63. Concerto in E minor, F. 43, (a) mvt. 1, m. 21; (b) mvt. 2, mm. 13\u201314:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 4.64. Fantasia in E minor, F. 20, mm. 1\u20132:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 4.65. Concerto in E minor, F. 43, (a) mvt. 1, mm. 59\u201360, 73\u201374; (b) mvt. 3, mm. 43\u201344:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Chapter 5<\/strong><\/p>\n

Example 5.1.\u00a0Wer mich liebet<\/em>, F. 72, aria \u201cS\u00fc\u00dfe, Liebe, hohes Gut,\u201d mm. 92\u2013109:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 5.2.\u00a0Gott f\u00e4hret auf<\/em>, F. 75, chorus \u201cGott f\u00e4hret auf,\u201d mm. 10\u201313 (trumpets and timpani omitted):\u00a0graphxic<\/a>\u00a0audio<\/a><\/p>\n

Example 5.3. J. S. Bach,\u00a0Ich hatte viel Bek\u00fcmmerniss<\/em>, BWV 21, chorus \u201cIch hatte viel Bek\u00fcmmerniss,\u201d mm. 1\u20133:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 5.4a.\u00a0Gott f\u00e4hret auf<\/em>, F. 75, chorus \u201cGott f\u00e4hret auf,\u201d mm. 39\u201340 (tenor and continuo only):\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 5.4b. J. S. Bach,\u00a0Gott f\u00e4hret auf<\/em>, BWV 43, chorus \u201cGott f\u00e4hret auf,\u201d mm. 28\u201335 (tenor, bass, and continuo only):\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 5.5.\u00a0Gott f\u00e4hret auf<\/em>, F. 75, solo \u201cWenn ich erh\u00f6het werde,\u201d mm. 9\u201311, 23\u201327:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 5.6.\u00a0Dienet dem Herrn<\/em>, F. 84, mm. 58\u201361:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 5.7.\u00a0Erzittert und fallet<\/em>, F. 83, recitative \u201cDas Grab ist leer,\u201d mm. 15\u201320:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 5.8. Hasse,\u00a0Cleofide<\/em>, Act 3, scenes 10\u201311, recitative:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 5.9.\u00a0Erzittert und fallet<\/em>, F. 83, recitative \u201cDas Grab ist leer,\u201d mm. 1\u20136:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 5.10. Homilius,\u00a0Uns ist ein Kind geboren<\/em>, recitative \u201cO h\u00f6chst erw\u00fcnschtes Wort,\u201d mm. 9\u201314:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 5.11.\u00a0Erzittert und fallet<\/em>, F. 83, aria \u201cRauscht, ihr Fluten,\u201d (a) mm. 18\u201323, (b) mm. 97\u2013101:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 5.12. Telemann,\u00a0Du bist verflucht<\/em>, TWV 1:385, aria \u201cDu bist verflucht,\u201d (a) mm. 1\u20136, (b) mm. 15\u201318:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 5.13.\u00a0Wo geht die Lebensreise hin<\/em>, F. 91, aria \u201cDer Himmel neiget sich zur Erde,\u201d mm. 20\u201323:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 5.14.\u00a0Erzittert und fallet<\/em>, F. 83, duet \u201cKomm, mein Hirte,\u201d mm. 19\u201326:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 5.15.\u00a0Der H\u00f6chste erh\u00f6ret<\/em>, F. 86, aria \u201cDas Herze klopft,\u201d mm. 38\u201346:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 5.16. J. S. Bach,\u00a0Komm du s\u00fc\u00dfe Todesstunde\u00a0<\/em>BWV 161, recitative \u201cDer Schluss ist schon gemacht,\u201d mm. 23\u201328:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 5.17.\u00a0Ehre sey Gott in der H\u00f6he<\/em>, F. 250, aria \u201cUnsch\u00e4tzbare Weynachtsgaben,\u201d mm. 53\u201360; the instrumental parts are virtually identical to those in mm. 7\u201314 of the opening ritornello:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 5.18.\u00a0Erzittert und fallet<\/em>, F. 83, aria \u201cWas f\u00fcr reizend sanfte Blikke,\u201d mm. 39\u201344; the tenor part parallels that of the second flute in mm. 13\u201316:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 5.19.\u00a0Dies ist der Tag<\/em>, F. 85, aria \u201cS\u00fc\u00dfer Hauch von Gottes Throne,\u201d (a) mm. 85\u201387, (b) mm. 103\u20137; the instrumental parts of the two passages parallel those of mm. 21\u201322 and 23\u201326, respectively, of the opening ritornello:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 5.20. (a) Alleluia in F, F. 99\/2, m. 91\u201393; (b) corresponding passage in\u00a0Wir sind Gottes Werke<\/em>, F. 74 (string doublings of voices omitted):\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 5.21a.\u00a0Wir sind Gottes Werke<\/em>, F. 74, opening of fugue (string doublings of voices omitted):\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 5.21b.\u00a0Wir sind Gottes Werke<\/em>, F. 74, final phrase of fugue (beginning; string doublings of voices omitted):\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 5.22.\u00a0Dienet dem Herrn<\/em>, F. 84, mm. 52\u201361:\u00a0graphic (p. 1)<\/a>\u00a0graphic (p. 2)<\/a>\u00a0audio<\/a><\/p>\n

Example 5.23.\u00a0Wohl dem, der den Herren f\u00fcrchtet<\/em>, F. 76, (a) mm. 1\u20133 (violin 1 only), (b) mm. 31\u201333 (alto only); brackets mark the common motive:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 5.24.\u00a0Est ist eine Stimme<\/em>, F. 89, chorus \u201cEs ist eine Stimme,\u201d (a) mm. 23\u201325, (b) mm. 53\u201355 (soprano only):\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 5.25.\u00a0Est ist eine Stimme<\/em>, F. 89, chorus \u201cEs ist eine Stimme,\u201d mm. 73\u201376 (viola doubling tenor omitted):\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 5.26.\u00a0Est ist eine Stimme<\/em>, F. 89, chorus \u201cEs ist eine Stimme,\u201d mm. 124\u201329:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 5.27a.\u00a0Wer mich liebet<\/em>, F. 72, chorus \u201cWer mich liebet,\u201d mm. 33\u201344:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 5.27b.\u00a0Gott f\u00e4hret auf<\/em>, F. 75, chorus \u201cLobsinget unserm K\u00f6nige,\u201d mm. 1\u20135:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 5.27c. J. S. Bach,\u00a0B-Minor Mass<\/em>, BWV 232, Osanna, mm. 1\u20134:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 5.28.\u00a0Ach, da\u00df du den Himmel zerrissest<\/em>, F. 93, chorus \u201cAch, da\u00df du den Himmel zerrissest,\u201d (a) mm. 21\u201322, (b) mm. 36\u201338:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 5.29. J. S. Bach,\u00a0Ein’ feste Burg<\/em>, BWV 80, arranged by W. F. Bach: chorus \u201cEin’ feste Burg\u201d (\u201cGaudete omnes populi\u201d), (a) mm. 1\u20132, 37\u201338, 59\u201361, and (b) mm. 158\u201363 (doubling strings omitted):\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 5.30. J. S. Bach,\u00a0Ein’ feste Burg<\/em>, BWV 80, arranged by W. F. Bach: chorale \u201cUnd wenn die Welt voll Teufel w\u00e4r’\u201d (\u201cManebit verbum Domini\u201d), mm. 1\u20133, 9\u201311 (timpani, ob. 2, and taille omitted):graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 5.31. J. S. Bach,\u00a0Ein’ feste Burg<\/em>, BWV 80, arranged by W. F. Bach: chorus \u201cEin’ feste Burg\u201d (\u201cGaudete omnes populi\u201d), mm. 120\u201327 (doubling strings omitted):\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 5.32. Mass in G minor, F. 100, Kyrie, mm. 16\u201321:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 5.33. Mass in D minor, F. 98, Gloria (\u201cUnd auf Erden Friede\u201d), (a) mm. 1\u20135, (b) mm. 20\u201327:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 5.34a. Mass in D minor, F. 98, Tu solus altissimus (\u201cDu bist allein der H\u00f6chste\u201d), mm. 1\u20137:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 5.34b. Mass in D minor, F. 98, Tu solus altissimus (\u201cDu bist allein der H\u00f6chste\u201d), mm. 110\u201317:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 5.35.\u00a0Wer mich liebet<\/em>, F. 72, aria \u201cO herrliche Wohnung\u201d (a) mm. 1\u20134, (b) mm. 17\u201319, (c) mm. 69\u201373:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 5.36. J. S. Bach, (a)\u00a0Gott soll allein mein Herze haben<\/em>, BWV 169, aria \u201cStirb in mir, Welt,\u201d mm. 1\u20133; (b)\u00a0Vergn\u00fcte Ruh’<\/em>, BWV 170, aria \u201cVergn\u00fcte Ruh’,\u201d mm. 1\u20132 (continuo figures omitted):graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 5.37.\u00a0Lasset uns ablegen die Werke der Finsternis<\/em>, F. 80, aria \u201cH\u00f6re, Vater, mit Erbarmen,\u201d (a) mm. 1\u20134, (b) mm. 23\u201326:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 5.38. J. S. Bach, Saint Matthew Passion, aria \u201cErbarme dich,\u201d mm. 9\u201310:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 5.39.\u00a0Lasset uns ablegen die Werke der Finsternis<\/em>, F. 80, opening chorus, mm. 72\u201382 (voices only; trumpets, timpani, and strings omitted):\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 5.40.\u00a0Lasset uns ablegen die Werke der Finsternis<\/em>, F. 80, aria \u201cIch ziehe Jesum an in Glauben,\u201d mm. 21\u201326:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 5.41a.\u00a0Erzittert und fallet<\/em>, F. 83, opening chorus, mm. 1\u20133:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 5.41b.\u00a0Erzittert und fallet<\/em>, F. 83, opening chorus, mm. 59\u201366 (trumpets and timpani omitted):\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 5.42.\u00a0Erzittert und fallet<\/em>, F. 83, duet \u201cKomm, mein Hirte,\u201d mm. 55\u201357, 101\u20133:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 5.43.\u00a0Est ist eine Stimme<\/em>, F. 89, chorus \u201cEs ist eine Stimme,\u201d mm. 119\u2013123. The instrumental parts in m. 120 recapitulate m. 1 of the opening ritornello (see Example 5.26 for the continuation of the passage):\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 5.44.\u00a0Ach, da\u00df du den Himmel zerrissest<\/em>, F. 93, aria \u201cWillkommen, Erl\u00f6ser der Erden,\u201d mm. 73\u201377:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 5.45.\u00a0Ach, da\u00df du den Himmel zerrissest<\/em>, F. 93, aria \u201cR\u00fcstet euch,\u201d (a) mm. 9\u201310, 17\u201320; (b) mm. 105\u20136, 113\u201314:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 5.46a.\u00a0O Himmel, schone<\/em>, F. 90, opening recitative, mm. 1\u20133:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 5.46b. C. P. E. Bach,\u00a0Concerto per il cembalo solo<\/em>, W. 112\/1, mvt. 1, mm. 1\u20132:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 5.47a.\u00a0O Himmel, schone<\/em>, F. 90, aria \u201c\u00d6ffnet, Metalle,\u201d mm. 19\u201321, 55\u201360:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 5.47b. Corresponding measures in\u00a0Gott f\u00e4hret auf<\/em>, F. 75, aria \u201cErschallet, ihr Kl\u00fcfte\u201d (trumpets and timpani omitted; these are identical to the horns and timpani in Example 5.47a):\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 5.48.\u00a0O Himmel, schone<\/em>, F. 90, second recitative, mm. 5\u20137:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 5.49.\u00a0O Himmel, schone<\/em>, F. 90, end of second recitative and beginning of second aria:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 5.50a.\u00a0O Himmel, schone<\/em>, F. 90, concluding chorus, mm. 1\u20134:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 5.50b. J. G. (?) Graun, Trio sonata in B minor for flute, violin, and continuo, GraunWV Cv:XV:136, mvt. 3, mm. 5\u20136:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 5.50c. Flute Concerto, mvt. 2, mm. 13\u201316:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 5.50d. J. S. Bach, Christmas Oratorio, BWV 248, part 1, aria \u201cGrosser Herr,\u201d mm. 15\u201318 (strings omitted):\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example 5.51.\u00a0O Himmel, schone<\/em>, F. 90, concluding chorus, mm. 67\u201376 (voices only; trumpet and strings omitted):\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Appendix 1<\/strong><\/p>\n

Example A.1.\u00a0Ach, da\u00df du den Himmel zerrissest<\/em>, F. 93, recitative \u201cDa alles sich erfreut,\u201d mm. 7\u20139 (from the autograph \u201cContinuo\u201d part in St 169):\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example A.2.\u00a0Es ist eine Stimme<\/em>, F. 89, aria \u201cHoldseligster Engel,\u201d mm. 34\u201339, with hypothetical added bass line:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example A.3. Sonata in E-flat, F. 5, mvt. 3, (a) mm. 28\u201329, (b) mm. 14\u201315, with suggested fingerings:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example A.4. March in E-flat, (a) mm. 1\u20134, (b) mm. 37\u201340, with suggested fingerings:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n

Example A.5. Fugue in C minor, F. 32, (a) mm. 1\u20136, (b) mm. 102\u20135:\u00a0graphic<\/a>\u00a0audio<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Examples for\u00a0The Music of Wilhelm Friedemann Bach\u00a0by David Schulenberg (University of Rochester Press, 2010) Click below to view the example in score or to hear a synthesized audio version. If you are viewing the example, use the \u201cback\u201d button of … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":12,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"open","template":"","meta":{"footnotes":""},"class_list":["post-377","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/faculty.wagner.edu\/david-schulenberg\/wp-json\/wp\/v2\/pages\/377","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/faculty.wagner.edu\/david-schulenberg\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/faculty.wagner.edu\/david-schulenberg\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/faculty.wagner.edu\/david-schulenberg\/wp-json\/wp\/v2\/users\/12"}],"replies":[{"embeddable":true,"href":"https:\/\/faculty.wagner.edu\/david-schulenberg\/wp-json\/wp\/v2\/comments?post=377"}],"version-history":[{"count":0,"href":"https:\/\/faculty.wagner.edu\/david-schulenberg\/wp-json\/wp\/v2\/pages\/377\/revisions"}],"wp:attachment":[{"href":"https:\/\/faculty.wagner.edu\/david-schulenberg\/wp-json\/wp\/v2\/media?parent=377"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}