Johann Sebastian Bach was a member of a family that had
for generations been occupied in music. His sons were
to continue the tradition, providing the foundation of
a new style of music that prevailed in the later part
of the eighteenth century. Johann Sebastian Bach
himself represented the end of an age, the culmination
of the Baroque in a magnificent synthesis of Italian
melodic invention, French rhythmic dance forms and
German contrapuntal mastery.
Born in Eisenach in 1685, Bach was educated largely by
his eldest brother, after the early death of his
parents. At the age of eighteen he embarked on his
career as a musician, serving first as a court musician
at Weimar, before appointment as organist at Arnstadt.
Four years later he moved to Mühlhausen as organist and
the following year became organist and chamber musician
to Duke Wilhelm Ernst of Weimar. Securing his release
with difficulty, in 1717 he was appointed Kapellmeister
to Prince Leopold of Anhalt-Cöthen and remained at
Cöthen until 1723, when he moved to Leipzig as Cantor
at the School of St.Thomas, with responsibility for the
music of the five principal city churches. Bach was to
remain in Leipzig until his death in 1750.
J.S. Bach was one of the most renowned keyboardists of
his day, and he left a rich legacy of music for
harpsichord originally intended for instruction and
‘spiritual refreshment’. This recording of mostly
lesser-known works includes several early examples
which afford fascinating insights into the young
composer’s experimentation with counterpoint, harmony
and form. They are all compelling, emotionally powerful
works in their own right, with virtuoso content and an
expressive range that easily matches that of Bach’s
more famous keyboard pieces.
This composition was formerly attributed to Johann
Sebastian Bach as BWV 908 and is now believed to be
composed by Gottfried Kirchhoff (1685 - 1746).
Although originally written for Harpsichord. I created
this Arrangement of the Fantasia in D Major (BWV 908)