Johann Sebastian Bach (21 March 1685 ? 28 July 1750) was a German composer and organist whose sacred and secular works for choir, orchestra, and solo instruments drew together the strands of the Baroque period and brought it to its ultimate maturity.[1] Although he introduced no new forms, he enriched the prevailing German style with a robust contrapuntal technique, an unrivalled control of harmonic and motivic organisation in composition for diverse instrumentation, and the adaptation of rhythms and textures from abroad, particularly Italy and France.
Revered for their intellectual depth, technical command and artistic beauty, Bach's works include the Brandenburg concertos, the Goldberg Variations, the Partitas, the Well-Tempered Clavier, the Mass in B Minor, the St. Matthew Passion, the St. John Passion, the Magnificat, The Musical Offering, The Art of Fugue, the English Suites, the French Suites, the Sonatas and Partitas for violin solo, the Cello Suites, more than 200 surviving cantatas, and a similar number of organ works, including the celebrated Toccata and Fugue in D Minor.
While Bach's abilities as an organist were recognized and highly respected throughout Europe during his lifetime, he was not particularly well-known as a composer. His adherence to Baroque forms and contrapuntal style was considered "old-fashioned" by his contemporaries, especially late in his career when the musical fashion tended towards Rococo and later Classical styles. A revival of interest and performances of his music began early in the 19th century, and he is now widely considered to be one of the greatest composers in the Western tradition. (Collapse)...(Read more)
Many believe that the Sonata for violin and keyboard in G minor, BWV 1020 is almost certainly not a work by Bach; or, rather, it is almost certainly n...
Many believe that the Sonata for violin and keyboard in G minor, BWV 1020 is almost certainly not a work by Bach; or, rather, it is almost certainly not a work by J.S. Bach (it may in fact have been composed by Johann Sebastian's son C.P.E. Bach). Furthermore, it is not really even a violin sonata -- whoever the work's author might be, the intended ensemble seems actually to be flute and harpsichord (or perhaps its smaller-toned cousin the clavichord). But it is an elegant piece of late-Baroque chamber music, and is not put to any shame by its six worthy and unquestionably authentic brethren (BWV 1014 - 1019).
If the Sonata in G minor is the only one of the Bach-attributed violin/harpsichord sonatas to have three rather than four (or, in one case, five) movements. The opening movement has no tempo indication but is built of vintage allegro stock. The entirety of the opening ritornello, with its active figuration and arpeggiated subject, is given to the harpsichord as a solo; when the violin enters some bars later the music briefly takes on a more spacious form -- but soon the energetic ritornello creeps back in. The violin sings a melody that grows from many long-held tones in the Adagio second movement. The third movement is a strong-boned Allegro into which from time to time breaks a wonderfully peculiar repeated-note motif.
Although the Sonata in G Minor was originally written for Violin and Continuo, I created this arrangement for Flute and Concert (Pedal) Harp.
GUITAR
KEYBOARD
STUDIO
PA
LIGHT
DEEJAY
MIC
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: Adagio from Sonata in G Minor for Harp & Flute 
