Bach & The Well-Tempered Clavier Flashcards

1
Q

What year was Bach born? Which year did he pass away?

A

Johann Sebastian Bach (1685 - 1750)

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2
Q

Family Life and Education

A
  • born in Eisenach, Germany
  • music was the family profession for five generations; father was a court trumpeter
  • orphaned at age 10, eldest brother Johann Cristoph continued young Bach’s musical training
  • studies included Greek, Latin, and Theology
  • sang in choirs, became an accomplished violinist, and virtuoso organist.
  • trained in instrument building and repair
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3
Q

Arnstadt, Muhlhausen

A
  • held a variety of positions: organist, court violinist, chamber musician
  • was granted leave to meet the famous organist Buxtehude in Lubeck, and walked more than 200 miles each way. Inspired, Bach stayed three months extra without authorization.
  • married Maria Barbara, a distant cousin, shortly upon arrival. Two of their children, CPE Bach and WF Bach became successful musicians.
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4
Q

Weimar

A
  • chamber musician and court organist to Wilhelm Ernst, the Duke of Weimar
  • Enjoyed increasing fame as an organist in this period; composed many organ works, including The Little Organ Book of chorale preludes.
  • Composed music for Lutheran church services – cantatas and chorale settings
  • Accepted a salary advance for a new position at Cöthen. This angered the Duke of Weimar, which resulted in a month in jail.
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5
Q

Cöthen

A
  • Kapellmeister to Prince Leopold of Cöthen, an avid supporter of the arts
  • Calvinist views of the court influenced musical activities: no music performed in churches
  • Many solo and chamber works composed during this period: suites, concertos, sonatas, solo keyboard works, including The Well-Tempered Clavier, Book 1
  • Sudden death of Maria Barbara
  • Married court singer Anna Magdalena Wilcke; their sons Johann Cristoph and Johann Christian became successful musicians.
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6
Q

Leipzig

A
  • appointed cantor of St. Thomas School
  • many responsibilities: teaching, composing, directing choirs, and supervising musical activities
  • became director of the Collegium Musicum, a performing ensemble for university students
  • important large scale works written in this period, such as the “Goldberg Variations” and “Art of Fugue”
  • visited Frederick the Great at Potsdam, where son CPE was employed and wrote a contrapuntal work based on a theme provided by the king (The Musical Offering)
  • died July 28, 1750; likely cause was a stroke.
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7
Q

Musical Style & Contributions

A
  • his music represents a high point in over 100 years of Baroque musical practice.
  • personal style synthesized the leading musical developments of this era
  • composed works in every genre of his day except opera
  • personal faith was a source of inspiration for his creative works; as a devout Lutheran, Bach dedicated all his works “To the glory of God”
  • master of the contrapuntal art, as demonstrated in the fugues of The Well-Tempered Clavier
  • absorbed influences of international styles from countries such as Germany, Italy, and France.
  • virtuoso organist as reflected in his organ and keyboard works
  • perfected existing forms rather than creating new ones
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8
Q

Composition Titles:

A
Sacred Vocal:
- over 200 church cantatas (eg, A Mighty Fortress is Our God)
- 7 motets
- Magnificat
Oratorios:
- St John Passion
- St Matthew Passion
- Christmas Oratorio
- Mass in B Minor
Orchestral Music:
- 4 orchestral suites
- 6 Brandenburg Concertos
- Concertos for 1 and 2 violins
Concertos for 1, 2, 3, and 4 harpsichords
Chamber music:
- 6 sonatas and partitas for solo violin
- 6 sonatas for violin and harpsichord
- 6 suites for cello
- The Musical Offering
- Flute sonatas 
- Viola da gamba sonatas
Keyboard music: 
- The Well-Tempered Clavier
- The Art of Fugue
- Goldberg Variations
- Italian Concerto
- 6 English Suites
- 6 French Suites
- Chromatic Fantasy & Fugue
- Suites
- Fugues
- Capriccios
- Concertos
- Inventions
- Sinfonia
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9
Q

Provide the following information for the Prelude:

  • key
  • form
  • tempo
  • meter
  • texture
A

Key: B-flat Major
Form: incorporates aspects of binary form
Tempo: no specific indication on the score
Meter: 4/4
Texture: homophonic and polyphonic

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10
Q

Name three features of the Prelude in B-Flat Major

A
  1. broken-chord passages played in breathless thirty-second note runs and treated sequentially
  2. features frequent thirty-second note runs
  3. ends in F major and immediately proceeds to the next section
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11
Q

Provide the following information for the Fugue:

  • key
  • tempo
  • meter
  • texture
  • number of voices
  • type of answer
  • number of countersubjects and their use
A
Key: B-flat Major
Tempo: moderately fast 
Meter: 3/4
Texture: Polyphonic 
Number of voices: 3
Type of answer: tonal
Number of countersubjects: 2
Use of countersubjects: acts as accompanying figures to the statements of the subject or answer
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12
Q

Name two features of the Fugual Exposition

A
  1. Subject is presented in an unusually long voice
  2. Comprises two motives:
    - first is mainly disjunct, outlining the tonic-dominant seventh harmony
    - second is conjunct, outlining the same harmonies
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13
Q

Name the key features of the middle section

A
  1. the first episode leads to G minor
  2. subject appeared in G minor followed answer in C minor
  3. the second episode leads E-flat major
  4. a partial (two-measure) entry of the tonal answer in m. 35 is interrupted by a complete entry in E-flat major in measure
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14
Q

Equal Temperament

A
  • a method of tuning keyboard instruments
  • the octave is divided into twelve equal half
  • facilitated the composition and performance of music in all keys
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15
Q

Clavier

A
  • a German word for keyboard instruments other than the organ
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16
Q

Prelude

A
  • A short keyboard work in improvisatory style

- often paired with a fugue

17
Q

Fugue

A
  • a highly structured, imitative contrapuntal composition

- a single theme or subject prevails

18
Q

Counterpoint

A
  • combination of two or more independent melodic lines

- also referred to as “polyphonic texture”

19
Q

Subject

A
  • the initial statement of the main theme of a fugue

- in the tonic key

20
Q

Answer

A
  • the second statement of the main theme in a fugue

- usually in the dominant key

21
Q

Real answer

A
  • an exact transposition of the subject
22
Q

Tonal answer

A
  • a statement of the subject in which one or more intervals is adjusted to accommodate the harmony
23
Q

Countersubject

A
  • a recurring countermelody

- accompanies entries of the subject and answer

24
Q

Episode

A
  • a passage within a fugue in which neither subject nor answer is present
  • frequently sequential
25
Q

Augmentation

A
  • thematic material presented in longer time values
26
Q

Stretto

A
  • from the Italian “stringere” meaning “to tighten”

- overlapping subject entries in close succession