Uploaded April 2012 | Updated September 2026, 1 day ago
Concerto in C major, BWV 1061
Allegro
Adagio ovvero Largo
Fuga
Scoring: harpsichord I/II solo, violin I/II, viola, continuo (cello, violone)
Length: c. 19 minutes
Of all Bach's harpsichord concertos, this is probably the only one that originated as a harpsichord work, though not in an orchestral guise. The work originated as a concerto for two harpsichords unaccompanied (in the manner of the Italian Concerto, BWV 971), and the addition of the orchestral parts may not have been by Bach himself. The string orchestra does not fulfil an independent role, and only appears to augment cadences; it is silent in the middle movement. The harpsichords have much dialogue between themselves and play in an antiphonal manner throughout.
Concerto in C major, BWV 1061
Allegro
Adagio ovvero Largo
Fuga
Scoring: harpsichord I/II solo, violin I/II, viola, continuo (cello, violone)
Length: c. 19 minutes
Of all Bach's harpsichord concertos, this is probably the only one that originated as a harpsichord work, though not in an orchestral guise. The work originated as a concerto for two harpsichords unaccompanied (in the manner of the Italian Concerto, BWV 971), and the addition of the orchestral parts may not have been by Bach himself. The string orchestra does not fulfil an independent role, and only appears to augment cadences; it is silent in the middle movement. The harpsichords have much dialogue between themselves and play in an antiphonal manner throughout.

![Heitor Villa-Lobos - Bachianas Brasileiras No.4
Heitor Villa-Lobos - Bachianas Brasileiras No.4 Complete The Bachianas Brasileiras constitute a series of nine suites by the Brazilian composer Heitor Villa-Lobos, written for various combinations of instruments and voices between 1930 and 1945. They represent not so much a fusion between Brazilian folk and popular music on the one hand, and the style of Johann Sebastian Bach on the other, as an attempt freely to adapt a number of Baroque harmonic and contrapuntal procedures to Brazilian music (Béhague 1994, 106; Béhague 2001). Most of the movements in each suite have two titles: one Bachian (Preludio, Fuga, etc.), the other Brazilian (Embolada, O canto da nossa terra, etc.).
Scored for piano (1930-41); orchestrated in 1942 (Preludio dedicated to Tomas Terán)
Preludio (Introdução)
Coral (Canto do sertão)
Aria (Cantiga)
Danza (Mindinho) [Miudinho on p. 45 of the orchestra score, and in Villa-Lobos 1974, 190.] Heitor Villa-Lobos - Bachianas Brasileiras No.4](https://i.ytimg.com/vi/r-XGAWjwj-c/mqdefault.jpg)
![Missa Solemnis - L. v. Beethoven (Complete) Full Concert
Missa Solemnis - L. v. Beethoven (Complete) Full Concert The Missa solemnis in D Major, Op. 123 was composed by Ludwig van Beethoven from 1819-1823. It was first performed on April 7, 1824 in St. Petersburg, under the auspices of Beethovens patron Prince Nikolai Galitzin; an incomplete performance was given in Vienna on 7 May 1824, when the Kyrie, Credo, and Agnus Dei were conducted by the composer. It is generally considered to be one of the composers supreme achievements. Together with Bachs Mass in B Minor, it is the most significant mass setting of the common practice period.
Despite critical recognition as one of Beethovens great works from the height of his composing career, Missa solemnis has not achieved the same level of popular attention that many of his symphonies and sonatas have enjoyed.[citation needed] Written around the same time as his ninth symphony, it is Beethovens second setting of the mass, after his Mass in C, Op. 86.
The mass is scored for 2 flutes; 2 oboes, 2 clarinets (in A, C, and B♭); 2 bassoons; contrabassoon; 4 horns (in D, E♭, B♭ basso, E, and G); 2 trumpets (D, B♭, and C); alto, tenor, and bass trombone; timpani; organ continuo; strings (violins I and II, violas, cellos, and basses); soprano, alto, tenor, and bass soloists; and mixed choir.
Structure
Like most masses, Beethovens Missa solemnis is in five movements:
Kyrie: Perhaps the most traditional of the mass movements, the Kyrie is in a traditional ABA structure, with stately choral writing in the first movement section and more contrapuntal voice leading in the Christe, which also introduces the four vocal soloists.
Gloria: Quickly shifting textures and themes highlight each portion of the Gloria text, in a beginning to the movement that is almost encyclopedic in its exploration of 3/4 time. The movement ends with the first of the works two massive fugues, on the text In gloria Dei patris. Amen, leading into a recapitulation of the initial Gloria text and music.
Credo: One of the most remarkable movements to come from Beethovens pen opens with a chord sequence that will be used again in the movement to effect modulations. The Credo, like the Gloria, is an often disorienting, mad rush through the text. The poignant modal harmonies for the et incarnatus yield to ever more expressive heights through the crucifixus, and into a remarkable, a cappella setting of the et resurrexit that is over almost before it has begun. Most notable about the movement, though, is the closing fugue on et vitam venturi that includes one of the most difficult passages in the choral repertoire, when the subject returns at doubled tempo for a thrilling conclusion.
The form of the Credo is divided into four parts: (I) allegro ma non troppo through descendit de coelis in B-flat; (II) Incarnatus est through Resurrexit in D; (III) Et ascendit through the Credo recapitulation in F; (IV) Fugue and Coda et vitam venturi saeculi, amen in B-flat.
Sanctus: Up until the benedictus of the Sanctus, the Missa solemnis is of fairly normal classical proportions. But then, after an orchestral preludio, a solo violin enters in its highest range — representing the Holy Spirit descending to earth — and begins the Missas most transcendently beautiful music, in a remarkably long extension of the text.
Agnus Dei: A setting of the plea miserere nobis (have mercy on us) that begins with the mens voices alone yields, eventually, to a bright D-major prayer dona nobis pacem (grant us peace) in a pastoral mode. After some fugal development, it is suddenly and dramatically interrupted by martial sounds (a convention in the 18th century, as in Haydns Missa in tempore belli), but after repeated pleas of miserere!, eventually recovers and brings itself to a stately conclusion. Missa Solemnis - L. v. Beethoven (Complete) Full Concert](https://i.ytimg.com/vi/r01elSujWfY/mqdefault.jpg)







