Uploaded May 2012 | Updated September 2026, 17 hours ago
J. S. Bach Jean-Pierre Rampal Sonata Flute & Harpsichord BWV 1020HD
BWV 1020 -- Sonata in G minor for violin (or flute/recorder) and harpsichord (Now attributed to C.P.E. Bach -- H 542.5)
J. S. Bach Jean-Pierre Rampal Sonata Flute & Harpsichord BWV 1020HD
BWV 1020 -- Sonata in G minor for violin (or flute/recorder) and harpsichord (Now attributed to C.P.E. Bach -- H 542.5)


![Magnificat in E-flat major, BWV 243a | (Full Concert) Johann Sebastian Bach
The Magnificat in D major is a setting of the Magnificat text by Johann Sebastian Bach for five soloists, a five-part choir and orchestra. Bach first composed a version in E-flat major, (catalogued as BWV 243a) for Christmas in 1723 and then reworked that music in D major in 1733 (catalogued as BWV 243) for the feast of the Visitation. The Latin text is the canticle of Mary, mother of Jesus, as told in the Gospel of Luke.
Scoring and structure
The work is divided into twelve movements which can be grouped into three sections, each beginning with an aria and completed by the choir in a fugal chorus. Its performance lasts approximately thirty minutes. The indented parts below indicate the removed Christmas texts.
It is scored for five soloists, soprano I/II, alto, tenor, bass, a five-part choir, three trumpets, timpani, flauto traverso, two oboes (also oboe damore), two violins, viola, and basso continuo. It is one of few works which Bach set for a five-part choir,[citation needed] along with the Kyrie and Gloria, also of 1733, which he later expanded to form the Mass in B minor, and the motet Jesu, meine Freude.
Coro — Magnificat
Aria (soprano II) — Et exsultavit spiritus meus
A. Chorale motet — Vom Himmel hoch
Aria (soprano I) — Quia respexit humilitatem
Coro — Omnes generationes
Aria (bass) — Quia fecit mihi magna
B. Coro — Freut euch und jubiliert
Aria (alto, tenor) — Et misericordia
Coro — Fecit potentiam
C. Coro — Gloria in excelsis Deo
Aria (tenor) — Deposuit potentes
Aria (alto) — Esurientes implevit bonis
D. Aria (soprano, bass) — Virga Jesse floruit
Aria (soprano I/II, alto) — Suscepit Israel
Coro — Sicut locutus est
Coro — Gloria Patri
History
Bach composed in 1723 in his first year as Thomaskantor in Leipzig a version in E-flat major in 1723 for Christmas Vespers in Leipzig, using the Latin text of Magnificat with additional interpolated texts related to Christmas.[citation needed] In 1733, he adapted the Christmas version for a new version in D major, eliminating the interpolated texts, for the Marian feast of the Visitation, which was celebrated on 2 July in Leipzig at Bachs time. The second version had its premiere at the Thomaskirche on 2 July 2 1733, which coincided with the fourth Sunday after Trinity Sunday that year. Classical Music,
BWV0243a Magnificat in E-flat major 01 Chorus Magnificat
BWV0243a Magnificat in E-flat major 02 Air Et exultavit spiritus meus
BWV0243a Magnificat in E-flat major 03 Chorale Vom Himmel hoch da komm ich her
BWV0243a Magnificat in E-flat major 04 Air Quia respexit humilitatem
BWV0243a Magnificat in E-flat major 05 Chorus Omnes generationes
BWV0243a Magnificat in E-flat major 06 Air Quia mihi fecit magna
BWV0243a Magnificat in E-flat major 07 Chorale Freut euch und jubilieret
BWV0243a Magnificat in E-flat major 08 Duet Et misericordia
BWV0243a Magnificat in E-flat major 09 Chorus Fecit potentiam
BWV0243a Magnificat in E-flat major 10 Chorale Gloria in excelsis Deo
BWV0243a Magnificat in E-flat major 11 Air Deposuit potentes
BWV0243a Magnificat in E-flat major 12 Air Esurientes implevit bonis
BWV0243a Magnificat in E-flat major 13 Chorale Virga Jesse floruit
BWV0243a Magnificat in E-flat major 14 Trio Suscepit Israel
BWV0243a Magnificat in E-flat major 15 Chorus Sicut locutus est
BWV0243a Magnificat in E-flat major 16 Chorus Gloria Patri
Composer Bach, Johann Sebastian
Opus/Catalogue Number BWV 243a ; BC.E14
Key E♭ major
Movements/Sections 12
Year/Date of Composition 1723
First Performance Leipzig, 25 December 1723
First Publication 1862
Librettist Bible, Luke 1:46 55
Language Latin
Piece Style Baroque
Instrumentation Soloists: 2 Sopranos, Alto, Tenor, Bass; Mixed Chorus (SSATB)
Orchestra: 3 trumpets, timpani, 2 recorders, 2 oboes, 2 violins, viola, continuo (+ bassoon)
Full Concert Magnificat in E-flat major, BWV 243a | (Full Concert) Johann Sebastian Bach](https://i.ytimg.com/vi/pY4wRVREgB8/mqdefault.jpg)
![Handel - Op.4 No.3 in G Minor, HWV 291 (The Organ Concerto)
George Frideric Handel - The Organ Concerto Op.4 No.3 in G Minor
Organ concertos, Op.4 (Handel)
From Wikipedia, the free encyclopedia
George Frideric Handel, 1733, by Balthasar Denner
The Handel organ concertos Op 4, HWV 289 294, refer to the six organ concertos for chamber organ and orchestra composed by George Frideric Handel in London between 1735 and 1736 and published in 1738 by the printing company of John Walsh. Written as interludes in performances of oratorios in Covent Garden, they were the first works of their kind for this combination of instruments and served as a model for later composers.
My sister gave you an account of Mr. Handels playing here for three hours together: I did wish for you, for no entertainment in music could exceed it, except his playing on the organ in Esther, where he performs a part in two concertos, that are the finest thing that I ever heard in my life.
—Mrs. Pendarves, 15th March, 1735
When Handel first came to Italy ... he became known to Domenico Scarlatti. As he was an exquisite player on the harpsichord, the Cardinal [Ottoboni] was determined to bring him and Handel together for a trial of skill ... It has been said that some gave the preference to Scarlatti. However, when they came to the Organ there was not the least pretence for doubting to which of them it belonged ... Handel had an uncommon brilliancy and command of finger; but what distinguished him from all other players who possessed these same qualities, was that amazing fullness, force and energy, which he joined with them. And this observation may be applied with as much justice to his compositions as to his playing.
—John Mainwaring, Memoirs of the Life of the late G. F. Handel, 1760
Handels six organ concertos were published in 1738 by John Walsh as the composers Opus 4. The four concertos HWV 290-293 had been written to be played in the intervals of performances of his oratorios Esther, Deborah and Athalia in March and April 1735 in the newly opened theatre of John Rich in Covent Garden; the other two concertos HWV 289 and 294 served the same purpose in February and March of the following year for performances at the same venue of Alexanders Feast HWV 75, Handels setting of Drydens ode.
291 Op.4 No.3 G minor 1735 5 March 1735 1738 Adagio - Allegro - Adagio -Allegro Variant versions of last movement. First performed with the oratorio Esther (HWV 50b) Handel - Op.4 No.3 in G Minor, HWV 291 (The Organ Concerto)](https://i.ytimg.com/vi/pZITiTnmoTE/mqdefault.jpg)


![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)


