C.P.E. Bach: Marche in D major, BWV Anh. 122 [from Anna Magdalena Notebook] (Synthesized)
For information on the visualization, please read the note at the end. The title "Notebook for Anna Magdalena Bach" refers to either of two manuscript notebooks that the German Baroque composer Johann Sebastian Bach presented to his second wife, Anna Magdalena. Keyboard music (minuets, rondeaux, polonaises, chorales, sonatas, preludes, musettes, marches, gavottes) makes up most of both notebooks, and a few pieces for voice (songs, and arias) are included. The Notebooks provide a glimpse into the domestic music of the 18th century and the musical tastes of the Bach family, as over the years the notebook was filled with their favorite selections. The two notebooks are known by their title page dates of 1722 and 1725. The title "Anna Magdalena Notebook" is commonly used to refer to the latter. The primary difference between the two collections is that the 1722 notebook contains works only by Johann Sebastian Bach (including most of the French Suites), while the 1725 notebook is a compilation of music by both Bach and other composers of the era. Most of the entries in the 1725 notebook were made by Anna Magdalena herself, with others written in the hand of Johann Sebastian, some by sons Johann Christian and Carl Philipp Emanuel, and a few by family friends such as Johann Gottfried Bernhard and Johann Gottfried Heinrich. Although the 1725 notebook does contain work composed by Johann Sebastian Bach, it also includes works by many other composers. The authorship of several pieces is identified in the notebook itself, while that of others was established by researchers. The composers of still others, including several popular songs of the time, remain unknown. Though originally thought to have been composed by J.S. Bach, the march is now is now attributed by many scholars to be an early piece by his fifth child (and second surviving son) Carl Philipp Emanuel; and it also has a catalogue number: C.P.E. Bach H.1; BWV Anh.122, movement 1: Marche (D major). The lively march is presented here in the same tempo as Wendy Carlos' version released on "Switched-On Bach II" in 1973. I tried to make the vocing reminiscent of the sounds she used as well: 10 layers of voicing and additional emphasis were utilized to elevate this keyboard piece. For those wanting to follow along with the MAMM player visualization, the instrumentation is listed as follows: Lead: Orange Harmony: Green Bass: Cyan Cymbal: Purple Timpani: Rose
For information on the visualization, please read the note at the end. The title "Notebook for Anna Magdalena Bach" refers to either of two manuscript notebooks that the German Baroque composer Johann Sebastian Bach presented to his second wife, Anna Magdalena. Keyboard music (minuets, rondeaux, polonaises, chorales, sonatas, preludes, musettes, marches, gavottes) makes up most of both notebooks, and a few pieces for voice (songs, and arias) are included. The Notebooks provide a glimpse into the domestic music of the 18th century and the musical tastes of the Bach family, as over the years the notebook was filled with their favorite selections. The two notebooks are known by their title page dates of 1722 and 1725. The title "Anna Magdalena Notebook" is commonly used to refer to the latter. The primary difference between the two collections is that the 1722 notebook contains works only by Johann Sebastian Bach (including most of the French Suites), while the 1725 notebook is a compilation of music by both Bach and other composers of the era. Most of the entries in the 1725 notebook were made by Anna Magdalena herself, with others written in the hand of Johann Sebastian, some by sons Johann Christian and Carl Philipp Emanuel, and a few by family friends such as Johann Gottfried Bernhard and Johann Gottfried Heinrich. Although the 1725 notebook does contain work composed by Johann Sebastian Bach, it also includes works by many other composers. The authorship of several pieces is identified in the notebook itself, while that of others was established by researchers. The composers of still others, including several popular songs of the time, remain unknown. Though originally thought to have been composed by J.S. Bach, the march is now is now attributed by many scholars to be an early piece by his fifth child (and second surviving son) Carl Philipp Emanuel; and it also has a catalogue number: C.P.E. Bach H.1; BWV Anh.122, movement 1: Marche (D major). The lively march is presented here in the same tempo as Wendy Carlos' version released on "Switched-On Bach II" in 1973. I tried to make the vocing reminiscent of the sounds she used as well: 10 layers of voicing and additional emphasis were utilized to elevate this keyboard piece. For those wanting to follow along with the MAMM player visualization, the instrumentation is listed as follows: Lead: Orange Harmony: Green Bass: Cyan Cymbal: Purple Timpani: Rose