Bach was a prodigious skill at the keyboard, well known throughout his lifetime for both his technical and improvisational capabilities. A lot of Bach’s keyboard works begun as improvisations. Bach composed commonly for the harpsichord, producing many creations, suites, fugues, partitas, overtures, as well as keyboard plans of concerto music by his contemporaries. The fortepiano is an instrument Bach would have encountered as soon as, by the end of his life when it was just recently developed, while visiting his son in Potsdam. The visit led to Das Musikalische Opfer, parts of which might have been planned for the new instrument.
Modern composers have actually continued to draw inspiration from Bach’s keyboard output. Dmitri Shostakovich, for instance, composed his own set of Starts and Fugues after the Bach model. Jazz artists and authors, in particular, have been drawn to the contrapuntal design, harmonic expansion and balanced expression of Bach’s compositions, particularly the works for keyboard.
Keyboard Works (Klavierwerke) by Johann Sebastian Bach traditionally describes the Nos. 772 to 994, Chapter 8 in the BWV brochure, noting structures for a solo keyboard instrument like the harpsichord or the clavichord. Despite the fact that organ is likewise a keyboard instrument, and that in Bach’s time the difference wasn’t always made whether a keyboard composition was for organ or another keyboard instrument, Wolfgang Schmieder varied organ structures in a different area of the Bach-Werke-Verzeichnis (Nos. 525-771). Likewise other structures for keyboard, like structures for lute-harpsichord and fortepiano were listed outside the “Klavierwerke” range by Schmieder. Lute works are in the range 995– 1000, Chapter 9 in the BWV catalogue.
|Composer:||Bach, Johann Sebastian|
|Opus/Catalogue Number:||BWV 968 ; BC L185|
|I-Catalogue Number:||IJB 11|
|Year/Date of Composition:||1720?|