Works For Keyboard By J.S. Bach

Works For Keyboard By J.S. Bach

The keyboard works of the German composer Johann Sebastian Bach, originally written for organ, clavichord, and harpsichord, are among the most important and well-known of his compositions. Widely varied and ranging over the entire span of his lifetime, they are a central part of the modern repertoire for keyboard.

Bach was himself a prodigious talent at the keyboard, well known during his lifetime for both his technical and improvisational abilities. Many of Bach's keyboard works started out as improvisations.

During the long period of neglect that Bach suffered as a composer after his death extending to his rediscovery during the nineteenth century, he was known almost exclusively through his music for the keyboard, in particular his highly influential pantonal series of Preludes and Fugues in the Well-Tempered Clavier, which were regularly assigned as part of musicians' training. Composers and performers such as Ludwig van Beethoven and Camille Saint-Saƫns first showed off their skills as child prodigies playing the entire cycle of Bach's 48 Preludes and Fugues.

Modern composers have continued to draw inspiration from Bach's keyboard output. Dmitri Shostakovich, for example, wrote his own set of Preludes and Fugues after the Bach model. Jazz musicians and composers, in particular, have been drawn to the contrapuntal style, harmonic expansion and rhythmic expression of Bach's compositions, especially the works for keyboard.

Read more about Works For Keyboard By J.S. Bach:  Works For Harpsichord, Publication History, Media

Famous quotes containing the words works and/or bach:

    It’s an old trick now, God knows, but it works every time. At the very moment women start to expand their place in the world, scientific studies deliver compelling reasons for them to stay home.
    Mary Kay Blakely (20th century)

    The author’s conviction on this day of New Year is that music begins to atrophy when it departs too far from the dance; that poetry begins to atrophy when it gets too far from music; but this must not be taken as implying that all good music is dance music or all poetry lyric. Bach and Mozart are never too far from physical movement.
    Ezra Pound (1885–1972)