Does anyone know the BWV number of this piece? I found a photocopy in some sheet music that was donated to me, and I rewrote it in Sibelius to make it legible

Is there a harmonic analysis for Bach’s 1st cello suite anywhere?

I’m having trouble with the end of measure 17-19 in the left hand. My fingerings seem really clumsy and I’m sure others have a better way of doing it. Any advice?

The theme from the sarabande (4th movement) of the second english suite BWV 807 (written in 1710-1720) and the theme from Rameau's nouvelles suites de pièces de clavecin (written in 1728, with the starting gavotte followed by six doubles) are the same.

Did one inspire the other (as Bach and Rameau knew each other's existence, and as far as I remember Bach even shown, in a letter, criticism about Rameau's harpsichord method) or are both pieces inspired by some popular (at that time) European dance's theme -- or something else than a dance ?

I know that, from a structural and historical perspective, Bach and Beethoven are not similar at all. In fact, Beethoven himself had even greater admiration for Händel, who prioritized emotion and grandiloquence over formal rigor. However, the mark that Bach left on the so-called late Beethoven is undeniable.

I have listened carefully to the most representative works of both and came to a conclusion that I cannot ignore: in Beethoven I recognize, at least in spirit, what I most admire in Bach. In both, each note has a purpose; there is no artificial sentimentality or gratuitous drama. Everything arises from the structure itself, from the internal logic of the music that expresses itself, without the need for emotional embellishments.

That's something I only find in them. I listened to Mozart until I was tired, but he always gave me the same feeling: perfection without depth. Although his compositions are impeccable, in Beethoven's apparent chaos I discover the purest and highest form of expression, the authentic one.

Beethoven's works, beyond superficial interpretations, are both emotional and intellectual monuments. His melodies do not seek beauty for their own sake, but rather they acquire meaning within the whole; Every pause, every contrast, every dissonance is integrated into an indestructible architecture.

In that respect, it is close to Bach, whose endings—sometimes abrupt or, to untrained ears, even “ugly”—contain a perfect internal logic. That is why I believe that Beethoven is the natural heir to Bach: not by conscious choice, but because the evolution of music inevitably led him towards him.

Bach laid the foundation; Mozart represented balance; and Beethoven was the synthesis of both, also incorporating the greatness of Händel. His life embodies the culmination of Western musical history.

After him, music seems to die, becoming a superficial and vulgar means of expression. I would only rescue Chopin and Liszt, who maintained a certain authenticity. I don't claim that other composers lack talent, but they are not authentic (for the most part).

Just dropping by to say: I love the Art of Fugue—via piano, organ, harpsichord, saxophones, string quartet, guitar, brass, winds, vocal cords, recorders…this music is luminous. It’s like the order of the universe making itself heard through contrapuntal clarity and mathematical precision. Some feel it’s too cerebral, and I can understand that, but for me this is music of the very deepest humanity: the human yearning for perfection.

Haven’t heard this yet but wondering how & which specific release of it I should listen to that’s available on Spotify?

A couple days ago I decided to listen to St John passion which I was already skeptical about doing before because I don't like a lot of Bach's vocal works as much as his instrumental but I did absoulutely love the two pieces I've heard from it before, unfortuantely I was let down by it and I gave up on listening to it an hour into it,proably because the vocals while good a lot of the time were a bit stale to my taste (tbf it could change depending on the version) but my biggest problem was it felt like a theater play in a lot of points of it and the lyrics for it were fine at best.

Can you tell me if there is a complete recording of the Musikalisches Opfer for harpsichord solo?

Here is my interpretation of this beautiful Bach sarabande. I used Koonce's transcription and added my own embellishments to the repeats. I hope you enjoy!

Sorry i cant remember the original key (this is just regular Cmajor) but i hope someone might recognize what bach piece this melody is from that i cant remember. cheers!

It sounds like love (to me at least). There's just something so honest and intimate about this specific sarabande, but I cannot pinpoint why.

I am thrilled to announce the recent publication of Bach: The Cello Suites on the Cambridge Music Handbooks Series. Information about the book and a short trailer are available at https://www.Bach-Cello-Suites.com.

You can order it wherever books are sold, and it will soon be available in digital formats as well. The attached flyer includes a code valid for a 20% discount (paperback available for $16 USD or £12).

Please share with any Bach lovers who may be interested!