Early Music 6: Bach’s Attick

Two performances of the same programme: 4.30pm & 7pm

As a boy, it is said that Johann Sebastian Bach would creep into his elder brother’s study ‘on moonlit nights’ to copy a music book that he had been banned from seeing. The music that he copied includes composers featured in today’s programme, all of whom had a profound effect on him. I like to imagine Bach playing this music on what was reputedly his favourite keyboard instrument – the clavichord. It certainly played a central role in the life of his son, Carl Philipp Emanuel, whose Fantasia in C major embodies the varied stylistic traits of ‘empfindsamkeit’ – loosely translated as the ‘sentimental style’.

VENUE: The Chapel, 38 St Giles', Oxford, OX1 3LW

Toccata in D minor, FbWV 102, J. J. Froberger (1616–1667)

Capriccio in C major, C. F. Pollarolo (c1653–1723)

Suite in F minor, G. Böhm (1661–1733)
Allemande – Courante – Sarabanda – Ciaccona

Aria and 6 Variations in F major, P. 195, J. Pachelbel (1653–1706)
from Hexachordum Apollinis (c1699, Nuremberg)

Bist du bei mir, Stolzel/Bach

Fantasia in G minor, BWV 917, J. S. Bach (1685–1750)

Fugue in G minor, BWV 1000, J. S. Bach (1685–1750)

Fantasia in C major, Wq. 61/6, H. 291, C. P. E. Bach (1714–1788)
Presto di molto – Andante – Presto di molto – Larghetto sostenuto – Presto di molto

Polonaise in D major , W. F. Bach

Chromatic Fantasia and Fugue in D minor, BWV 903, J. S. Bach