Download “Allegra assai” from Brandenburg Concerto No. 2 in

“Allegra assai” from Brandenburg Concerto No. 2 in F major, BWV 1047 The third movement of Bach’s second Brandenburg Concerto features the trumpet and is best know as one of the most difficult passages in the instruments literature. Originally performed on a natural instrument without valves, this movement is believed to have been written for the trumpeter Johann Ludwig Schreiber. The piece was chosen to be the first track on the “golden record” that has accompanied two of the Voyager space missions. The Art of the Fugue (Die Kunst der Fuge), BWV 1080 Conceived as a study of the contrapuntal style and all the possible permutations of a single, simple subject; Bach’s collection of originally twelve fugues and two canons lives on today as one of his greatest masterpieces. The title itself was added by one of Bach’s son in laws and in its final version printed after Bach’s death we find fourteen fugues and four canons. Contrapunctus XIV was left incomplete by Bach and carries with it much controversy regarding his intent on how it was to be finished. Many different endings have been created over time but it is believed that Bach intended to bring back the original subject from Contrapunctus I creating quadruple fugue to bring the entire work to perfect ending. “My Spirit Be Joyful” from Cantata no. 146, Wir müssen durch viel Trübsal It was a lifelong habit for Bach to borrow musical material from his previous works for use in new compositions. Cantata 146 ("We must through much tribulation enter the kingdom of God") offers an interesting example of this procedure; it includes a reworking of the first two movements of a lost violin concerto which also appeared later in the D minor Harpsichord Concerto, BWV 1052. The lively penultimate number, "How shall I myself rejoice" or “My spirit be joyful,” is a duet for tenor and bass and includes exuberant runs for the two singers. “Jesu, Joy of Man’s Desiring” from Cantata no. 147, Herz und Mund und Tat und Leben Written during his first year in Leipzig, Germany, this chorale movement is one of Bach's most enduring works. Contrary to the common assumption, the violinist and composer Johann Schop, not Bach, composed the movement's underlying chorale melody, Werde munter, mein Gemüthe; Bach's contribution was to harmonize and orchestrate it. “Wachet auf, ruft uns di Stimme” from Cantata no. 140 “Sleepers Awake” was created by Bach due to an unusually early Easter in the year 1731 making it necessary to add one more service in order to complete to 27th day after Trinity. The gospel reading for the service was the parable of the Wise and Foolish Virgins (Mathew 25:1‐13). This chorale tune is a portrait in sound of the city of Jerusalem, waiting at midnight, with watchers posted on the battlements for the arrival of the "bridegroom". “Arioso” from Cantata No. 156, Ich steh' mit einem Fuss im Grabe This beautiful melody is another example of Bach’s reuse of materials and can be found in his Keyboard Concerto in f minor BVW 1056 as the middle movement. It is believed that Bach originally came up with the tune as part of an earlier work for oboe and strings. “Be‐Bop Bach” (Prelude no. 2 from The Well‐Tempered Clavier) “Cool Bach” (Prelude no. 8 from The Well‐Tempered Clavier) “Dixie Bach” (Fugue no. 2 from The Well‐Tempered Clavier) Originally arranged by Luther Henderson for the Canadian Brass these three treatments of music from the collection known as The Well‐Tempered Clavier epitomize the genius of Henderson’s musicianship. An African‐American who graduated from the Juilliard School of Music in 1942, Henderson spent time at teaching at the Navy School of Music and then went on to become the arranger not only for the Canadian Brass but also Eartha Kitt, Nancy Wilson, Ben Vereen and Liza Minnelli just to name a few. In interviews Henderson would dismiss his prowess as a jazz musician and insist upon taking ownership of all styles of music in order to be a well‐tempered musician.