J S Bach

Na wstępie omówiono trzy podstawowe formy organizacji materii muzycznej, zastosowane w "Orgelbüchlein" Johanna Sebastiana Bacha: chorał melodyczny (najbardziej reprezentatywny i w związku z tym nazwany chorałem typu Orgelbüchlein), kolorowany oraz w kanonie (rozważono rolę Andreas Armsdorffa jako potencjalnego prekursora tego typu). Poświęcono również uwagę odstępstwom od tego schematu (przede wszystkim "In dir ist Freude" BWV 615) i podkreślono szczególną rolę partii pedałowej. W głównej części artykułu przedstawiono zagadnienie związków słowno-muzycznych w kontekście "Książeczki organowej " , rekapitulując pokrótce dawniejsze obserwacje z tego obszaru badawczego (Spitta, Schweitzer) oraz wpisując tę problematykę w szerokie pole badań nad relacjami retoryki oraz muzyki. I tak zwrócono uwagę na znaczenie teorii afektów oraz teorii muzycznych figur retorycznych. Ponadto przywołano koncepcję porównania sposobu układania oracji do procesu kompozycji – ten element retoryki muzycznej okazał się najmniej oczywisty w kontekście Orgelbüchlein, niemniej myślenie o omawianych chorałach przez pryzmat inventio, dispositio oraz elocutio wydaje się możliwe. Wreszcie przypomniano kontekst tradycji luterańskiej, która nadała sztuce muzycznej bardzo wysoką rangę, zaś na koniec przeprowadzono krótką analizę chorału Jesu, meine Freude BWV 610 pod kątem retoryki muzycznej.
The paper discusses three basic musical forms used in Johann Sebastian Bach's Orgelbüchlein (Little Organ Book): the melodic chorale (the most representative and hence known as 'the Orgelbüchlein chorale'), ornamental chorale and canon chorale (due consideration is given to the role of Andreas Armsdorff as the likely forerunner of this type of chorale). Also discussed are the divergences from this pattern (particularly In dir ist Freude, BWV 615) and the special role of the pedal part in Bach's cycle is emphasised. The body of the article concentrates on the relationship of the music and lyrics of the Orgelbüchlein and places Bach's work within a larger framework of ties between rhetorics and music, with a brief recapitulation of older studies in this area (Spitta, Schweitzer). Consequently, the affect theory and the theory of rhetorical figures in music are given due attention; the parallels between composing a speech and a musical piece are also drawn upon. The latter concept is perhaps the least apparent in Orgelbüchlein but an analysis of the discussed chorales in terms of inventio, dispositio and elocutio does not seem too far-fetched. Finally, the context of Lutheran religious tradition that assigned a particularly elevated role to the musical arts is called upon. The paper closes with a cursory analysis of the chorale Jesu, meine Freude, BWV 610 within the framework of musical rhetorics.

Musik ist eine Manifestation der grundlegenden menschlichen Fähigkeit, mittels Zeichen zu denken, zu fühlen und zu handeln. Die Musiksemiotik hat das Ziel, diese Fähigkeit und ihre Manifestationen wissenschaftlich zu beschreiben und zu erklären. Teil I des Buches umreißt den Gegenstand einer Musiksemiotik, behandelt die Emergenz und Koevolution von Musik und Sprache, hebt die kognitiven Aspekte der Musik heraus und frägt nach der Bedeutung musikalischer Zeichen. Auch Sprache (Literatur) und Bilder (besonders Filme) können mit musiksemiotischen Begriffen analysiert werden. In den Kapiteln von Teil II werden Beispiele musikalischer Zeichengestaltung behandelt: von der Polyphonie, der Kunst der Fuge über die Diskurskontexte von Blues und Jazz bis zum Lied und Rap. Ein weiteres Anwendungskapitel beschäftigt sich mit politischen Liedermachern (Leonard Cohen, Bob Dylan und Wolf Biermann). Teil III ist den theoretischen Aspekten der Musiksemiotik gewidmet. Es behandelt das Zeichenkonzept und dessen Erneuerung im Kontext der Musiksemiotik. Im letzten Kapitel werden die musikalischen Phänomene der Melodie, die Dynamik der Fuge und quasi-narrative Strukturen in musikalischen Werken mit Modellkonzepten der Dynamischen Systemtheorie beschrieben.
Der Autor Prof. Dr. Wolfgang Wildgen lehrt und forscht seit 1981 an der Universität Bremen in der Sprachwissenschaft, Semiotik und Philosophie. Seit 2004 sind Monographien zur Evolution der Sprache, zur Kognitiven Grammatik, zu Giordano Bruno, zur Geschichte der Sprachwissenschaft und zur visuellen Semiotik erschienen.

Présentation

Douzième volet de l’intégrale Johann Sebastian Bach (1685-1750) pour clavier, le second volume du Clavier bien tempéré est présenté en deux récitals, chaque fois au clavecin, à savoir les préludes et fugues 1 à 12 (BWV 870 à 881), puis les préludes et fugues 13 à 24 (BWV 882 à 893), autrement dit la première moitié du recueil, de do majeur à fa mineur, puis la seconde moitié, de fa dièse majeur à si mineur.

Questo libro è il risultato di due anni di lavoro trascorsi nell'intervistare quindici chitarristi conosciuti nel corso di questi sette anni di attività come blogger per il mio Blog Chitarra e Dintorni.

Poter frequentare musicisti come Paolo Sorge, Florindo Baldissera, Simone Massaron, Paolo Angeli, Elena Càsoli, Elia Casu, Vittorino Nalato, Gisbert Watty, Dora Filippone, Alessandra Novaga, Marco Cappelli, Maurizio Grandinetti, Donato D'Antonio, Eugenio Becherucci e Arturo Tallini è stato per me fondamentale per la mia crescita personale, sia dal punto di vista musicale che umano. Sono persone davvero speciali di cui ho imparato ad apprezzare la musica, le idee, l'istinto, il pensiero e la piacevole compagnia. Il titolo “Chitarre Visionarie” riflette proprio questo loro atteggiamento “visionario” nei confronti della loro musica e dei loro strumenti: indipendentemente dal fatto che si tratti di musica, classica, contemporanea, rinascimentale, jazz, avanguardia, blues ciascuno di loro si distingue per il particolare e innovativo approccio nei confronti della chitarra e per il libero, a tratti anarcoide, pensiero musicale.
Per mettere meglio in risalto queste loro caratteristiche ho scelto di fare solo domande aperte lasciando loro il massimo spazio possibile, si tratta in gran parte di domande indirette, come quelle dedicate all'improvvisazione (mia personale ossessione) o all'ambiente culturale in cui vivono. In altri casi sono state poste a tutti loro le stesse domande, come quelle sui generi musicali, su Zappa, sulla “trans-genericità” della chitarra e su Adorno. Come risultato ho spesso ottenuto 15 risposte diverse per ciascuno di loro, tutte ugualmente coerenti, interessanti e sincere.
Rileggendo più volte queste risposte mi sono sorpreso nel tracciare altri collegamenti e connessioni inaspettate tra chitarre, personalità e idee radicalmente diverse tra loro e credo che il risultato finale sia un libro che può presentare diverse modalità di lettura e che alla fine metta in risalto il pensiero creativo di ciascuno di loro.
Il risultato di tutto questo lavoro è un libro autoprodotto di 200 pagine, copertina retinata, carta avorio, con la gentile prefazione di Enrico Bettinello, mio caro amico e Direttore del Teatro Fondamenta Nuove di Venezia. Le immagini in copertina sono opera del Maestro Gianfranco Lai.

Resumo: Este artigo propõe um rápido mergulho nas práticas musicais em torno do cravo a partir do século XIX, na França, Inglaterra e Alemanha, indicando como os pianistas, em muitos casos inspirados pela música de Bach, foram responsáveis pelo retorno do instrumento à vida musical contemporânea. O papel de Wanda Landowska é destacado, e observamos como sua trajetória de sucesso com o cravo e com a música do compositor alemão provocou mudanças significativas no contexto musical do século XX.
Abstract: This article proposes a quick dive in the musical practices around the harpsichord since the nineteenth century, in France, England and Germany, indicating how the pianists, in many cases inspired by Bach's music, were responsible for the return of the instrument to the contemporary musical life. The role of Wanda Landowska is highlighted, and we observe how her successful trajectory with the harpsichord and the music of the German composer provoked significant changes in the musical context of the twentieth century.

Preface

Three centuries later, the debate still rages concerning which instrument –or instruments– Johann Sebastian Bach had in mind when he composed his 6ème Suitte a Violoncello Solo senza Basso, BWV 1012.
On the one hand, we know that the composer usually grouped his chamber works in homogeneous sets of six. On the other hand, we also know that Bach had a natural propensity to exploit the organological capabilities of the instruments for which he wrote.
But in the case of the Suites a Violoncello Solo BWV 1007-1012, the resulting ensemble seems to contravene one or other of these two tendencies. Not only have we the scordatura anomaly in the Quinta Suite, a modification that might be considered minor. In a further range of exploration, Bach –his copyists– specify that the Sesta Suite requires an instrument with five strings (à 5 cordes). If a different -and probably smaller- cello is required, this would imply that whoever wanted to play this volume of Suites would need two instruments. In this case, and following the reasoning of coherence, it would be more appropriate to say that Bach would have composed Six Suites a Violoncellist Solo.
If, on the other hand, we want to imagine that Bach composed these Six Suites for all of them to be played on a 5-stringed violoncello, this would clash with his penchant for using the full range of his instruments. Certainly, the first five suites contain some passages that are greatly favoured by the use of a smaller instrument, but in no case do they exploit this hypothetical high fifth string. In fact, this first five suites are works that systematically move in a medium-bass register –in contrast to his Sonatas & Partitas a Violino Solo BWV 1001-1006–.
The musical sources of other Bach works that feature violoncellos piccolos (arias from cantatas) divide this music alternately between the violinist's and cellist's particellas. This makes it equally acceptable for this Sesta Suite to be performed with a violoncello piccolo 'da gamba', i.e. between the legs, or with a violoncello piccolo 'da spalla', i.e. over the shoulder or chest.
In case the performer is not equipped with one of these violoncellos à 5 cordes, the possibilities are reduced to two:
The first option is to play it in the original key –D major–, which transforms it in an extraordinarily virtuosic piece. It would be the equivalent of playing the First Suite on a 3-stringed cello. Not at all impossible, but certainly far from the mood the composer seems to be looking for.
The other option, explored by several previous editions, consists of lowering the entire Sixth Suite by a descending fifth. This possibility is helped by the fact that –with the exception of the Prélude– it is reasonably easy to accomodate the low notes that we now have to give up.
The case of the Prélude is special, since its use of the lower register is more pronounced. The transposition to G major leaves many sections on the C string, something that Bach and other composers used to reserve for specific instances in their solo music. On the other hand, the original Prélude also explores the high register of the violoncello (to the extent that a sixth string would have been welcome), so the lowering of a fifth is still no assurance of ease and comfort in performance.
The present edition, therefore, has sought to homogenise the registers and the degree of difficulty so that this Prélude would be equivalent to the previous five. Some low passages have been raised by an octave –although they were feasible– and some bars have been lowered by another octave. In the same way, a chord has been added and notes not doubtful in any of the preserved sources have been modified. The aim has not been to respect the text but, in another divergent line, to recreate the hypothetical transcription by a 4-stringed cellist in Bach’s time.

This paper presents a corpus study that identifies the number of statistically distinct modes used in sacred and secular genres from 1400–1750. Corpora used for the study include Masses, motets, and secular songs from the Franco-Flemish School, works by Palestrina, secular Italian songs with alfabeto guitar tablature from the early seventeenth century, and works by J.S. Bach. A k-means cluster analyses of key profiles determine the number of distinguishable modes in each corpus. The results of this study show that the number of modes present in a corpus depend not only on date of publication but also on the genre of a composition.. . .

Is Italy a Bach-loving country? Starting from this question, Borghesi recounts the stages, protagonists and features of the Italian reception of J. S. Bach. The author reconstructs the musicological debate around the German composer, discusses the role of Bach's works in education and the editorial market, tracing back the activities of performers, musical institutions and record companies. Special attention is devoted to Bach's Lutheran sacred music and its dissemination in the Italian Catholic culture.
The volume constantly finds a balance between the identification of larger trends and the investigation of specific case studies. It therefore provides the much-needed history of a little-known component of Italian musical culture in the second half of the twentieth century.

Fifths and major thirds beat rate characteristics of famous historical temperaments are analysed. It appears that beat rate characteristics might be the actual determining factors for Baroque temperaments, mainly because beat rates are of main importance to interpreting musicians regarding harmony and possible musical affects, and to auditory tuners because of quality and ease of tuning. It is, on the other hand, not always clear whether published ratios, cents or comma's are deduced from theoretic calculations or from concrete results on monochord measurements or settings. The revealed reality and importance of beat rate characteristics of temperaments raises additional arguments for acceptability of the Jobin proposal concerning a probable Bach temperament, or for almost identical beat rate alternatives. A novel hypothesis is proposed concerning the spirals drawn on top of the title page of "Das wohltemperirte Clavier" of Johan Sebastian Bach. 1 Preamble The commonly published and dominating factors with discussions on musical temperaments are probably the investigations on purity deviations of musical intervals, measured in ratios, cents or commas. And still, musical interval beats and their beating rates are probably more affecting musical factors to interpreting musicians and auditory tuners of keyboard musical instruments. More attention might therefore have to be paid to those characteristics : beats are undesired and directly observable. Approximate auditory beat rate evaluations do not require any tool nor calculation. Impurity measurements in ratios, cents or commas on the other hand, are often nothing more but rather abstract concepts to many musicians, not of direct use or interest when playing music and also not for auditory tuning. This paper is an attempt to confirm and elucidate the importance and practical applicability of beat rate evaluations in the determination of musical temperaments, especially some Baroque ones. 2 The auditory music keyboard tuning The elementary basic concepts of musical temperaments, seen from the point of view of the interpreting musician and the auditory music keyboard tuner are discussed in this paragraph. There is of course much more that can be written on this subject, see for example : "Le Clavier Bien Obtempéré", A. Calvet, 2020.

Ieder jaar klinkt in de weken voor Pasen overal de Matthäus-Passion van de Duitse componist Johann Sebastian Bach. In honderden kerken en concertzalen in Nederland wordt de passie uitgevoerd door professionele en amateurmusici, een traditie die terug lijkt te gaan tot het moment dat Bach deze voor het eerst uitvoerde op een Goede Vrijdag in Leipzig. Toch werd Bachs passie bijna een eeuw niet uitgevoerd, totdat Felix Mendelssohn de partituur herontdekte en het werk nieuw leven inblies. Een historische verkenning van een wederopstanding.

Introduction

The present edition offers an arrangement for Recorder of the Trio for Flauto Trav., Violino & Basso Wq. 143 by CPE Bach (1714-1788). As is customary in such adaptations, with the transposition of a minor 3nd up, from B minor to D minor.
The Trio Wq. 143 is one of the earliest surviving works by the second-born son of Johann Sebastian Bach (1685-1750) The author’s post-mortem catalogue -NV 1790- refers to this work as having been composed in Leipzig in 1731 and revised in Berlin in 1747.
Thus, this Trio underwent at least three validations:
1.- At the time of its composition itself, since CPE Bach was 17 years old and, quite plausibly, the work was tutored by his father.
2.-The aforementioned Berlin revision of 1747.
3.- And finally a later selection, made in 1772, in which CPE discarded a large number of his earliest compositions as "too juvenile". In fact the date ‘1731’ corresponds to the first works to be spared from destruction.
We do not preserve the original version but only the 1747 revision. Fortunately, we have a complete set of Full Score and Parts belonging to the composer's "House Library". A source divided after the inheritance and now located in two institutions: The full score in the Staatsbibliothek zu Berlin (D-B, Mus. ms. Bach P 357, pp. 1-4); and the parts in Brussels, in the Bibliothèque du Conservatoire Royal de Musique, (B-Bc, 27904 MSM).
As a musician at the court of Frederick the Great, CPE Bach composed a large number of works featuring the transverse flute. But these future events leave it unexplained why the young CPE, still pupil of Johann Sebastian, composed so much music for the Traverso. The Trio Wq 143 is the first of a group of six triosonatas for Flauto Trav., Violino & Basso; five of them composed in Leipzig in the aforementioned 1731 (Wq 143-147), and a sixth composed in Frankfurt in 1735 (Wq 148). All of them published by Christoph Wolff in 2011 in the CPE Bach  Complete Works, Series II, Vol. 2.1. A volume including a detailed Introduction and Critical Apparatus; available at cpebach.org .
Although the transverse flute was increasingly popular in contemporary Europe, it is striking that other woodwind instruments, notably the oboe, the oboe d'amore or the recorder, which were widely played in Leipzig during these years, are conspicuously absent from this repertoire of youthful trios by CPE Bach.
It cannot be assured with certainty, since the early versions were destroyed, but it seems to be ruled out that the Trio Wq 143 was composed for oboe, given that bars 53, 62 and 154 include several essential d#' in the Traverso part, apparently impracticable as c#' in the transposed Oboe. It cannot be ruled out, on the other hand, that the original 1731 version was in D minor for Treble Recorder, since the Violino writing is extremely low in many passages of the 1747 revision, particularly in the first movement. It is possible that only this opening movement was present in the original version from 1731 (An early version of Wq 145, the BWV 1036, shows changes on the movements).
In any case, this present arrangement for Recorder serves as an addition to the interesting genre of the Trio for Recorder, Violino & Basso in the milieu of the Bach family and other Germanic composers.
Regarding the authorship of the Trio Wq 143, although it is true that the work has stylistic features very close to the language of Johann Sebastian –see for example the Trio for Organ in D minor BWV 583–, on the other hand, an annotation in the Catalogue NV 1790, p. 65 seems to rule out this co-authorship. When speaking of the Trio für die Violine, Viola und Bass (lost), he refers to it as "mit Johann Sebastian Bach gemeinschaftlich verfertigt", "made in collaboration with Johann Sebastian Bach". This specification leads to the assumption that Trios Wq 143-148 were, on the contrary, mostly composed by CPE.

Performance

A special feature of the nearly half a hundred Trios collected in the CPE Bach House Library is that the preserved particellas often describe two performance formulas: as a Trio for 3 or 4 players (two treble instruments & basso continuo), or as Sonata for two players, the "Klavier Trio" (treble instrument & obbligato keyboard). These keyboard parts include the Flauto &  Basso lines (with figures for the Basso only at the moments when the treble is silent). CPE notes that another particella can also be written with the Violino & Basso lines, to enable a performance à 2 for flute and keyboard.
The present edition of the Trio Wq 143 therefore allows it to be performed as a Sonata for Recorder and Obbligato Keyboard (Cembalo, Organo or Fortepiano).

The four notes forming the name 'Bach' occupies the exact center of the 56 notes harpsichord keyboards that Bach knew and used. This extraordinary fact seems to have escaped so far, but Bach himself can hardly fail to notice. If, as is generally thought, Bach's unfinished fugue (whether or not it is part of The Art of Fugue) was indeed intended for the harpsichord, this observation gives an extra scope to the last notes drawn by the Master.

God died centuries before Nietzsche's madman exclaimed that "you and I have killed him": This colossal event was dramatized when artists started to focus on the moment of the death of the Lord and his dead body after the crucifixion and before his burial. The crying over his passing away never stopped. Depicted through silence or expressed in lamentation, could we view these moments as subversive manifestations against institutional religion or even faith? And how would present day audiences differ from their original historical addressees in approaching these works? Through comparative reading of such moments, in painting (Carpaccio), music (J. S. Bach), and poetry (Else Lasker-Schüler), across three confessional frameworks (Catholicism, Lutheranism and Judaism, respectively), I trace in the article transfigurations of a basic anxiety in modern Western culture, whose reverberations persist in our post-secular world.

The purpose of this paper is to provide a deeper understanding of Bach’s music using the interpretive framework of symbolism. According to Anthony Newman, musical symbolism contains both auditory symbols such as melody, harmony, rhythm, tone color and dynamics and visual symbols such as notation, form and structure of the music.David Humphrey adds that symbolism enables us to have the ability to perceive the essence of an idea, to sense composers’ deepest feelings and experiences.Other scholars, like Rebecca Lloyd and David Schulenberg, hold a skeptical attitude towards the idea of symbolism. In this paper, I will argue that performers can enhance their interpretations of Bach’s music by analyzing and understanding symbolism. The paper presents the two types of symbolism that scholars commonly find in Bach’s music, offers my insights on symbolism and a discussion on how understanding symbolism can influence organists’ registration, choices of tempo and rhythmic interpretations.

Este material é um pequeno resultado de anos de estudos, práticas e
pesquisas aprofundadas sobre a relação entre música e dança dos séculos XVII e XVIII , no contexto cortesão europeu, e aplicados aos estudos das Partitas da obra para Violino Solo, de Johann Sebastian Bach.
Aqui estão reunidas apenas algumas das inúmeras informações que podem nortear o músico a sanar sua curiosidade, e a situar algumas de suas perguntas frequentes. Pretende-se ajudar , estimular os primeiros passos em direção à pesquisa documental e, acima de tudo, despertar o interesse pela interdisciplinaridade, no presente, que visita e olha de outra forma para o passado.

Until a few decades ago, J.S. Bach’s Toccatas and Fantasias for harpsichord and organ were performed strictly measured, rubato being only applied minimally in some cadences. Then the performers of early keyboards became aware of Baroque discussions about the Stylus Phantasticus, and nowadays it is common to hear these works performed with sweeping rubato, entire sections being thoroughly unmeasured. We will scrutinise the historical record, as well as current musicology, to verify whether this is or not the performance manner intended by the composer.

The organ music of Wilhelm Friedemann Bach (1710-1784) has thus far received considerable attention, above all visible in the form of no less than four so-called complete editions (Biggs/Weston 1947; Brandts-Buys c1955; De Nys c1960; Fedtke 1968). However, none of them solves the source and style critical issues at stake. On the one hand, there are several thorny attribution problems to be met, on the other, some organ works of the wider Bach transmission can be fruitfully associated with him. The article thus demonstrates the authenticity of the so called "IV Fugen" (which includes the celebrated triple Fugue Fk 36) and shows that several items in the Bach-Werke-Verzeichnis (BWV 568, 591, 716, 897/2 and, especially so, 534) make more sense when seen as forming part of Friedemann's oeuvre.

Each of the eighteenth-century dance forms has a characteristic rate and type of harmonic progression. Established at the outset of the dance, they determine the listener’s sense of meter. While Bach sets up certain metric expectation in the courante by repeating characteristic patterns of harmonic rhythm, he often manipulates the rate of harmonic change so that it does not necessarily coincide with the notated meter.

This analysis attempts to determine how certain harmonic, melodic, and rhythmic expectations contribute to the impression of ambiguity sensed by the twentieth-century musician in the French courantes of Johann Sebastian Bach. These expectations were not necessarily taken into account by either Bach or his contemporaries.

Read online to see the complete examples:

https://mtosmt.org/issues/mto.20.26.3/mto.20.26.3.remes.html

ABSTRACT: This article provides the first English translation of a little-known manuscript treatise by the central-German composer and Capellmeister, Gottfried Heinrich Stölzel (1690-1749), titled Kürzer und gründliche Unterricht (Brief and Thorough Instruction, ca. 1719-49). Stölzel's method frames speculative theory (trias harmonica and the tabula tradition) practically in terms of thoroughbass in order to provide simple instruction on how to invent the bass and middle voices to an original chorale melody. In the second half of the treatise, Stölzel uses thoroughbass to describe not only harmony, but also counterpoint. He does so by explaining various dissonant intervallic constellations in terms of the traditional terms "agent" and "patient," which describe the two voices involved in a dissonant syncopatio. Stölzel's treatise thus has both historical and practical value, since his method of chorale harmonization can provide welcome guidance for today's students and pedagogues.

Since 2000s instructive editions have progressively been recognized as a compelling source for studies in music history, performance history, ​and textual bibliography. Herein the attention is focused on four instructive editions of J. S. Bach’s Two-Part Inventions published in Italy during the first decade of the 20th century and edited by some renown piano teachers and performers as Ferruccio Busoni, Edgardo del Valle de Paz, Bruno Mugellini and Alessandro Longo. On the one side, editorial peculiarities are reconstructed by identifying recurrent traits characterizing the contemporary piano didactic and the approach to Bach's compositions in Italy. On the other side, a more specific analysis of interpretative indications in the first measures of the Invention n. 1 (agogic, metronomic, phrasing, fingering, dynamic, ornamentation) shows how and with which aims each editor acted on Bach’s text.
This double lens of observation displays at what point Bach’s editors traced in instructive edition an instrument to propose and disseminate personal didactic and interpretative models and to what extent these are the fruit of the editors’ interaction with specific piano-schools and elected cultural milieu.

Propuesta de análisis siguiendo los presupuestos teóricos de la retórica musical
aplicados a la sonata BWV 1030 para flauta y clave. Escrita por un gran conocedor de
la Retórica, disciplina que estudió en la escuela, J.S. Bach emplea numerosas figuras extramusicales para conseguir suscitar determinados efectos en el oyente. En la Retórica se encuentra la clave para dar explicación a figuras que en algunos casos transgreden las reglas tradicionales del contrapunto.

Based on the musical rhetorical principles, this paper provides new perspectives
of analysis on J.S. Bach Sonate BWV 1030 for flute and harpsichord. This composer
was an expert on Rhetoric, a subject which he studied during his school years. That is why Bach realizes its value raising feelings in the listener and uses consciously a lot of extramusical ornaments and figures. Rhetoric is the key in order to understand the meaning of figures which trespass usual counterpoint rules.