Contrapunctus 14 für Orgel / Tasteninstrument, BWV 1080 (Score) series__Evangelienrezitationen zur Markus-Passion (Bach & Uehling) den mächtigen König der Ehren”

den mächtigen König der Ehren” BWV 137

During the period of transition from the older [16th century] polyphonic style to the new concertante style Monteverdi displayed his compositional abilities in this collection using both means of expression

Contrary to normal custom

which were intended by this weary Court Composer at Mantua as an application portfolio for a new job

These sonatas were then re-edited in 1995 by Terence Best

Contrapunctus 14 für Orgel / Tasteninstrument, BWV 1080 (Score) series__Evangelienrezitationen zur Markus-Passion (Bach & Uehling) den mächtigen König der Ehren”In 1991 an astonishing discovery was published by Zoltn Gncz answering the question with fairly great certainty how Bach planned the appearance of the fourth subject, the main subject of the cycle: One of the striking features of Contrapunctus 14 is that in this movement Bach applied the stretto of whole expositions. In the exposition of the first three subjects he programmed the later permutational stretti, then applied the expositions as programs,