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This lively march, originally included in the "Notebooks for Anna Magdalena Bach," exemplifies the transitional style between Baroque and early Classical eras. Though long assumed to be by J.S. Bach, modern scholarship attributes it to his son Carl Philipp Emanuel Bach, showcasing the younger composer's emerging Rococo sensibilities.

This lively march, often attributed to J.S. Bach, originates from the Anna Magdalena Notebook—a collection of music for his second wife. Modern scholarship suggests it may have been composed by his son Carl Philipp Emanuel Bach.

Composed for the Sunday after Christmas in 1724, this chorale cantata juxtaposes solemn reflections on human sinfulness with the purity of the "new-born infant child," using intricate counterpoint and symbolic instrumentation like recorders to evoke angelic presence.

This aria from Bach's Christmas cantata features complex chromatic harmonies in the continuo, symbolizing the "tortuous path of sin," contrasted with serene recorder triples representing angelic purity. Composed for Leipzig's Sunday-after-Christmas service, it reflects Lutheran theology of Christ reconciling God and mankind through the incarnation.

This trio from Bach's Christmas cantata features intricate counterpoint with the chorale melody in alto/viola against free soprano/tenor lines, characterized by gentle 6/8 rhythms, suspensions, and neighbor tones. The movement is noted for its measure 11 chord (Bb-C#-F-G) creating a striking Bbm6-like sonority.