![]() Petzold's Minuets in G major and G minor, BWV Anh. 114 and 115, are the next two entries in the notebook (Nos. 4 and 5). No. 3, the first piece after the two seven-movement Partitas, is a Minuet in F major by an unknown composer (likely not Bach), adopted as No. 113 in the second annex ( German: Anhang, Anh.), that is the annex of doubtful compositions, in the Bach-Werke-Verzeichnis (BWV). Nos. 3 to 11 in the notebook are keyboard pieces written down by Anna Magdalena, likely shortly after she was given the volume. Anna Magdalena Bach likely received the notebook from her husband in the autumn of 1725, as a present for either her birthday (22 September) or their wedding anniversary (3 December). It opened with two harpsichord suites, that is, the Partitas BWV 827 and 830, composed and written down by Johann Sebastian Bach. The second Notebook for Anna Magdalena Bach was started in 1725. Petzold died in 1733: as organist of the Sophienkirche he was succeeded by Bach's son Wilhelm Friedemann. Bach gave a concert on that organ when he visited Dresden in September 1725. In 1720, Petzold composed the music for the inauguration of the new Silbermann organ of the Sophienkirche. By the time Johann Sebastian Bach started to visit Dresden, Petzold was well acquainted with several of the city's musicians, including the violinist Johann Georg Pisendel, with whom Bach was also acquainted. In the late 17th century Christian Petzold became organist at the Sophienkirche ( lit. The 1965 pop song " A Lover's Concerto", of which millions of copies were sold, is based on the first of these Minuets. These minuets, which are suitable for beginners on the piano, are among the best known pieces of music literature. The Minuets in G major and G minor, BWV Anh. 114 and 115, are a pair of movements from a suite for harpsichord by Christian Petzold, which, through their appearance in the 1725 Notebook for Anna Magdalena Bach, used to be attributed to Johann Sebastian Bach. **Minuets begin and end with a special sequence of honors.ĭetailed instructions can be found in Charles Cyril Hendrickson’s Minuets for Dancing.Problems playing these files? See media help. Start again on beat one, rising to ball of right foot. On beat six, sink into plié on left foot flat. Keeping legs straight, walk forward on ball of right, then left foot on beats 4 and 5 (or 1 and 2 of second measure of music). Plié on right foot flat on beat two, and rise to ball of left foot on beat 3, straightening both legs, heels close together. Begin with a plié on left foot flat on up-beat and rise to ball of right foot on beat 1, straightening both legs, heels close together. The basic minuet step-combination consists of four steps in six beats (two measures) of music. Keeping hands, dance sideways to back of space, opening out to face audience at end. Two-Hand Turn and Ending: From corner, dance sideways to other corner, then forward to meet.Left-Hand Turn: As right-hand turn, but with left. ![]() Turn by right hand, then dance sideways back to corner. Right-Hand Turn: From corner, dance sideways to other corner, then diagonally to meet, taking right hands.Z Figure: Dance sideways to the other corner, then cross diagonally through middle of space, changing corners, then sideways to each other’s previous corner.Man wheels partner around 3/4, then both dance sideways to a corner of the space. Lead-in Figure: Dance curving sideways to meet at back of space, then forward to middle, holding inside hands.After the honors** to the audience, the dancers face each other in the center of the floor.The number of minuet steps* used in each figure depends on the length of the tune and the size of the dancing space. While the sequence of figures is fixed, dancers can vary the spacing and number of hand turns by interrupting them with Z figures. It has a fixed sequence of figures: lead-in, right-hand turn, left-hand turn, and two-hand turn closing. The minuet is danced by one couple alone on the floor while the rest of the company looks on. In a tavern, dancing would be unconventional and free in a ballroom, refinement, and grace would be the rule. There were many variations of the minuet step, dozens of versions of setting or show-off steps, and several ways to “cast off one couple.” Dancers would dance differently depending on where they were, who they were, who was watching, and also probably how much liquor they had consumed.
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