Contrapunctus 14 für Orgel / Tasteninstrument, BWV 1080 (Score) series__Evangelienrezitationen zur Markus-Passion (Bach & Uehling) During the period of transition

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

the first of two for horns

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

Following a restrained opening in C major and the first dreamy sounds of the theme

Contrary to normal custom

Contrapunctus 14 für Orgel / Tasteninstrument, BWV 1080 (Score) series__Evangelienrezitationen zur Markus-Passion (Bach & Uehling) During the period of transitionIn 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,