section_path: Musical style/Ornamentation
section_name: Ornamentation
paragraph_text: Ornamentation
  
  The second page of the Klavierbüchlein für Wilhelm Friedemann Bach is an ornament notation and performance guide that Bach wrote for his eldest son, who was nine years old at the time. Bach was generally quite specific on ornamentation in his compositions (where in his time, much of the ornamentation was not written out by composers but rather considered a liberty of the performer), and his ornamentation was often quite elaborate. For instance, the "Aria" of the Goldberg Variations has rich ornamentation in nearly every measure. Bach's dealing with ornamentation can also be seen in a keyboard arrangement he made of Marcello 's Oboe Concerto: he added explicit ornamentation, which some centuries later is played by oboists when performing the concerto.
  
  Although Bach did not write any operas, he was not averse to the genre or its ornamented vocal style. In church music, Italian composers had imitated the operatic vocal style in genres such as the Neapolitan mass. In Protestant surroundings, there was more reluctance to adopt such a style for liturgical music. For instance, Kuhnau, Bach's predecessor in Leipzig, had notoriously shunned opera and Italian virtuoso vocal music. Bach was less moved. One of the comments after a performance of his St Matthew Passion was that it all sounded much like opera.