Johann Sebastian Bach: Flute sonatas, volume I (The four authentic sonatas with Violoncello part)

(Flötensonaten - Band 1)-Johann Sebastian Bach's?Flute Sonatas - Volume 1?includes three sonatas for Flute and Piano accompaniment. Sontatas included are Flute Sonata No. 1 in B minor BWV1030 Flute Sonata No. 2 in E flat major BWV1031 and Flute Sonata No. 3 in A major BWV1032.

Arias with 1 or 2 flutes obbligato (with the complete vocal part)-Arias with 1 or 2 Flutes obbligato (with the complete vocal part).Selected movements from secular cantatas from St Matthew Passion Mass in B minor and the Lutheran Mass in A major. This volume presents for the first time all those arias from the oratorios Passions Masses and sacred and secular cantatas of Johann Sebastian Bach that contain obbligato parts for one or two Flutes. The musical text has been adopted from the “ Urtext ” of the New Bach Edition. Music and words are inseparable in Bach’s works. Therefore as an aid to the interpretation of these Flute solos our richly annotated collection offers notonly Flute part but also the complete vocal part for each movement. In this way the edition not only represents a novel form of Orchestral studies it also opens up an important area of the Flute repertoire. Contents:Kantate 45. Es ist dir gesagt Mensch was gut ist. Nr. 5 Alt-Arie: Wer Gott bekenntKantate 55. Ich armer Mensch ich Sündenknecht. Nr. 3 Tenor-Arie: Erbarme dichKantate 79. Gott der Herr ist Sonn und Schild. Nr. 2 Alt-Arie: Gott ist unsre Sonn und SchildKantate 180. Schmücke dich o liebe Seel. Nr. 2 Tenor-Arie: Ermuntre dich dein Heiland kommtKantate 94. Was frag ich nach der Welt. Nr. 4 Alt-Arie: Betörte Welt betörte WeltKantate 110. Unser Mund sei voll Lachens. Nr. 2 Tenor-Arie: Ihr Gedanken und ihr Sinnen (2 Flöten)Kantate 78. Jesu der du meine Seel. Nr. 4 Tenor-Arie: Das Blut so meine Schuld durchstreichtKantate 100. Was Gott tut das ist wohlgetan. Nr. 3 Sopran-Arie (Vers): Was Gott tut das ist wohlgetanKantate 96. Herr Christ der einge Gottessohn. Nr. 3 Tenor-Arie: Ach ziehe die Seele mit Seilen der LiebeKantate 102. Herr deine Augen sehen nach dem Glauben. Nr. 5 Tenor-Arie: Erschrecke doch du allzu sichre SeeleKantate 113. Herr Jesu Christ du höchstes Gut. Nr. 5 Tenor-Arie: Jesus nimmt die Sünder anKantate 99. Was Gott tut das ist wohlgetan. Nr. 3 Tenor-Arie: Erschüttre dich nur nicht verzagte SeeleKantate 114. Ach lieben Christen seid getrost. Nr. 2 Tenor-Arie: Wo wird in diesem JammertaleKantate 130. Herr Gott

for Flute and Harpsichord obbligato (Piano)-The B Minor Suite has a special place among the four extant Orchestral suites by Johann Sebastian Bach (BWV 1066-1069) for two reasons: it is the only suite that calls for only one wind instrument and the only one with extensive solo passages for one instrument. Since moreover it is essentially Bach's only composition for solo Flute with Orchestra it enjoys great favour among flutists.A proper string ensemble is not always at one's disposal. Therefore an arrangement {or Flute and Obbligato Harpsichord has been prepared similar to one Bach himself might have written. The aim here has been to do nothing thatBach himself would not have done yet to refrain from doing everything of which he was capable.

101 Pieces for Solo Flute by J.S. Bach-The Well Tempered Flutist: For Solo Flut is a vast selection of 101 solo Flute pieces composed by Johann Sebastian Bach. the Well Tempered Flutist has been expertly transcribed from Bach's The Well Tempered Kalavier by Robert Stallman.

Johann Sebastian Bach's Partita in A minor for solo Flute actually entitled 'Solo pour la flûte traversière' is one of the undisputed gems of the Flute repertoire. The work is extant in only one copy as autograph material of the composer has not survived. This raises a number of questions and problems which the present edition faces again not only in the preface and notes on interpretation but also in the musical text itself. Due to the meticulous examination and assessment of all text details the transition to the repetition of the second part in the Allemande for example is structured differently than in most establishededitions. The practical performance notes examine the musical text on the basis of practical sources of contemporaries of Bach as well as in accordance with the principles of musical rhetoric.

für Flöte Violine und Continuo-Bach?s Trio Sonata In G BWV 1038 For Flute Violin And Continuo has survived as a set of parts in Johann Sebastian Bach?s hand yet the source does not give a composer. Thusits authenticity has been called into question time and again. According to the latest research however this tone sensitive sonata is presumed to be an original work by Bach. Editor PeterWollny a declared expert outlines the reasons for this in detail. The violin part is to be played in scordatura according to the source so this version has provided a part in original notation as well as in standardnotation for regularly tuned violins.

Score and parts for Trio Sonata In G For Two Flutes And Basso Continuo by Johann Sebastian Bach.

This volume contains Johann Sebastian Bach's Sonata in B minor for Flute and Harpsichord BWV 1030. The work belongs to the newly created genre of sonata with melody instrument and obbligato harpsichord in which the harpsichord functions as an equal partner rather than simply filling in the figured bass. This is a completely revised volume with an updated DOWANI 3 Tempi Play Along recording of the harpsichord accompaniment at all three tempi. Flute and Harpsichord. 2CDs

Johann Sebastian Bach's 'Suite in B Minor' for Orchestra here arranged for Flute and Piano and edited by Louis Moyse. Includes the famous 'Badinerie'.

Johann Sebastian Bach Partita en la mineur pour flûte seule, en fait intitulé 'Solo versez la flûte traversière, est l'un des joyaux incontestés du répertoire pour flûte. Le travail est existant en un seul exemplaire en tant que matériau d'autographes du compositeur n'a pas survécu. Cela soulève un certain nombre de questions et de problèmes qui la présente édition est confronté à nouveau non seulement dans la préface et les notes sur l'interprétation, mais aussi dans le texte musical lui-même. Grâce à l'examen minutieux et l'évaluation de tous les détails du texte, le passage à la répétition de la deuxième partie de l'Allemande, par exemple, est structuré différemment que dans la plupart des éditions établies. Les notes relatives aux performances pratiques examiner le texte musical sur la base de sources pratiques des contemporains de Bach ainsi que dans le respect des principes de la rhétorique musicale. / Flûte

Arrangeur: Elizabeth Walker. Par BACH JOHANN-SEBASTIAN. Johann Sebastian Bach (1685 - 1750) composed St. Matthew's Passion, BWV 244, in the 1720s and it is believed that the first performance took place on April 11, 1727 at the St. Thomas Church in Leipzig. The music arranged here for Flute Quartet is the heart-wrenching aria, 'Aus Liebe will mein Heiland sterben,” extracted from the middle of the second part of the work. To set the scene, the aria comes after Jesus has been presented to the multitudes in a fast a furious, rowdy double orchestra and choir exclamation, and is condemned to death by crucifixion. Out of this outcry, the solitary flautist and soprano singer reflect on the question of sin, judgement and punishment. In thismost hauntingly vulnerable aria, Bach manages to find both beauty and fragility to reflect upon this question. Using the parts provided, this arrangement can be performed as either a quartet with 3 C Flutes and Alto Flute, or as a quartet with 3 Alto Flutes and Bass Flute. For the latter, the Alto Flutes are to play the original C Flute parts, and the Bass Flute plays the supplemental part provided. Johann Sebastian Bach (1685 - 1750) composed St. Matthew's Passion, BWV 244, in the 1720s and it is believed that the first performance took place on April 11, 1727 at the St. Thomas Church in Leipzig. The music arranged here for Flute Quartet is the heart-wrenching aria, 'Aus Liebe will mein Heiland sterben,” extracted from the middle of the second part of the work. To set the scene, the aria comes after Jesus has been presented to the multitudes in a fast a furious, rowdy double orchestra and choir exclamation, and is condemned to death by crucifixion. Out of this outcry, the solitary flautist and soprano singer reflect on the question of sin, judgement and punishment. In thismost hauntingly vulnerable aria, Bach manages to find both beauty and fragility to reflect upon this question. Using the parts provided, this arrangement can be performed as either a quartet with 3 C Flutes and Alto Flute, or as a quartet with 3 Alto Flutes and Bass Flute. For the latter, the Alto Flutes are to play the original C Flute parts, and the Bass Flute plays the supplemental part provided./ Répertoire / 4 Flûtes Traversières

Arrangeur: Elizabeth Walker. Par BACH JOHANN-SEBASTIAN. Johann Sebastian Bach (1685 - 1750) composed St. Matthew's Passion, BWV 244, in the 1720s and it is believed that the first performance took place on April 11, 1727 at the St. Thomas Church in Leipzig. The music arranged here for Flute and Piano is the heart-wrenching aria, 'Aus Liebe will mein Heiland sterben,” extracted from the middle of the second part of the work. To set the scene, the aria comes after Jesus has been presented to the multitudes in a fast a furious, rowdy double orchestra and choir exclamation, and is condemned to death by crucifixion. Out of this outcry, the solitary flautist and soprano singer reflect on the question of sin, judgement and punishment. In thismost hauntingly vulnerable aria, Bach manages to find both beauty and fragility to reflect upon this question. Johann Sebastian Bach (1685 - 1750) composed St. Matthew's Passion, BWV 244, in the 1720s and it is believed that the first performance took place on April 11, 1727 at the St. Thomas Church in Leipzig. The music arranged here for Flute and Piano is the heart-wrenching aria, 'Aus Liebe will mein Heiland sterben,” extracted from the middle of the second part of the work. To set the scene, the aria comes after Jesus has been presented to the multitudes in a fast a furious, rowdy double orchestra and choir exclamation, and is condemned to death by crucifixion. Out of this outcry, the solitary flautist and soprano singer reflect on the question of sin, judgement and punishment. In thismost hauntingly vulnerable aria, Bach manages to find both beauty and fragility to reflect upon this question./ Répertoire / Flûte Traversière et Piano