8 217 partitions
8 757 MP3 1987 MIDI

(spurious) Prélude et Fugue en La mineur - BWV 897

INSTRUMENTATIONS :
GUITARE
› 2 Guitares (duo) 1
› Guitare seule (notation standard) 1
HARPE
› Harpe 1
FLUTE
› Flûte, Hautbois, Cor anglais & Basson 1

ARRANGEURS :
› Magatagan, Mike 2
› Non attribuées 2

Ses partitions:

REPERTOIRE & OEUVRES

OPUS [BWV]

LISTE & MENU 8 217

COMPOSITIONS A-Z 8 214

ARRANGEMENTS A-Z 3

INSTRUMENTATIONS

Total des écoutes : 7 267 853

Autres artistes allemands

Objets cadeaux
Bach, Johann Sebastian

Voir aussi la boutique partitions de
Bach, Johann Sebastian

Livraison mondiale

"Depuis 20 ans nous fournissons un service libre et légal de téléchargement de partitions gratuites.

Si vous utilisez et appréciez Free-scores.com, merci d'envisager un don de soutien."

A propos / Témoignages de membres

Partitions Harpe › Harpe › Johann Sebastian Bach

<< Partition précédente Partition suivante >>

Bach, Johann Sebastian: Prelude in A Minor for Harp

Prelude in A Minor for Harp
BWV 897 No. 1
Johann Sebastian Bach

Prévisualisation :

Niveau :

Applaudir :

Commentaire 0

Playlist

Voir

Télécharger PDF : Prelude in A Minor (BWV 897 No. 1) for Harp (3 pages - 126.04 Ko)

157x⬇

FERMER

Connectez-vous gratuitement
et participez à la communauté Free-scores.com :

attribuer un coeur (et participer ainsi à l'amélioration de la pertinence du classement)
laisser votre commentaire
noter le niveau et l'intérêt de la partition
ajouter cette partition dans votre musicothèque
ajouter votre interprétation audio ou video

Ne plus revoir cette fenêtre pour la durée de cette session.

Ecouter

Télécharger MP3 : Prelude in A Minor (BWV 897 No. 1) for Harp 49x⬇ 248x

VIDEO

AJOUTER MP3

Vidéo

Compositeur :	Johann Sebastian Bach (1685 - 1750)
Instrumentation :	Harpe
Genre :	Baroque
Arrangeur : Editeur :	Magatagan, Mike (1960 - ) S'ABONNER 84 Contacte Faire un don
Tonalité :	La mineur
Droit d'auteur :	Public Domain
Johann Sebastian Bach was a member of a family that had for generations been occupied in music. His sons were to continue the tradition, providing the foundation of a new style of music that prevailed in the later part of the eighteenth century. Johann Sebastian Bach himself represented the end of an age, the culmination of the Baroque in a magnificent synthesis of Italian melodic invention, French rhythmic dance forms and German contrapuntal mastery. Born in Eisenach in 1685, Bach was educated largely by his eldest brother, after the early death of his parents. At the age of eighteen he embarked on his career as a musician, serving first as a court musician at Weimar, before appointment as organist at Arnstadt. Four years later he moved to Mühlhausen as organist and the following year became organist and chamber musician to Duke Wilhelm Ernst of Weimar. Securing his release with difficulty, in 1717 he was appointed Kapellmeister to Prince Leopold of Anhalt-Cöthen and remained at Cöthen until 1723, when he moved to Leipzig as Cantor at the School of St.Thomas, with responsibility for the music of the five principal city churches. Bach was to remain in Leipzig until his death in 1750. J.S. Bach was one of the most renowned keyboardists of his day, and he left a rich legacy of music for harpsichord originally intended for instruction and ‘spiritual refreshment’. This recording of mostly lesser-known works includes several early examples which afford fascinating insights into the young composer’s experimentation with counterpoint, harmony and form. They are all compelling, emotionally powerful works in their own right, with virtuoso content and an expressive range that easily matches that of Bach’s more famous keyboard pieces. The early fugues show that Bach posed difficult compositional challenges for himself and on the whole, met those challenges successfully. The Prelude & Fugue in A Major (BWV 896) exists as a short prelude (likely copied by Bach's older brother however lacking in the later copy from which the Bach-Gesellschaft Ausgabe [BGA] edition was made) and the two movements did not appear together in print until John Walter Hill's 1991 edition. Neither movement calls for pedals although I have added them in this arrangement. The fugue is one of Bach's strongest early efforts in a strictly contrapuntal idiom, and this might account for its having been furnished with a prelude. The inspiration for this type of fugue might have come from Reinken's fugal gigues, which offered a model for the strict contrapuntal writing outside the 'stile antico'. But unlike Reinken's guigues, BWV 896 offsets rigorous expository passages with episodes. The latter, although short and restrained, are just sufficiently distinct in style to set the expository sections in relief. The episodes suggest another possible model, the dance movements in Kuhnau's Biblical Sonatas, which the fugue seems to quote at several points. Doubtful that this is the original work of Bach, this Prelude comes from the concerto for solo harpsichord by C. H. Dretzel. Source: The Keyboard Music of J.S. Bach by By David Schulenberg. Although originally written for Harpsichord. I created this Arrangement of the Prelude in A Minor (BWV 897) Transposed to Ab Minor for Concert (Pedal) Harp.
Source / Web :	MuseScore
	Ajoutée par magataganm, 12 Mai 2017
Partition centrale :	(spurious) Prélude et Fugue en La mineur, 897 (4 partitions)