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BIBLIOTHÈQUE
Bach, Johann Sebastian Johann Sebastian Bach
Allemagne Allemagne
(1685 - 1750)

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› Bach, Johann Sebastian Original (24)
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Bach, Johann Sebastian: Prelude from the Cello Suite in E-Flat Major for Viola

Prelude from the Cello Suite in E-Flat Major for Viola
BWV 1010 No. 4
Johann Sebastian Bach




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EcouterTélécharger MP3 : Prelude from the Cello Suite in E-Flat Major (BWV 1010) for Viola 108x 1046x VoirTélécharger PDF : Prelude from the Cello Suite in E-Flat Major (BWV 1010) for Viola (2 pages - 153.12 Ko)681x
 

 
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Compositeur :Johann Sebastian BachBach, Johann Sebastian (1685 - 1750)
Instrumentation :

Alto (Viole)

  8 autres versions
Genre :

Baroque

Arrangeur :
Editeur :
Johann Sebastian BachMagatagan, Mike (1960 - )
Tonalité :Mi♭ majeur
Droit d'auteur :Public Domain
It is thought that Bach wrote his six suites for unaccompanied cello between 1717 and 1723, while he was in the employ of Prince Leopold of Anhalt-Cöthen and had two superb solo cellists, Bernard Christian Linigke and Christian Ferdinand Abel, at his disposal. However, the earliest copy of the suites dates from 1726, and no autographs survive. Thus a chronological order is difficult to prove, though one guesses that these suites were composed in numerical order from the way that they gradually evolve and deepen, both technically and musically.

A Baroque suite is typically a collection of dance movements, usually in binary form with each half repeated. Common elements of the suite were the Allemande (German dance), a moderately slow duple-meter dance; the Courante, a faster dance in triple meter; the Sarabande, a Spanish-derived dance in a slow triple meter with emphasis on the second beat; and a Gigue (Jig), which is rapid, jaunty, and energetic. Bach took these typical dance forms and abstracted them, and then added a free-form, almost improvisatory Prelude which sets the tone for each suite, and a galanterie, an additional dance interposed between Sarabande and Gigue. (In the first two suites, Bach uses a pair of Minuets.) With these dances, Bach experimented and created the first, and arguably still the finest, solo works for a relatively new instrument.

The six Bach suites for solo cello may be arranged according to their modern, galant dance movements into three pairs (Nos. 1 and 2 use Minuets, Nos. 3 and 4 Bourrées, and Nos. 5 and 6 Gavottes). They also form two sequences of three in terms of key and mood (major-minor-major), and the Suite in E flat major opens the second group of three. This second group goes beyond the first group of three in its contrapuntal density and in its sense of untrammeled imagination. So we encounter in the opening movement the use of a repetitive arpeggio to build complex phrases, as in the first suite. But here the sense of improvisatory fantasy is stronger: the arpeggio descends in a gradual figure and varies negligibly as it explores a range of keys. Bach alternates this descending arpeggio pattern with three wave-like cadenzas that rise and fall in a faster rhythm and gradually begin to sound more and more like the arpeggio figures, until both emerge in a triumphant E flat major. The broken-up texture and the structural ambition remind one of Bach's large, quasi-improvisatory organ pieces.

Although this piece was originally written for cello, I transcribed it for Viola.
Source / Web :MuseScore
Ajoutée par magataganm le 2014-06-01
Partition centrale :6 Suites pour violoncelle, 1007-1012 (138 partitions)

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Cette partition est associée à la collection de magataganm :
Arrangements musicaux de Mike Magatagan
Arrangements musicaux de Mike Magatagan
Arrangements musicaux de Mike Magatagan
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