Suite pour Orchestre No.2 en Si mineur - BWV 1067

INSTRUMENTATIONS :
FLUTE
› Flute et Piano 5 Original
› Flûte et Quintette de cuivre 3
› Flûte, Violoncelle et Guitare 3
› Quatuor à vent: Flûte, Hautbois, Clarinette, Basson 3
› Flûte, piano ou orgue 2

+ 38 instrumentations

ARRANGEURS :
› Bach, Johann Sebastian Original 5
› Bergeron, Guy 3
› Dewagtere, Bernard 33
› Dobrinescu, Ioan 5
› Franko, Sam 1

+18 arrangeurs

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Bach, Johann Sebastian

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Bach, Johann Sebastian

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Partitions Flute ⮞ Quatuor à vent: Flûte, Hautbois, Clarinette, Basson ⮞ Johann Sebastian Bach

Bach, Johann Sebastian: Badinerie from the Orchestral Suite No. 2 for Woodwind Quartet

Badinerie from the Orchestral Suite No. 2 for Woodwind Quartet
BWV 1067
Johann Sebastian Bach

Quatuor à vent: Flûte, Hautbois, Clarinette, Basson

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Compositeur	Johann Sebastian Bach (1685 - 1750)
Partition centrale	Suite pour Orchestre No.2 en Si mineur, 1067 (83 partitions)
Instrumentation	Quatuor à vent: Flûte, Hautbois, Clarinette, Basson ➔ 2 autres versions
Genre	Baroque
Arrangeur Editeur	MAGATAGAN, MICHAEL (1960 - ) Suivre 102 Contacte Faire un don
Date	1738-39
Droit d'auteur	Public Domain
The four orchestral suites (called ouvertures by their author), BWV 1066–1069 are four suites by Johann Sebastian Bach. The name ouverture refers only in part to the opening movement in the style of the French overture, in which a majestic opening section in relatively slow dotted-note rhythm in duple meter is followed by a fast fugal section, then rounded off with a short recapitulation in triple meter of the opening music. More broadly, the term was used in Baroque Germany for a suite of dan...(+) The four orchestral suites (called ouvertures by their author), BWV 1066–1069 are four suites by Johann Sebastian Bach. The name ouverture refers only in part to the opening movement in the style of the French overture, in which a majestic opening section in relatively slow dotted-note rhythm in duple meter is followed by a fast fugal section, then rounded off with a short recapitulation in triple meter of the opening music. More broadly, the term was used in Baroque Germany for a suite of dance-pieces in French Baroque style preceded by such an ouverture. This genre was extremely popular in Germany during Bach's day, and he showed far less interest in it than was usual: Robin Stowell writes that "Telemann's 135 surviving examples represent only a fraction of those he is known to have written"; Christoph Graupner left 85; and Johann Friedrich Fasch left almost 100. Bach did write several other ouverture (suites) for solo instruments, notably the Cello Suite no. 5, BWV 1011, which also exists in the autograph Lute Suite in G minor, BWV 995, the Keyboard Partita no. 4 in D, BWV 828, and the Overture in the French style, BWV 831 for keyboard. The two keyboard works are among the few Bach published, and he prepared the lute suite for a "Monsieur Schouster," presumably for a fee, so all three may attest to the form's popularity. Scholars believe that Bach did not conceive of the four orchestral suites as a set (in the way he conceived of the Brandenburg Concertos), since the sources are various. The Badinerie (literally "jesting" in French; in other works Bach used the Italian word with the same meaning, "Scherzo") has become a show-piece for solo flautists because of its quick pace and difficulty. Joshua Rifkin has argued, based on in-depth analysis of the partially autograph primary sources, that this work is based on an earlier version in A minor in which the solo flute part was scored instead for solo violin. Rifkin demonstrates that notational errors in the surviving parts can best be explained by their having been copied from a model a whole tone lower, and that this solo part would venture below the lowest pitches on the flutes Bach wrote for (the transverse flute, which Bach called flauto traverso or flute traversiere). Rifkin argues that the violin was the most likely option, noting that in writing the word "Traversiere" in the solo part, Bach seems to have fashioned the letter T out of an earlier "V", suggesting that he originally intended to write the word "violin" (the page in question can be viewed here, p. 6) Further, Rifkin notes passages that would have used the violinistic technique of bariolage. Rifkin also suggests that Bach was inspired to write the suite by a similar work by his second cousin Johann Bernhard Bach. Flautist Steven Zohn accepts the argument of an earlier version in A minor, but suggests that the original part may have been playable on flute as well as violin. Oboist Gonzalo X. Ruiz has argued in detail that the solo instrument in the lost original A minor version was the oboe, and he has recorded it in his own reconstruction of that putative original on a baroque oboe. His case against the violin is that: the range is "curiously limited" for that instrument, "avoiding the G string almost entirely," and that the supposed violin solo would at times be lower in pitch than the first violin part, something that is almost unheard of in dedicated violin concertos. By contrast, "the range is exactly the range of Bach's oboes"; scoring the solo oboe occasionally lower than the first violin was typical Baroque practice, as the oboe still comes through to the ear; and the "figurations are very similar to those found in many oboe works of the period." Although originally scored for Chamber Orchestra, I created this arrangement for Woodwind Quartet (Flute, Oboe, Bb Clarinet & Bassoon).
	Ajoutée par magataganm, 13 Fév 2015