Chorals et préludes « Kirnberger » - BWV 690-713

INSTRUMENTATIONS :
GUITARE
› 3 guitares (trio) 1
› 2 Guitares (duo) 24
› Guitare seule (avec tablature) 1
› 2 Guitares et Basson 1
ORGUE
› Orgue seul 12 Original
PIANO

+ 12 instrumentations

ARRANGEURS :
› Bach, Johann Sebastian Original 7
› Heidtmann, Klaus 2
› Luis, Álvarez 26
› MAGATAGAN, MICHAEL 15
› Melvin, Alan 1

+1 arrangeurs

Compositeurs

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Bach, Johann Sebastian

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Bach, Johann Sebastian

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Partitions Flute ⮞ Flûte, Violoncelle et Guitare ⮞ Johann Sebastian Bach

Prelude: "Gottes Sohn ist kommen" for Flute, Guitar & Cello
BWV 703
Johann Sebastian Bach

Flûte, Violoncelle et Guitare

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Compositeur	Johann Sebastian Bach (1685 - 1750)
Partition centrale	Chorals et préludes « Kirnberger », 690-713 (56 partitions)
Instrumentation	Flûte, Violoncelle et Guitare
Genre	Baroque
Arrangeur Editeur	MAGATAGAN, MICHAEL (1960 - ) Suivre 102 Contacte Faire un don
Droit d'auteur	Public Domain
Born in Eisenach in 1685, Johann Sebastian 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 Kapellme...(+) Born in Eisenach in 1685, Johann Sebastian 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. As a craftsman obliged to fulfil the terms of his employment, Bach provided music suited to his various appointments. It was natural that his earlier work as an organist and something of an expert on the construction of organs, should result in music for that instrument. At Cöthen, where the Pietist leanings of the court made church music unnecessary, he provided a quantity of instrumental music for the court orchestra and its players. In Leipzig he began by composing series of cantatas for the church year, later turning his attention to instrumental music for the Collegium musicum of the University, and to the collection and ordering of his own compositions. The so-called Kirnberger Collection (BWV 690-713), a title now generally ignored in recent editions, is a collection of music by Bach copied by or for his pupil Johann Philipp Kirnberger. The latter was born in Saalfeld in 1721 and educated in Coburg and Cotha, before, in 1739, travelling to Leipzig for lessons in composition and performance with Bach. After a period spent in Poland, he returned to Dresden, moving then to Berlin as a violinist in the Prussian royal service. In 1754 he entered the service of Prince Heinrich of Prussia and four years later that of Princess Anna Amalia, remaining in this last position until his death in Berlin in 1783. Kirnberger had the highest regard for Bach, and did his utmost to bring about the posthumous publication of the latter's four-part chorale settings. The BWV numbers after Bach's works do not necessarily reflect a chronological order, since the dates of some of his compositions are unknown. This chorale prelude, for instance, belongs to a set of fughettas that cannot precisely be dated. It is believed they were written around the time he composed his Chorales (45) of the Orgelbüchlein (Little Organ Book), which came during the years he served as Court organist under the Duke of Sachsen-Weimar (1708-1717). They were not designed to be a set, since they come from several different manuscript sources. All of the fughettas are short -- lasting around a minute apiece -- owing to the fact that Bach wrote them as a sort of prelude to the chorale of the same title, to be sung during church service. "Gottes Sohn ist kommen" (God's Son is Coming) opens with the lovely chorale theme played in single notes in the soprano range, after which the left hand takes up the melody while the right becomes busy with contrapuntal ideas. Thereafter, both hands engage in an exchange of thematic and contrapuntal interplay of great delight. One's only regret is that Bach did not go on longer than just a minute with this brilliantly crafted, rather light and joyous piece. Source: Allmusic (http://www.allmusic.com/composition/das-jesulein-soll- doch-mein-trost-fughetta-for-organ-bwv-702-bc-k143-mc00 02658657). Although originally written for Pipe Organ, I created this Interpretation of the Chorale Prelude (BWV 703) "Gottes Sohn ist kommen" (God's Son is Coming) for Flute, Classical Guitar & Cello.
	Ajoutée par magataganm, 28 Sep 2016