Bach J.s. - Partita For Flute Solo A Minor Bwv 1013

Edition : Playing Score; Urtext Edition Editor : Schmitz, Hans-Peter;Leisinger, Ulrich Binding : stapled Instrumentation : Flute

Written in 1747 while C P E Bach was in Berlin probably for his then employer Frederick the Great or for Frederick's teacher J J Quantz this work was not printed until 1763. Like his father J S Bach C P E Bach chose the key of A minor for his only compositon for solo Flute but it's structure is quite different to that of Bach senior. Like J. S. Bach's Partita in A minor (BWV 1013) the sonata edited here is considered one of the most important works for solo Flute of the eighteenth century. In contrast to J. S. Bach's composition which still represents the traditional polyphonic and figurative style the work of the youngBach displays great sensitivity and occasionally an almost romantic expressiveness. This new edition of C. P. E. Bach's Sonata in A minor is based on a copy in the anthology 'Musikalisches Mancherley'; the editor owes his thanks to the Zurrich Central Library.

In this collection Robert Bancalari has made 26 pieces by J. S. Bach accessible to the mandolinist. Adapted from various suites sonatas and partitas the pieces in this collection include 'BoureeAngloise' from Partita in A Minor for Solo Flute 'Marche' from The Anna Magdalena Bach Notebook 'Fantasie' from Partita No. 3 in A Minor and more.  J. S. Bach For Mandolin iswritten in standard notation and tablature. The price of the book includes access to online audio tracks featuring recordings of 13 of the 26 solos.  

Par BACH JOHANN SEBASTIAN. Ces arrangements de nombreuses pièces de J.S. Bach rendent les oeuvres du compositeur un grand accessible à la mandoliniste. Etant donné que la majeure partie de la musique a été adaptée à partir de diverses suites, sonates et partitas, les auteurs fournit une explication de chaque forme de danse et autres pièces similaires. Comprend: ' Bauree Angloise ' de la Partita en la mineur pour solo flute - 'Marche' Anna Magdalena Back livre - 'Fantasie' de la Partita #3 en la mineur - et plus encore. Dans la notation et tablature. Comprend un CD qui contient 13 des 26 solos. / Niveau : Intermédiaire / Baroque - Solos / Tablatures / Mandoline Tablatures

Collection de 47 ?uvres de J.S.Bach des concertos aux musiques de chambre, en passant pas les Cantates et ?uvres pour clavier.Partitions pour piano solo du niveau intermédiaire à celui d'avancé. / Classique / Partition /

Description J.S. Bach: Collected Transcriptions Collected piano transcriptions by great composers and pianists of classic Bach pieces. Songlist Aria (Cantata No. 36) [Bauer, Harold] Chaconne (Sonata For Violin No.4) [Brahms, Johannes] [Busoni, Ferruccio] Die Seele Ruht In Jesu Handen (Cantata No.127) [Bauer, Harold] Durch Adams Fall Ist Ganz Verderbt [Busoni, Ferruccio] Fantasy And Fugue In G Minor [Liszt, Franz] Gavotte (Sonata For Violin No.2) [Saint-Saens, Camille] Ich Ruf Zu Dir, Herr [Busoni, Ferruccio] In Dir Ist Freude [Busoni, Ferruccio] Jesus Bleibet Meine Freude (Cantata No. 147) [Kempff, Wilhelm] Komm Susser Tod [Bauer, Harold] Nun Freut Euch, Lieben Christen [Busoni, Ferruccio] Prelude (Partita In E Major For Violin) [Rachmaninov, Sergei] Prelude And Fugue In A Minor [Liszt, Franz] Prelude And Fugue In C Major [Liszt, Franz] Prelude And Fugue In D Major [Busoni, Ferruccio] Prelude And Fugue In E Flat Major (St. Anne's) [Busoni, Ferruccio] Prelude And Fugue In E Minor [Liszt, Franz] Prelude To The Ratswahl Cantata [Kempff, Wilhelm] Presto After J.S. Bach [Brahms, Johannes] Siciliano From Flute Sonata No.2 [Kempff, Wilhelm] Toccata And Fugue In C Major [Busoni, Ferruccio] Toccata And Fugue In D Minor [Busoni, Ferruccio] Wachet Auf Ruft Uns Die Stimme [Busoni, Ferruccio] [Kempff, Wilhelm]

The composer says: Several musical threads led to my writing this piece of music to celebrate my friend Matanya Ophee?s (AKA MO) 80th birthday - a life lived with the guitar. Jelly Roll Morton once asserted: ?In fact, if you can't manage to put tinges of Spanish in your tunes, you will never be able to get the right seasoning; I call it, for jazz.? Over the last couple of years I moved back to Jelly Roll Morton?s city: New Orleans, home of my adolescence and reacquainted myself with the tinges of Spanish in its rich musical heritage. One of these pieces was the Mardi Gras Mambo, an iconic song frequently played during Mardi Gras and, in David Newman?s reworking of the lyrics, at the New Orleans Saints football games as the Super Bowl Mambo. Uncited sources on both Wikipedia and Essortment say the word Mambo means ?conversation with the gods? in Kikongo, the language spoken by Central African slaves taken to Cuba where it became the name for a musical form and a dance style that developed originally in Cuba in the able hands of Cachao?s (Bassist Orestes Lopez) tune: Danzon Mambo. This rhythmic style became famous in the 1950?s following its use in dance bands in Mexico and through New Orleans to the United States. The infectiousness of the New Orleans re-interpretation of the Mambo?s ostinato bass line and the reaction of people who are readily moved to dance when they hear it spoke to me of dance and celebration. This led me to choose some of this piece?s characteristics and title for this piece: Mambo for MO. As we have progressed on the instrument, some of us may have encountered the four-chord descending minor chord progression known as the Andalusian cadence: i - VII - VI - V in many different genres and guises. After all, it appears in Ray Charles? Hit the Road, Jack, the verse on Good Vibrations by The Beach Boys, Walk, Don?t Run by The Ventures, Runaway by Del Shannon and in that great work arranged and embraced by the Guitar: J.S. Bach?s Chaconne from the Partita in D minor for solo violin, BWV 1004. This bass line derived from a Latin American musical style as reinterpreted in New Orleans, a chord progression that evokes the Flamenco Music of Spain, and my impressions of the sinuous lines of people dancing the Second Line in the streets of New Orleans at Mardi Gras led me to this synthesis as a tribute to a man who has contributed so much in his lifelong efforts for the guitar, its history and lore on the occasion of his birthday! Happy Birthday, Matanya! Carlos Barrientos was born on June 25, 1954 in Tela, Honduras. He began his formal music studies at the National Music Conservatory in Guatemala City, Guatemala C.A. His training with Maestro Elias Barreiro, Director of Guitar Studies at Tulane University, was supplemented with Master Classes with Manuel Barrueco, Leo Brouwer, Juan Mercadal, Michael Newman, Tommy Tedesco and Carlos Barbosa-Lima. He studied composition under the tutelage of Dr. Jerry Sieg, University of New Orleans, and Dr. Roy Johnson, Florida State University. He consulted with Michael D. Martin, Ph.D., Associate Professor of Music, Albany State University, Albany, GA in the creation of a recordings library that reflects Western Art Music and American Jazz for the students at Albany State University. The New York Premiere of the First Movement of his Second Guitar Sonata was dedicated to and performed by Classical Guitarist Maestro Carlos Barbosa-Lima in 2003 at Carnegie Hall. At the request of U.S. Senator Bob Graham one of his compositions, Si Tu Te Vas (If You Go Away), was included on a recording to promote The Everglades Trail. In 2004, at the American Church in Paris, France the World Premiere of his Romance for Flute and Guitar was performed by the award-winning Serenade Duo, flutist Michelle LaPorte and guitarist Gerry Saulter. He has performed with such legendary musicians as Herbie Mann, Donald Byrd and Debbie Reynolds, led an on stage Renaissance Trio in a University of New Orleans production of Shakespeare?s Twelfth Night, and played incidental music for their production of Bertold Brecht?s The Good Woman of Sichuan. He has performed Carulli?s Guitar Concerto in A, Leonard Bernstein?s West Side Story and Marvin Hamlish?s A Chorus Line with the Northwest Florida Symphony Orchestra and Okaloosa-Walton Community College, Niceville, FL, and with the Southern Art Music Ensemble, a Jazz/Latin Fusion Sextet, including an Honors Convocation in Atlanta for Mr. Ted Turner. He has been a guest performer with the Albany State University Jazz Ensemble at The Fletcher Henderson Jr., Macon and Atlanta Jazz Festivals, and played the banjo in the Albany State University /Albany Symphony?s co-production of George Gershwin?s Opera Porgy and Bess.