Bach J.c. - Sonata Nr. 5 A-dur Op.2/5 - Violin, Cello, Piano

Without any doubt J.S. Bach?s cycle of the three Sonatas and Partitas BWV 1001-1006 represents one of the pinnacles of classical European music. According to C.P.E. Bach a contemporary voice stated that there was ?nothing more accomplished in order to become a good violinist? than his father?s works. The cycle reflects the entire harmonic and polyphonic musical universe of Bach?s time, so masterfully composed that it can be rendered within the limited framework of but a single instrument the violin.
The new publication of the Sonatas and Partitas BWV 1001-1006 (BA 5256) constitutes a complete revision of our older edition (BA 5116). The musical text has been edited by Peter Wollny and represents the most up-to-date state of research as published in the New Bach Edition Revised (NBArev), volume BA 5937-01. The edition is mainly based on Bach?s unusually clear autograph which is considered among the most beautiful manuscripts by the composer. All relevant secondary sources have been taken into consideration in order to clarify ambiguities. These include five contemporary copies, including one by Anna Magdalena Bach, and four manuscripts from the late 18th and early 19th centuries.
The musical text has been newly engraved with a clear and generous layout, whereby page turns and pagination have been retained from the previous edition. This allows the straightforward navigation between a copy of the previous and this new edition. The detailed Preface (Ger/Eng) provides information on the genesis of the Sonatas and Partitas, their context and the sources.
Sonata 1 g-Moll, BWV 1001
Partita 1 h-Moll, BWV 1002
Sonata 2 a-Moll, BWV 1003
Partita 2 d-Moll, BWV 1004
Sonata 3 C-Dur, BWV 1005
Partita 3 E-dur, BWV 1006 / Partitions classique / Cordes / Violon / BARENREITER

Johann Sebastian Bach is regarded as one of the greatest composers of all time. His music is revered for its technical command artistic beauty and intellectual depth. However during his lifetime Bach wasbest known throughout Europe as an organist Organ consultant and composer of Organ works in both the traditional German free genres—such as preludes fantasias and toccatas—and stricter forms such as chorale preludes andfugues.Six Sonatas includes Sonata I in Eb BWV 525 Sonata II in C minor BWV 526 Sonata III in D minor BWV 527 Sonata IV in E minor BWV 528 Sonata V in C BWV529 and Sonata VI in G BWV 530. A must-have collection for any organist!

This series of national organ music collections showcases music from England France Germany and Italy. Each book contains 50 representative pieces especially suitable for Service use. The collections are compiled by ColinMawby.Adagio from Organ Sonata No. 1 - MendelssohnAria - HandelAria semplice - Karg-ElertCantilena - RheinbergerFughetta - PachelbelFughetta in C - BuxtehudeFugue from Organ Sonata No. 6 -MendelssohnFugue in A minor - J. S. BachFugue in C - FrobergerFugue in C - PachelbelFugue in E minor - J. S. BachGagliarda - Karg-ElertMelodia monastica - Karg-ElertPastoral from Sonata No. 3 -RheinbergerPostludio - RinckPostludio festivo - Karg-ElertPraeludium in D minor - J. S. BachPreface - HessePrelude in E minor - J. S. BachPrelude in F - Adolf HessePrelude in F - Georg MuffatPreludein G - Gustav MerkelPreludio - RinckSketch for pedal piano (Op. 58) - SchumannSonatina - FinkTrio - RheinbergerVersetto - MuffatChorale preludesAch Gott und Herr - J. S.BachAllein Gott in der Höh sei Ehr - RegerAuf meinen lieben Gott - J. S. BachAus tiefer Not - RegerChriste du Lamm Gottes - J. S. BachChrist lag in Todesbanden - J. S. BachEine feste Burg - RegerEs istein Ros entsprungen - BrahmsGod?s eternal grace unbounded - Karg-ElertGott durch deine Güte - J. S. BachHerr Jesu Christ - WaltherHerzlich thut mich verlangen - WaltherI?ll ever love thee Strength and Stay -Karg-ElertMachs mit mir Gott - WaltherNach einer Prüfung - Karg-ElertNun danket alle Gott - RegerNun lasst uns Gott - PachelbelO wie selig - BrahmsSchmücke dich O liebe Seele - Brahms

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.

Original Works from the Baroque to the Modern era. Par . Quiconque ouvre ce «coffre au trésor» découvrira avec plaisir les gemmes de la littérature pour deux violoncelles. Ce volume contient des compositions des époques baroque, classique, romantique et moderne. Elles traitent de surcroît tous les aspects du jeu en duo, tels que la confiance en soi pour mener sa propre partie, l'atteinte d'un son équilibré, l'intonation et l'amélioration de la condition physique. Ce volume est particulièrement d'utilité pour les cours, les duos étant classés par positions et pouvant servir de matériau supplémentaire pour jouer dans les 1e à 4e positions. Ce recueil était auparavant publié en tant que 'Duo-Schatzkiste' (Un coffre à trésors de duos). / Niveau : facile - moyen / Date parution : 2024-02-16/ Recueil / 2 Violoncelles