Partita A Minor For Flûte Solo Bwv 1013

Sonate Carl Philipp Emanuel Bach en la mineur pour flûte solo quasi constitue une contrepartie de la partita de son père Johann Sebastian dans la même tonalité. Créé en 1747, mais non publié jusqu'en 1763, il annonce le style sentimentale d'une nouvelle ère, par rapport à l'env. 30 ans de plus de travail de son père. L'édition est basé sur la première édition qui est caché parmi les oeuvres pour piano de C. Ph. E. Bach et d'autres compositeurs de l'anthologie 'Musikalisches Mancherley'. Une édition séparée, également publié en 1763, s'est avéré être un rejeton de la première édition avec le texte musical identiques et pourraient être éliminés en tant que source pour l'édition. Mais l'édition a également été basée sur une fin du 18e siècle exemplaire de la Collection Giedde à Copenhague qui est d'une grande importance à la littérature flûte. Bien qu'il semble également revenir à la première édition, il s'avère néanmoins avéré être un correctif contemporain à des carences de la première édition, dans certains passages. Les notes relatives aux performances pratiques de l'Kuijken élève Susanne Schrage non seulement se rapprocher du texte musical au moyen de la méthode de flûte de Bach de Berlin collègue du compositeur Johann Quantz Joachim, mais aussi d'analyser les chapitres pertinents du 'Versuch über die Art wahre, das zu Clavier spielen 'par C. Ph. E. Bach lui-même, offrant ainsi des aides d'interprétation droite du point de vue du compositeur. / Flûte

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.

Cette nouvelle édition de l'Album Solo de trois volumes pour les flûte, contenant certaines des oeuvres plus importantes constituant le répertoire du soliste, est principalement destinée à servir de guide aux jeunes étudiants souhaitant acquérir des connaissances pratiques. / Flûte Traversière

Classical Solos for flute complements Clardy’s two volumes of Classical Duets. Included are short biographies of the seven composers represented, along with performance suggestions for each piece. Flutists will recognize the must-have repertoire works, such as the Johann Sebastian Bach’s Partita in A minor, Kuhlau Divertissement No. 1 in G and Debussy’s Syrinx, which is otherwise available in the U.S. only in the original Jobert copyright. For listening and learning purposes, Classical Solos contains an audio CD of Clardy’s playing selected pieces. Another beautiful package from UE!/ Recueil / Flûte Traversière

Trois grands cycles de suites de Johann Sebastian Bach comptent parmi les pièces maîtresses de la littérature de clavier: les Partitas ainsi que les Suites anglaises et françaises. Sur l'échelle de popularité, les Suites françaises l'emportent de très loin sur les autres - et il en était déjà ainsi du temps de leur création. Le revers de la médaille pour l'éditeur Urtext: un nombre presque incalculable de copies issues du cercle des élèves de Bach qui transmettent de nombreuses variantes probablement authentiques. Ullrich Scheideler présente avec une clarté exemplaire la complexité des sources dans cette édition Henle-Urtext révisée. Les petites variantes provenant des sources sont reproduites dans des notes en bas de page - en présence de grandes divergences, les mouvements en question sont reproduits en deux versions. Une annexe avec des pièces alternatives ou additionnelles complète cette somptueuse édition. À l'aide de cette publication Urtext de Henle entièrement révisée, pianistes et amateurs de Bach peuvent redécouvrir l'univers de Bach! / Piano

?I think Bach would have forgiven me for embarking on these transcriptions. Whether he would have forgiven the way I did it is, of course, another matter.? (Gustav Leonhardt)

The harpsichordist, conductor and organist Gustav Leonhardt was considered a pioneer of historical performance practice. Between 1968 and 1978 he made harpsichord transcriptions of several of Bach?s compositions for unaccompanied violin or violoncello. Now these transcriptions are being made available to us by his pupil, the famed harpsichordist Siebe Henstra, based on the handwritten notes that Leonhardt used for his own performances.

- Informative Foreword by early music specialist Skip Sempé (Ger/Eng)
- Editorial notes by the editor Siebe Henstra / Classique / Partition /

Une collection des meilleures oeuvres classiques tirées des collections d'anthologies. Comme à chaque fois, chaque morceau est présenté avec soin pour piano solo, avec au choix des chefs d'oeuvres reconnus, dont ceux de Bach et son Air pour instrument à cordes en sol, l'Entertainer de Joplin et le Clair de Lune de Debussy à apprendre, à maîtriser et à apprécier. / Classique / Partition /

Bach's Suite In A Minor BWV 997 was originally composed for a Lute however has been beautifully arranged here for Flute and Guitar by Gerd-Michael Dausend. This charming piece offers a wonderful enrichment to the repertoire of both instrumentalists alike.This piece was originally known as the 'second' lute Suite and despite such titles as 'Partita' and 'Sonata' the title 'Suite' is the most commonly used. Bach originally composed this profound piece in 1740 and so is among his later works.In addition to the score both the solo flute and guitar parts are also included on separate inserts.

Un célèbre collection des meilleurs ouvrages classiques de cette série très réussie d'anthologies, y compris un CD avec des performances de tous les morceaux. Comme d'habitude, chaque pièce a été soigneusement présenté pour piano solo, avec un choix de chefs-d'oeuvre reconnus, y compris Air de Bach On AG String, Entertainer Joplin et Debussy Clair De Lune pour vous d'apprendre, maître, et en profiter. / Piano