 | Bach, Johann Sebastian - Sonata in A Minor for Oboe & Harp BWV 967 Hautbois, harpe |
VoirPDF : Sonata in A Minor (BWV 967) for Oboe & Harp (6 pages - 177.14 Ko)144x⬇ MP3 : Sonata in A Minor (BWV 967) for Oboe & Harp 31x⬇ 336x
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| Compositeur : | Bach, Johann Sebastian (1685 - 1750) | ||||
| Instrumentation : | Hautbois, harpe | ||||
| Genre : | Baroque | ||||
| Tonalité : | La mineur | ||||
| Arrangeur : Editeur : | MAGATAGAN, MICHAEL (1960 - ) | ||||
| Droit d'auteur : | Public Domain | ||||
| Ajoutée par magataganm, 18 Oct 2017 Johann Adam Reincken (also Jan Adams, Jean Adam, Reinken, Reinkinck, Reincke, Reinicke, Reinike; baptized 10 December 1643 – 24 November 1722) was a Dutch/German organist and composer. He was one of the most important German composers of the 17th century, a friend of Dieterich Buxtehude and a major influence on Johann Sebastian Bach; however, very few of his works survive to this day. J. S. Bach scholars believe that a transcription of a Reincken piece is Bach's earliest surviving keyboard manuscript and, it is not surprising that he also arranged some of Reincken's trio sonatas for keyboard. When Bach played to Reincken in Hamburg in 1720 the aged composer said to the young virtuoso, 'I thought this art was extinct, but I see that it still lives in you.' The Sonatas in A Minor (BWV 967) and in C Major (BWV 966) arrange two of Reincken's sonatas from Hortus musicus, published in 1687, while BWV 967 has an unknown model. The elaboration Bach added to the slow movements, and the fact that Walther copied them, has suggested to Richard Jones a 1714,-17 date, much later than the pre-1707 suggested in Grove. The Sonata in A minor BWV 967 is definitely by Bach. The B minor Prelude and Fugue prefaces with bold harmonies (which may be by Wilhelm Heironymous Pachelbel) a fugue described as `ovvero Thema Albinonium elaboratum et ad Clavicimbalum applicatum', extended by Bach but somewhat overlong. (A shorter elaboration of the Fugue exists on its own as BWV 951a). Bach's study of Albinoni and others resulted in several fugues, the C Major using a nicely syncopated subject, while the Fugue in A equally makes good use of offbeat entries, something Bach learnt to master, though the working is again overlong. Nothing is known about the dates of the pleasing but insignificant Fugue in C BWV 952, while the A minor Fugue looks like a comparatively mature work with a leaping conclusion to its theme. The Fugue in D minor (1709-11, or perhaps later: 1726-27) is an example of the elongated fugue subject using a solid motive, sequences and a conclusion that Bach would develop, and ending in flourishes and block chords. The C minor Fughetta is a two-part invention in 12/8 time. These pieces show Bach learning and practising his craft, but it is difficult to urge performing them when there are so many greater pieces clamouring for attention. Source: AllMusic (http://www.allmusic.com/album/js-bach-sonatas-for-harp sichord). Although originally written for Harpsichord. I created this Arrangement of the Sonata in A Minor (BWV 967) for Flute & Concert (Pedal) Harp. Partition centrale : | Sonate en La mineur (3 partitions) | | |||
