 | Bach, Johann Sebastian - Fugue in Bb Major for Woodwind Trio BWV 954 Flute, Hautbois, Basson |
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| Compositeur : | Bach, Johann Sebastian (1685 - 1750) | ||||
| Instrumentation : | Flute, Hautbois, Basson | ||||
| Genre : | Baroque | ||||
| Tonalité : | Si♭ majeur | ||||
| Arrangeur : Editeur : | MAGATAGAN, MICHAEL (1960 - ) | ||||
| Droit d'auteur : | Public Domain | ||||
| Ajoutée par magataganm, 14 Jun 2017 Johann Sebastian Bach was a German composer, organist, harpsichordist, violist, and violinist whose sacred and secular works for choir, orchestra, and solo instruments drew together the strands of the Baroque period and brought it to its ultimate maturity. Although he did not introduce new forms, he enriched the prevailing German style with a robust contrapuntal technique, an unrivalled control of harmonic and motivic organisation, and the adaptation of rhythms, forms and textures from abroad, particularly from Italy and France. The Fugue in Bb Major (BWV 954) is perhaps the most immediately gratifying of all the early fugues to play and the most successful in reconciling the impulses of the keyboard virtuoso and the contrapuntist. The subject, originally for violin, is rendered more brilliant by Bach's elimination of most of the repeated notes found in the original, except for those in the opening motive. As emended by Bach, the subject provides the motivic material for most of the subsequent passagework; only one extended episode contains figuration not directly derived from the subject (M71). The fluency of the figuration, especially in the bass, marks an advance over earlier fugues; instead of the stolid bass lines in halves or quarters typical of earlier fugues, the bass here almost always moves in small note values. This reflects Bach's adoption of the motoric pulse of the Italian sonata and concerto style and the abandonment of the declamatory or rhetorical manner of his earlier works. Only in a few spots, for example the brief series of "sighs" and chromatic harmony in M41, does Bach seem unable to resist a momentary return to the rhetoric of his earlier style, which makes sense in this context only if the tempo is somewhat slower than the opening bars may suggest. Although there are still some poorly hidden consecutives (e.g., in M11), the overall form of BWV 954 has a firm tonal basis, organized symmetrically with an entry of the subject in the subdominant at the center (M47) and statements in minor keys (G and C, respectively) on either side of it (M37 & M54). The style is brilliant throughout, but the most striking figuration—scales descending through three octaves (C''' to Bb)—serves to dramatize the return of the subject in the tonic, after the last episode (M71-M80)." Perhaps the surest sign of Bach's mastery of the new style is his ability to bring the fugue to a convincing conclusion without a thematically irrelevant coda. Instead, a short extension of the final entrance of the subject (bass, M90) leads naturally and unpretentiously to the final cadence, without any break in the rhythmic texture. Source: Allmusic (http://www.allmusic.com/composition/fugue-for-keyboard -in-c-major-from-clavier-b%C3%BCchlein-w-f-bach-bwv-953 -bc-l149-mc0002359331). Although originally written for Harpsichord. I created this Interpretation of the Fugue in Bb Major (BWV 954) for Woodwind Trio (Flute, Oboe & Bassoon). Partition centrale : | Fugue en Sib majeur (3 partitions) | | |||
