 | Bach, Johann Sebastian - Prelude from the Cello Suite in C Minor for Viola BWV 1011 No. 5 Alto (Viole) |
VoirPDF : Prelude from the Cello Suite in C Minor (BWV 1011) for Viola (3 pages - 147.24 Ko)1 062x⬇ MP3 : Prelude from the Cello Suite in C Minor (BWV 1011) for Viola 114x⬇ 1111x
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| Compositeur : | Bach, Johann Sebastian (1685 - 1750) | ||||
| Instrumentation : | Alto (Viole)8 autres versions | ||||
| Genre : | Baroque | ||||
| Tonalité : | Do mineur | ||||
| Arrangeur : Editeur : | MAGATAGAN, MICHAEL (1960 - ) | ||||
| Droit d'auteur : | Public Domain | ||||
| Ajoutée par magataganm, 01 Jun 2014 It is thought that Bach wrote his six suites for unaccompanied cello between 1717 and 1723, while he was in the employ of Prince Leopold of Anhalt-Cöthen and had two superb solo cellists, Bernard Christian Linigke and Christian Ferdinand Abel, at his disposal. However, the earliest copy of the suites dates from 1726, and no autographs survive. Thus a chronological order is difficult to prove, though one guesses that these suites were composed in numerical order from the way that they gradually evolve and deepen, both technically and musically. A Baroque suite is typically a collection of dance movements, usually in binary form with each half repeated. Common elements of the suite were the Allemande (German dance), a moderately slow duple-meter dance; the Courante, a faster dance in triple meter; the Sarabande, a Spanish-derived dance in a slow triple meter with emphasis on the second beat; and a Gigue (Jig), which is rapid, jaunty, and energetic. Bach took these typical dance forms and abstracted them, and then added a free-form, almost improvisatory Prelude which sets the tone for each suite, and a galanterie, an additional dance interposed between Sarabande and Gigue. (In the first two suites, Bach uses a pair of Minuets.) With these dances, Bach experimented and created the first, and arguably still the finest, solo works for a relatively new instrument. The first suite, in C minor, continues the experiments with texture, style, and counterpoint undertaken in the first four works in the set of six. It calls for the top string of the cello to be played scordatura, in this case tuned down from A to G. This affects the sonority of the open string and the overtones produced when played with other strings, creating a distinctive effect. Some cellists disregard the unusual tuning specification, but doing so adds to the work's already formidable technical challenges. The fifth suite's Prelude replaces the toccata-like movements of the rest of the set with an overture in the French style, beginning with a slow, moody Adagio introduction with dense chords and irregular rhythms. These lead into an Allegro section where a fugue-like counterpoint is implied but not explicitly played. Although this piece was originally written for cello, I transcribed it for Viola. Partition centrale : | 6 Suites pour violoncelle (158 partitions) | | |||
