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Vidéo :
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| Composer : | Bach, Johann Sebastian (1685 - 1750) | ||||
| Instrumentation : | Organ solo1 other version | ||||
| Style : | Baroque | ||||
| Key : | C minor | ||||
| Arranger : Publisher : | MAGATAGAN, MICHAEL (1960 - ) | ||||
| Copyright : | Public Domain | ||||
| Added by magataganm, 19 Jul 2017 There has long been debate about the actual instrument that J. S. Bach had in mind when composing his various works for lute. It may well be that at least some of these seven compositions were really meant to be played on a keyboard instrument known as the Lautenwerk (an eighteenth-century harpsichord modified to approximate the sound of the lute). Certainly Bach's knowledge of Baroque plucked instruments was not nearly as thorough as his knowledge of the bowed string instruments for which his other unaccompanied suites and sonatas were composed, so the idea that when writing the lute works he found it helpful to make recourse to a more familiar medium -- the keyboard -- is not unthinkable. The Partita for lute in C minor, BWV 997, is Bach's only work for lute that seems to fit the plucked instrument particularly well; it is one of just two lute suites (whether we take that to mean actual lute or the Lautenwerk) that Bach wrote from scratch -- the others are arrangements of works for violin or cello. (This fact has been the primary weapon of those who advocate performances of Bach's lute works on the guitar). The C minor Partita is thought to be a product of Bach's Leipzig years, probably dating from the late 1730s or perhaps early 1740s. It is infused with deep but restrained affect, and displays the extraordinary architectural detail that is so much a part of Bach's last 10 years. It is with good reason that the piece is widely considered Bach's finest lute work. The Partita is laid out in four movements, only the last two of which -- the Sarabande and the Gigue -- are of the dance variety usually found in a Baroque instrumental suite. Instead of following the opening Preludio of the Partita with an allemande and a courante, Bach provides a fugue of extraordinary density and very unusual form. The Preludio is of the through-composed, entirely non-improvisational variety. It is written in two voices throughout, the higher one florid and of great flexibility, the lower moving mostly in steady quarter notes. This magnificent movement is of a peculiarly resigned tone, powerfully expressive but never indulgent. One hardly gets a sense of virtuosity as the sixteenth notes unfold, and yet the movement is of great difficulty. The Fuga is an extraordinary example of its breed. Rather than a continuously developmental kind of contrapuntal piece that climaxes at the end, this fugue is written in true da capo form, with the opening forty-eight bars of music reprised after a contrasting central section. The subject of the fugue is absolutely stunning, featuring a dramatic leap of a major seventh and some tense, rising chromaticism. The Sarabande is laid out in two equal halves, each of which begins ponderously -- and with a little imitation between the treble and bass -- but soon moves on to roving sixteenth notes. Bach chooses to provide a Double at the end of the graceful Gigue proper, filling in all the rhythmic gaps of the original version of the dance with smaller ornamental notes while retaining the basic harmonic and melodic shapes. A final arpeggio plunge draws a resonant conclusion. Source: AllMusic (http://www.allmusic.com/composition/partita-for-lute-i n-c-minor-bwv-997-bc-l170-mc0002366152). Although originally written for Lute. I created this Arrangement of the Suite No. 3 in C Minor (BWV 997) for Organ (2 Manuals w/o Pedals). Sheet central : | Suite pour luth en Do mineur (23 sheet music) | | |||
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