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Here Comes The Rain Again
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Here Comes The Rain Again
CLASSIQUE - BAROQUE - ROMANTIQUE
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Bach Fuga BWV 539 For Woodwind Quintet
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Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
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AVANCÉ
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Classique
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Johann Sebastian Bach
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Luis Anjos Teixeira
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Bach Fuga BWV 539 For Woodwind
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Luis Anjos Teixeira
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SheetMusicPlus
Woodwind Ensemble,Woodwind Quintet - Level 5 - SKU: A0.889416 Composed by Johann Sebastian Bach. Arranged by Luis Anjos Teixeira. Baroque,Concert,Standa...
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Woodwind Ensemble,Woodwind Quintet - Level 5 - SKU: A0.889416 Composed by Johann Sebastian Bach. Arranged by Luis Anjos Teixeira. Baroque,Concert,Standards. 31 pages. Luis Anjos Teixeira #3485727. Published by Luis Anjos Teixeira (A0.889416). 2018 Chamber Music Contest EntryAs a violin player this was always one of my beloved pieces and it has accompanied all my Life. The G minor Fuga is the most compact of the three fugues in the volume for violin solo (and note that in this versions they are not in fact fugues in the proper sense of the word, but rather a kind of fugue/Baroque-concerto hybrid form). It was also transcribed for lute by Bach at some later time (BWV 1000). My arrangement is based on a version of this piece for the organ made by Bach himself - BWV 539. I follow very intimately the organ version, not adding or letting out any of the original notes. As an arrangement I transposed it to H-Minor and some of the notes where made through the interpretation symbols more or less shorter in order to accentuate the polyphonic, rhythmic and natural dynamic of the piece. I also added some legatos. Crescendos, or fortes and similar indications are left out like in the original, waiting for your own interpretation. In the musical consciousness of Bach the polyphony and dialog between the voices were a projection of an ideal world for the Human Society and this should be in the first line of focus and in the mind of all the members in the group. The power of this piece comes from within its structure and relays in its polyphonic dimension. Allow yourself to focus on the Art of enhancing the beauty of this dialog, the bless of communicating with each other. Bach is Love - Love each another I really advise all performers to have a very humble and sensitive approach in the interpretation of this piece towards loudness because you will have to be listening to each other very carefully while performing. Linear time, sound and silence are the basic of dynamic expression. Dynamic will than happen naturally and without much effort when bringing the „Art of playing the silence and the Art of the „duration of the notes to a state of consciousness within the whole piece itself. Often in the old music notation the duration of the notes is longer written in the score then it should be played. Understandable because It takes a lot more time for a composer to write in detail the sound and the silence than to write only the raw length of the notes! Back in those times the performing artists were trained very well to read their raw parts and became very skilled in making their own thing out of the scores so the composers did not have to worry with so much detail like nowadays. In some scores we even find words like:-„please play this note simply as written and without embellishments! On the original score of the Fuga a sixth voice joins the group between bars sixty and sixty one and this voice can be heard very well in the sound file. This „Ghost voice is noted on the clarinet part as an extended possibility. To play it with just one clarinet is absolutely possible as well as arbitrary. Do at will some experiments and let than the group decide. In case of doubt play simply the bottom voice or let yourself get inspired with the sound file. One of my suggestions would be also to play the bottom line as long as the other one is silent, than jump to the upper voice as it comes in and go back again to your usual voice while the other voice „takes a break. This work brought me a new insight into the consciousness and the universal nature of Bach`s music. It requires high skilled and experienced artists to execute. The score was written on Finale. The sound file For the 2018 Chamber Music Contest Entry, was performed with samplers from Garritan and conceived as an audio support for the presentation of the score. Thank you very much f.
$25.00
Schlummerlied
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Clarinette
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Christian Rummel
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Schlummerlied
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Schott Music - Digital
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SheetMusicPlus
Clarinet and piano - intermediate to advanced - SKU: S9.Q53273 Air favori de l’opéra La muette de Portici de D.F.E. Auber. Composed by ...
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Clarinet and piano - intermediate to advanced - SKU: S9.Q53273 Air favori de l’opéra La muette de Portici de D.F.E. Auber. Composed by Christian Rummel. Edited by Rainer Mohrs and Rudolf Mauz. This edition: Sheet music. (c) 2020 Schott Music GmbH & Co. KG, Mainz. Classical. Downloadable. 12 pages. Schott Music - Digital #Q53273. Published by Schott Music - Digital (S9.Q53273). German • Danish.Christian Rummel (also Chrétien Rummel), music educator, pianist, clarinettist, violinist and composer, was born in Gollachostheim, Franconia (Germany). He received his musical education in Mannheim. Rummel first worked as a military band director. Following his military career, he moved to Wiesbaden as he was offered a position as a music teacher there. Later he directed the court orchestra in Biebrich and following its dissolution, he directed the Wiesbaden theatre orchestra. On the occasion of a visit to Vienna, the publishers Schott recommended him to Ludwig van Beethoven (letter of 19th April 1824), with the request for ‘friendship and good will‘. He is said to have had an ‘urge for perfection through studying composition‘. This Schlummerlied is dedicated to Baron Breidbach-Bürresheim. The melody comes from the opera ‘La muette de Portici (The mute girl of Portici) by the composer Daniel-François-Esprit Auber (1782–1871), which was first performed at the Paris Opera House in 1828. The setting is a fishing village near Naples. The plot revolves around love, marriage, revolt against the Spanish occupying forces and, as if that were not enough, the volcano Vesuvius erupts at the end. The piece was published by Schott in 1832 (plate number 3733).
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Here Comes The Rain Again
