Nouveau transcriptions de cantates de Bach airs de niveau intermédiaire à violoncellistes de niveau avancé. Autres instruments clef de fa comme le basson, trombone, cor français, tuba, clarinette basse et peut-être trouver ce livre utile. / 2 Violoncelles / 64 pages / niveau : Intermédiaire / Avancé / Partition

Par BACH JOHANN SEBASTIAN. Originalausgabe Nach Bachs Erstdruck Von 1747/ Répertoire / 2 Violons, Alto, Violoncelle, Contrebasse, Orgue,

Bachs sechs Quintette op.11 gehören heute zum 'Kulturerbe' dieser Gattung in ihrer Bedeutung kaum zu überschätzen. Sie sind dem Kurfürsten Karl Theodor von der Pfalz gewidmet. Auch ohne Tasteninstrument realisierbar. Leicht.

Urtext edition with articulation markings - Soft-cover performing editionWhen you think cello, you think of Bach's immortal cello suites.The suites take centre stage in the cello literature. They are timeless and beautiful and accompany cellists from their student years up through their professional career at the highest level. Appropriately and not surprisingly there are countless editions of the suites. But the composer's autograph has not come down to us. It is lost and this circumstance has always been a major challenge for editors. The four surviving handwritten sources and the original first edition of 1824 differ in many details, the articulation and phrasing being particularly ambiguous.At Bärenreiter, having published the New Bach Edition and presently publishing the New Bach Edition-Revised, we feel particularly committed to the cello suites. We have approached the editorial problems from several angles and have published editions that meet the needs of students and professional performers alike.This new edition, based on volume 4 of the New Bach Edition - Revised (NBArev), now completes Bärenreiter's collection of the cello suite editions. Andrew Talle has fundamentally reassessed the relations between the surviving sources and has drawn conclusions regarding their evaluation and consequently the genesis of the suites. His evaluations are augmented with thorough discussions of the instrument for which the suites were conceived and the interpretative practices in Bach's day.The musical text of the edition is based on these findings. It approaches the composer's original intentions as far as the sources will permit. Details regarding articulation were deemed as being viable and were added to the musical text if they appeared in the majority of the sources. 'This edition does not present a perfect reconstruction of the lost autograph - no editor could claim to do so. Instead, I have attempted to provide musicians and scholars with a reliable version of the surviving musical text of the six cello suites and to shed light on the options which the Bach sources offer.?- Urtext edition with articulation by the editor on the basis of intensive source comparison- Musical text identical to the text in New Bach Edition - Revised Volume 4, Book 1- Detailed introduction (Ger/Eng) / Violoncelle

Par BACH JOHANN SEBASTIAN. In this two-volume edition of Bach’s cello suites, Andrew Talle now presents an entirely new view of the relationships between existing sources. The first volume contains the edited musical text, which comes as close to the composer’s original intention as the surviving source material allows: “This edition does not constitute a perfect reconstruction of the lost autograph; that is something no editor could claim to accomplish. Instead, I have attempted to supply musicians and researchers with a reliable version of the surviving musical text of the six cello suites, and to convey a sense of the many possibilities Bach encouraged his musicians to explore.”The second volume presents, for the first time, synoptically arranged facsimiles of the handwritten sources as well as the first print (with Suite No. V also including Bach’s own arrangement for lute), allowing readers to compare any specific section in all sources at one glance. This allows for a straightforward and immediate consideration of all sources, making editorial decisions transparent and self-evident. Andrew Talle’s edition is supplemented by a comprehensive discussion of the instrument for which the suites were created, as well as information regarding musical interpretation during Bach’s time./ Répertoire / Violoncelle

Par BACH JOHANN SEBASTIAN. Bach would almost certainly have approved of this string quartet arrangement of his famous concerto for violin and oboe (BWV 1060) by John Cooley as he was well known for making arrangements of his own works, according to instrumental resources at his disposal. Bach himself made an arrangement of this piece for two solo harpsichords and string orchestra. It is quite ?notey? but straightforward and accessible technically to reasonably good players as there are no tricky rhythms or high notes. As well as this Bach concerto arrangement, SJ Music has also published John Cooley?s arrangements of Mozart?s piano duets K497 and K521 for piano trio and piano quartet respectively, Bach?s organ Passacaglia and Fugue for string quartet, and one of Purcell?s trio sonatas for string trio. / Date parution : 2022-03-16/ Répertoire / Quatuor à Cordes

Cantata for soloists choir and orchestra-Lobe den Herrn meine Seele (Praise thou the Lord o my spirit) BWV 143Little is known about the genesis of “Lobe den Herrn meine Seele” (Praise thou the Lord o my spirit BWV 143.A transcription from the 19th century was for a long time considered the only source; the musical text of the “New Bach Edition” was based on this material.  Recently however a copy of the score from 1762 has become available.  It offers a more reliable musical text rendering a complete revision of the cantata necessary.On the basis of this new source the work is presented here as part of the“New Bach Edition – Revised” in what is presumably its original form in C major with three trumpets.  This orchestration is more typical of Bach’s writing than the version for three horns in the surviving B-flat major version. Revised Urtext edition of the Weimar Cantata Urtext of the New Bach Edition Performance material (BA10143) vocal score (BA10143-90) & study score format 22.5 x 16.5cm (TP1143) available for sale

Cette édition séparée de la première Suite pour violoncelle solo de Johann Sebastian Bach contient le texte musical de l'édition de Wiener Urtext réputé avec tous les six suites violoncelles de Bach par Ulrich Leisinger. Grâce à nouvelles découvertes, Leisinger géré de réévaluer les sources qui n'ont pas quitté la structure du texte musical et le problème délicat associé des insultes intacte. Sa réévaluation a motivé une liberté plus forte de la copie manuscrite de Anna Magdalena Bach, qui avait toujours citée comme source principale jusqu'alors malgré qu'il soit très peu fiable à l'articulation - donc la nouvelle édition mène à des solutions plus convaincantes. Cette édition séparée est le point de départ idéal pour l'étude des suites -s Bach

This Concerto en Ut mineur for cello and piano was first published in 1947 by Editions Salabert being attributed to Johann Christian Bach with harmonization by Henri Casadesus. Certain musicological studies after its publication proved that the Concerto should not have been attributed to Johann Christian Bach after all as it had actually been composed “in the style of Bach” some two centuries later. Nevertheless the Concerto has been a success and is today often performed and studied closely. This edition of the Concerto is a new version of the original score enriched with an introduction and history in French English and Italian

10 Fugues For String Quartet Vol. 2-The idea for these arrangements came to me whilst listening to the Hagen Quartet's beautiful recording of the fugues that form part of Haydn's 'Sun Quartets' Op. 20. The spirit and influence of J.S. Bach in particular his Well Tempered Clavier Book II courses through these three miraculous Haydn fugues. Like the viol consort the string quartet suits this kind of composition (the fugue) with all four instruments sufficiently similar in character to each other to match the extraordinary unity and economy of the counterpoint. A string quartet playing Bach fugues is a good example of a harmonious relationship between form andcontent: just as there is a unifying principle behind the construction of the four string instruments so there is (usually) a single theme or subject that unifies the construction of a four-part fugue. Thus the form enacts the content telling you something about the text and message within. Apart from Haydn's and a handful of other composers' wondrous creations there's little fugal writing for string quartet at least in comparison with the abundance of other forms. This was another reason to make these arrangements. The quartet offers a melodic independence impossible to achieve on a single instrument. And I believe the technical and interpretative challenges posed by this repertoire – lightness of sound and rhythmic fluidity for example - will be very valuable to quartets seeking the holy grail: a unified sound. Perhaps the simplest and most compelling reason for this work is that I just love this music more than I can say. These dazzling pieces mostly fast bright and in major keys show Bach at his most playful funny and mischievous composing for an instrument rarely associated with these qualities. And so I'm very happy to offer string quartets these little know fugues written by my favourite composer - a violinist and violist himself but above all a master

?Révérence à Jean-Sebastien Bach? pour commémorer le 300e anniversaire de sa naissance (1685-1985)J'ai rencontré Henri Sauguet au début des années 1980. J'avais pris l'habitude d'aller le visiter régulièrement à son domicile du 36 rue la Bruyère à Paris dans le 9e arrondissement, jusqu'à sa disparition, pendant cette nuit du 21 au 22 juin 1989. J'avais en projet l'enregistrement de ses oeuvres pour guitare ainsi que deux oeuvres de Georges Migot, qu'il avait bien connu. Il me fit le plaisir d'écrire à cette occasion une cadence pour guitare seule qui est arrivée par voix postale chez moi, le 3 septembre 1985, jour de mon anniversaire. Entre temps, la célèbre ?Revue Musicale? lui avait demandé également d'écrire une oeuvre en hommage à Johann-Sebastian Bach pour le tricentenaire de sa naissance (1685-1985). Cette oeuvre devait être crée au Festival international de Violoncelle de Massy-Verrières. Henri a donc souhaité à cette occasion écrire cette oeuvre pour violoncelle et guitare ?Révérence à Jean-Sebastien Bach?. Il n'y pas de pastiche de l'oeuvre du cantor et c'est bien une oeuvre d'Henri Sauguet, fidèle à son écriture, souple et inventive, qui alterne les tempos lent et plus ou moins rapides. J'ai eu le plaisir de créer cette oeuvre avec l'excellent violoncelliste, Alain Meunier, le 22 septembre 1985, en présence du compositeur. Alain Prévost / Duos

Sonate en trio BWV Le 1038 est la première édition de musique de chambre pour flûte de Johann Sebastian Bach que Barthold Kuijken a préparé. Les chercheurs ont longtemps douté de la paternité de ce travail pour des raisons stylistiques, même si les pièces de performance de la principale source ont été écrits par Bach lui-même, mais malheureusement il a oublié, ou n'ont pas jugé nécessaire, d'ajouter son nom à la musique. Kuijken roule quelques arguments convaincants qui réfutent la thèse selon laquelle le jeune Carl Philipp Emanuel Bach a travaillé sur la version trio de la Sonate pour violon BWV 1022. L'édition examine également une variété de nouvelles découvertes sur l'origine de l'oeuvre dans la préface, et offre un Urtext irréprochable avec une partie style magistralement réalisé continuo, tous reflétant les normes les plus élevées de rédaction. / Musique De Chambre

for Strings Score and Parts. Par BACH JOHANN SEBASTIAN. Sinfonia No. 15 by Johann Sebastian Bach, originally for piano solo, is now available for string orchestras because of Shirl Jae Atwell\'s musical arrangement. Sinfonia No. 15 arranged in the original key of B minor, with an altered time signature from 9/16 to 9/8, is much more friendly for student musicians. Bach\'s Sinfonia No. 15, arranged by Atwell, is a great addition to string orchestra programs through dance-like eighth notes and flashy sixteenth-note arpeggiated sections creating an exciting Baroque experience. Teachers will love exploring the key of B minor, arpeggios galore for all instruments, bow distribution with 1/16ths as well as sustained notes, and the overall Baroque style found in this string orchestra arrangement by Atwell. Sinfonia No. 15 treats orchestras and audiences to the allure of the Baroque Era. / Date parution : 2022-07-30/ Répertoire / Orchestre à Cordes

Oboe and String Ensemble. Par BACH JOHANN SEBASTIAN. Formation : Musique de Chambre, Quintette, Quatuor - Instrumentation :Hautbois et Quatuor à Cordes : 1 Hautbois 2 Violons 1 Alto 1 Violoncelle - Niveau de Difficulté : Intermédiaire / Avancé - Durée : 1 mn 25 s - Style Musical : Classique - Catégorie : Arrangement - Compositeur : Johann Sebastian BACH - Arrangeur : Eric VIRETON / Niveau : Intermédiaire à Avancé / Répertoire / Hautbois et Quatuor à Cordes

Oboe and String Ensemble. Par BACH JOHANN SEBASTIAN. Formation : Musique de Chambre, Quintette, Quatuor - Instrumentation :Hautbois et Quatuor à Cordes : 1 Hautbois 2 Violons 1 Alto 1 Violoncelle - Niveau de Difficulté : Intermédiaire / Avancé - Durée : 3 mn 00 s - Style Musical : Classique - Catégorie : Arrangement - Compositeur : Johann Sebastian BACH - Arrangeur : Eric VIRETON / Niveau : Intermédiaire à Avancé / Répertoire / Hautbois et Quatuor à Cordes