Chamber Music Violin SKU: CF.BF115 Composed by Johann Sebastian Bach. Edi...(+)
Chamber Music Violin
SKU: CF.BF115
Composed by Johann
Sebastian Bach. Edited by
Rachel Barton Pine. SWS.
Collection. With Standard
notation. 80 pages. Carl
Fischer Music #BF115.
Published by Carl Fischer
Music (CF.BF115).
ISBN
9781491150993. UPC:
680160908493. 9x12
inches.
Johann
Sebastian Bach’s
(1685—1750)
SixSonatas and Partitas
have captivated
violinistsfor centuries.
Rachel Barton
Pine—havingspent
decades studying the
music of Bach,his
contemporaries, and his
predecessors—now
offers this unparalleled
edition completewith
detailed historical
notes,
performancesuggestions,
and downloadable study
materialsincluding a new
Urtext edition and a
speciallyprepared
manuscript. Pine’s
interpretationis informed
by thorough historical
study, which has been
polished byyears of
performance insight, but
also encourages those
studying
Bach’srepertoire
to craft their own unique
interpretation of these
timelessmasterpieces.
This edition closely
follows Pine’s
critically acclaimed
2016recording
“Testament:
Complete Sonatas and
Partitas for Solo Violin
byJ.S. Bach†(Avie
2360) making it an
invaluable resource for
any student,teacher, or
performer enthralled with
J.S. Bach’s long
standing legacy.Ms. Pine
holds the distinction of
being the only American
and youngestperson to win
the gold medal at the
J.S. Bach International
ViolinCompetition in
Leipzig, Germany,
1992. here is no one
right way to play Bach.
More thanalmost any
repertoire, each
individual’s
interpretation isas
unique as their
personality. Though I
have spent
decadesstudying
Bach’s music as
well as that of his
contemporariesand
predecessors, my final
rationale for
artisticdecisions is
often taste and instinct.
Every violinist
whoundertakes a
lifetime’s journey
with this incredible
repertoireis continually
discovering new ideas.
Thus, theopinions on the
following pages may
evolve over time.However,
everything in the sheet
music closely follows
my2016 recording
“Testament:
Complete Sonatas and
Partitasfor Solo Violin
by J.S. Bach†(Avie
2360), which I trulyfeel
represents the
culmination of my
exploration intothese
extraordinary works.In
choosing to present this
edition, my hope is
thatyou will find useful
solutions to challenges
of fingering,bowing, and
polyphony, and helpful
information
aboutphrasing. I have
also included additional
dynamic suggestionswith
the hope that trying
these ideas will help
inspireyou to discover
your own. All of these
markings aredesigned to
work with a baroque
violin and baroque bow,a
modern violin and baroque
bow, or a modern
violinand modern bow.
While the information in
this editionis unusually
dense, there is much that
I did not include,such as
lifts, breaths,
articulations, whether to
play on oroff the string,
metronome markings,
details of timing,and
emphases other than
hemiolas.I offer this
book to you in the spirit
of Bach: “SoliDeo
Gloria.â€.
Violin SKU: ST.Y274 Composed by Morgan Hayes. String music. 3 minutes. Sc...(+)
Violin
SKU:
ST.Y274
Composed by
Morgan Hayes. String
music. 3 minutes. Score.
Stainer & Bell Ltd.
#Y274. Published by
Stainer & Bell Ltd.
(ST.Y274).
ISBN
9790220223358.
1st
perf: Keisuke Okazaki,
Tokyo Opera City Recital
Hall, Tokyo, Japan, 22
April 2008 1st UK
perf: Darragh Morgan,
Schott Recital Room,
Bauer & Hieber,
London, 5 February
2009
Though the
jagged figures and
phrases of Lucky's
Dream by Morgan
Hayes are unmistakably
those of a contemporary
musical expressionist,
the shadow of Bach also
falls on this work,
inspired by the
virtuosity of the young
Japanese soloist Keisuke
Okazaki and his playing
of the E major
Partita.
In
fact, though 'standard'
contemporary techniques
are widely used in the
piece - left-hand
pizzicato, harmonics and
microtones, all deployed
in edgy, unpredictable
rhythms - there is also a
classical shape to the
structure. In this
two-part form, lasting
around four minutes, the
first section is
reflective, dwelling on
single notes, phantoms as
it were of pitches that
are subtly deflected
through slow glissandi.
Then a spectral dance
ensues, delivered largely
on plucked strings,
ethereal, disembodied,
strange.
The
'Lucky' in question is a
character from Samuel
Beckett's play
Waiting for
Godot, and
Lucky's Dream is
a complementary work to
the earlier, impassioned
Lucky's Speech
(2006). The two
items can stand alone or
may be performed
consecutively. Both are
to be found on the recent
all-Hayes CD released on
the NMC label (NMC D163),
which also features the
composer's 17-minute
Violin Concerto as
further evidence for his
original approach to
writing for the
instrument.
Chamber Music Violin SKU: PR.144407530 Composed by Lauren Bernofsky. 12 p...(+)
Chamber Music Violin
SKU: PR.144407530
Composed by Lauren
Bernofsky. 12 pages.
Duration 10 minutes, 30
seconds. Merion Music
#144-40753. Published by
Merion Music
(PR.144407530).
ISBN
9781491136614. UPC:
680160687992.
A
violinist herself, Lauren
Bernofsky has described
SONATA FOR SOLO VIOLIN as
drawn from
autobiographical
inspiration, including
gestures from Bachâ??s
beloved Partita in E
Major. Bernofsky opens
with a Preludio movement
whose references to Bach
may be disguised, but
they are surely lurking.
The second movement is
lusciously contrapuntal
with the idiomatic
finesse of a violinist
composing for her own
instrument, while
musically journaling the
emotional pain of living
through 2020. The third
and final movement is
aptly marked
â??white-hot,â? and
the music certainly
is. My SONATA FOR SOLO
VIOLIN was commissioned
by violinist Megan Healy
as part of The Maud
Powell Project, which
celebrated the 100th
anniversary of the
ratification of the 19th
Amendment. The project
included the creation of
five new works for solo
violin inspired by and
dedicated to the memory
of pioneering American
violinist Maud Powell
(1867-1920). Healy
premiered the sonata on
May 8, 2021 at PianoForte
Studios in Chicago.Among
the works Powell most
frequently performed in
her recitals was the
â??Preludioâ?
movement from Bachâ??s E
major Partita, and I
decided to refer to that
music in my own first
movement, also titled
â??Preludio.â? The
beginning subtly reflects
Bachâ??s opening
three-note motive,
wherein the music dips
down a semitone and then
comes back up. This
melodic material returns
throughout the movement
in various forms. I also
refer to Bachâ??s
sixteenth-note dominated
texture, and the gesture
in the third measure,
which outlines a perfect
fifth and then fills it
in with notes that
alternate between a scale
and a pedal tone. The
corresponding passage in
my piece occurs in the
same place, measure 3.
Apart from these
references to Bach, my
sonata is much more
modern sounding,
especially in its
chromatic character.I was
still thinking of
Bachâ??s solo violin
writing while composing
the second movement,
particularly the
polyphonic nature of the
slow movements, where the
melodic interest moves
around between the
voices. Emotionally, I
wanted my movement to
reflect the acute sadness
I had been experiencing
over the political and
social situation in the
United States as I wrote
the piece. I realized
that this is a
historically noteworthy
time in U.S. history,
marked not only by
political unrest, but
also by a challenge to
the very values that I
consider essential to
what makes a person
fundamentally human. I
wanted to create a record
of that pain in my
music.The final movement
is marked
â??White-hot.â? It is
imbued with a relentless,
passionate intensity.
Wanting again to reflect
aspects of our own time,
I included glissandi that
refer to rock music,
specifically the
â??fall-offsâ? I
frequently hear played by
electric guitarists. I
borrowed from another
(completely different)
musical tradition as
well, one that is
near-and-dear to my
heart: Klezmer. Klezmer
(Eastern European Jewish
folk music) is
characterized in part by
scales colored by
augmented seconds, and is
often performed by solo
instrumentalists who
improvise embellishments
like quick grace notes.
The second, more lyrical
theme in this movement is
my nod to Klezmer
style.While this piece is
an homage to Maud Powell,
I also think of it as my
own musical
autobiography, as it
combines some of my
favorite aspects of
music, and is played on
my own instrument.
Edited by Amy Appleby. Collection and examples CD for easy solo piano. Over 200 ...(+)
Edited by Amy Appleby.
Collection and examples
CD for easy solo piano.
Over 200 great
masterpieces from the
baroque, classical,
romantic and modern eras.
Series: Piano Treasury
Series. 399 pages.
Published by Music Sales.
String quartet SKU: HL.49045639 Chaconne. Composed by Fred Lerdahl...(+)
String quartet
SKU:
HL.49045639
Chaconne. Composed
by Fred Lerdahl. This
edition: Saddle
stitching. Sheet music.
String Ensemble.
Softcover. Composed 2016.
108 pages. Duration 990
seconds. Schott Music #ED
30174. Published by
Schott Music
(HL.49045639).
ISBN
9781540004796. UPC:
888680710774.
9.5x12.0x0.37
inches.
Chaconne
(2016), for string
quartet, was commissioned
by the Daedalus Quartet
to celebrate its 15th
anniversary. The
commission was supported
by New Music USA, made
possible by annual
program support and/or
endowment gifts from
Pennsylvania Council on
the Arts, Helen F.
Whitaker Fund, and Aaron
Copland Fund for Music.My
music has a substantial
history with Daedalus. I
composed the Third String
Quartet (2008) for them,
and subsequently they
performed my three string
quartets on several
occasions and recorded
them brilliantly on
Bridge Records (Bridge
9352: Music of Fred
Lerdahl, vol. 3).
Chaconne is in one
movement lasting 19
minutes. It is
effectively my fourth
string quartet. Quartets
1-3 form a unified cycle
lasting 70 minutes. When
I finished the cycle, I
thought I would never
write again for the
medium; yet I could not
resist the opportunity of
working again with
Daedalus. The issue was
how to compose another
string quartet unrelated
to the earlier cycle. The
solution came from my
solo cello piece There
and Back Again (2010),
which was based on a
four-bar variation
pattern from a
17th-century chaconne.
Unlike the asymmetrical
phrases and expanding
variations of much of my
music, the chaconne form
requires symmetrical
phrases and strictly
periodic variations. I
wished to work again with
these symmetries but on a
larger scale. Chaconne
also differs in character
and expression from the
three-quartet cycle. The
cycle is inward and
intense, a kind of
psychological excavation.
Chaconne is, for the most
part, transparent and
playful. Many of its
textures emerge from
little canons, not
completely unlike the
rounds that children
sing. Any composer who
writes in chaconne form
(one thinks above all of
the last movement of
Bach's D minor violin
partita and the finale of
Brahms's Fourth Symphony)
is confronted with the
challenge of how to
create a larger form out
of a constantly repeating
pattern.My Chaconne grows
from paired
antecedent-consequent
phrases, each variation
lasting eight bars. The
50 variations group into
three large rotations,
forming three arcs of
tension and relaxation,
with subtle parallel
connections across the
rotations.
Notwithstanding my
attraction to chaconne
form, I purposefully
disguised its symmetries
and periodicities in
order to build an overall
dramatic shape. Fred
Lerdahl.
Both the Partita in A Minor by J. S. Bach and the Sonata in A Minor by his son C...(+)
Both the Partita in A
Minor by J. S. Bach and
the Sonata in A Minor by
his son C. P. E. Bach are
recognized as being among
the most significant
eighteenth-century solo
works for unaccompanied
flute, yet they could
hardly be more distinct
from each other in both
form and style. The
Partita, rediscovered in
1917, clearly follows J.
S. Bach's style in its
form, depth, style, and
structure. The Sonata was
published in 1763, and is
to be played in a much
more sensitive and
expressive way than the
Partita. It is a highly
dramatic work using
extremities of dynamic
range, wide intervals,
and carefully thought-out
phrasing. This edition
includes a complete
performance on CD
Partita No. 2 Piccolo [Conducteur] Theodore Presser Co.
Chamber Music Piccolo SKU: PR.114422450 Composed by Johann Sebastian Bach...(+)
Chamber Music Piccolo
SKU: PR.114422450
Composed by Johann
Sebastian Bach. Arranged
by Nicola Mazzanti. Sws.
Full score. 20 pages.
Duration 17 minutes.
Theodore Presser Company
#114-42245. Published by
Theodore Presser Company
(PR.114422450).
ISBN
9781491134986. UPC:
680160685974. 9 x 12
inches.
Bachâs
colossal Partita No. 2
for Solo Violin has been
crowned by many masters
as one of musicâs
greatest achievements,
and even its famous
Chaconne movement alone
is a mountain many
performers dare not
scale. While the
literature of several
other instruments has
been enriched by
transcriptions of the
Chaconne, Mazzantiâs
heroic adaptation of the
complete Partita is the
culmination of many
yearsâ work, and the
only transcription
specifically for the
piccoloâs unique
range. THE
INSPIRATIONEver since my
childhood, Johann
Sebastian Bachâs
solo violin music (like
his works for solo cello)
has always held a charm
and mystery for me.
Thereâs something
about this repertoire
that sparks an
inextinguishable
questioning in my musical
and human soul.It is
music without spatial
limits or temporal cages,
a music as essential as
it is masterfully
complex, in which the
solitary voice of man
meets the
all-encompassing voice of
God. It is a music whose
vertical and horizontal
dimensions, already
admirably fused, are
faceted into new and
mysterious realities. For
every violinist, the
study of these
compositions is at the
apex of tenacious
technical study and
interpretative
effort.Violinist Joshua
Bell has said the
Ciaccona (Bach did write
the Partitaâs
movement titles in
Italian) is ânot
just one of the greatest
pieces of music ever
written, but one of the
greatest achievements of
any man in history.
Itâs a spiritually
powerful piece,
emotionally powerful,
structurally
perfect.âTranscribin
g and performing
Bachâs PARTITA NO.
2, BWV 1004 on piccolo
was a feat that took
years of work. The famous
Ciaccona movement is, of
course, the piece that
alone occupied most of
this time. How does one
honor and elevate such
high music with such a
âsmallâ
instrument, devoid of the
enormous expressive
potential of the violin,
devoid of its chords and
its polyphony? How might
I transform the piccolo
into an instrument with,
like the violin,
full-bodied low notes and
subtle high notes? Above
all, why undertake such a
demanding and
extraordinary journey?The
first reason is obvious:
by transcribing,
studying, and performing
such an admirable piece,
we assimilate it, it
becomes part of us, it
enormously enriches our
musical interior.In
addition, it forces us
technically to expand the
colors, agility, and
flexibility of the
instrument; it makes us
think in a polyphonic
way.Finally, the daily
study, especially of the
Ciaccona, is an
extraordinary gymnasium
in which to consolidate
and strengthen our
general technique.THE
TRANSCRIPTIONThe whole
Partita was transcribed
in the key of A minor, a
fifth above the original
in D minor. This was
necessary for the lowest
note of the violin (G) to
correspond to the lowest
note of the piccolo (D).
This version exploits the
full range of the
piccolo, from the D of
the first octave to the B
of the third octave.
However some octave
adjustments were
needed.The chords,
particularly in the
Sarabanda and the
Ciaccona, have been left
with the same notational
system used by Bach in
his version for violin. I
chose to respect
Bachâs presentation
and did not transcribe
these into grace notes
breaking the chords. I
advocate that we must at
least try to think of
this music in its
vertical dimension,
trying to make the notes
resonate as if they were
being played together,
deciding the speed of the
arpeggio based on musical
needs.While some woodwind
editions of Bachâs
string solos do indicate
broken chords as grace
notes, this implies that
the most important note
is necessarily the
highest one, while
sometimes it is precisely
in the lower pitches that
the theme is voiced.In
this piccolo adaptation,
many of Bachâs
original articulations
have been respected. Some
have been changed, when
needing to adapt them to
the specific needs of
flute playing.The two
passages in the Ciaccona
where Bach indicates
âarpeggioâ were
rendered trying to
respect the most
consolidated and virtuous
violin traditions, and at
the same time the
possibilities that the
piccolo offers us. For
this purpose, in some
cases, different
revoicings of the chords
have been used.I thank
all those who patiently
listened to me and were
close to me during this
period, for their
observations and advice.
In particular, I thank my
daughter Sara for her
assistance and skill in
entering this edition
into music writing
software.
The Piano Bench of Easy Classical Music arranged by Amy Appleby. For Piano Solo....(+)
The Piano Bench of Easy
Classical Music arranged
by Amy Appleby. For Piano
Solo. Music Sales
America. Classical.
Softcover. 400 pages.
Music Sales #AM967549.
Published by Music Sales
Flute (Flute) SKU: HL.48186450 Composed by Guy-Claude Luypaerts. Leduc. P...(+)
Flute (Flute)
SKU:
HL.48186450
Composed
by Guy-Claude Luypaerts.
Leduc. Post-1900.
Softcover. 5 pages.
Alphonse Leduc #AL30686.
Published by Alphonse
Leduc (HL.48186450).
UPC: 888680827922.
9.0x12.25x0.074
inches.
Having
studied under Jean Pierre
Rampal and Tony Aubin at
the Conservatoire
National de Paris,
flautist Guy-Claude
Luypaerts now divides his
time between his work as
a soloist, teacher and
orchestral conductor,
without neglecting his
compositional activity.
Luypaerts has remained
true to his childhood
land: for this resident
of the seaside village of
Panne in western
Flanders, the North Sea
coastline is a continual
source of inspiration.
This beloved landscape,
where sea, sky and dune
embrace, was the setting
for the composition of
the Partita for Flute in
August 2014. The title
can be seen as a tribute
to two essential works in
the solo Flute
repertoire: Bach?s
Partita in A Minor, BWV
1013 and the Sonata in A
Minor Wq 179 by his son
Carl Philipp Emanuel.
Dedicated to flautist
Maxence Larrieu, who
included it in the
programme of his
International Competition
(2015), the Partita
contains three movements.
The energetic
determination of Patience
contrasts with the dreamy
exhalations of Volutes,
before the Chimeres are
unleashed upon an angry
sea..
Electric bass guitar - Intermediate SKU: MB.97745 Transcribed for Solo...(+)
Electric bass guitar -
Intermediate
SKU:
MB.97745
Transcribed for Solo
Electric Bass.
Composed by Johann
Sebastian Bach. Edited by
Bennet Cohen.
Saddle-stitched, Solos,
Perfect binding,
Classical. Baroque. Book.
56 pages. Mel Bay
Publications, Inc #97745.
Published by Mel Bay
Publications, Inc
(MB.97745).
ISBN
9780786607730. UPC:
796279036719. 8.75 x
11.75 inches. Transcribed
by Bennet
Cohen.
While many
electric bassists study
the Bach cello suites at
some point, few attempt
the sonatas and partitas
for unaccompanied violin
BWV 1001-1006 . Composed
around 1720, the sonatas
and partitas display rich
polyphonic writing,
unlike the simpler
monophonic cello suites.
This collection features
a challenging but
rewarding transcription
of the complete A minor
Violin Sonata BWV 1002 ,
which fits particularly
well on the bass. Also
included are the
well-known gavotte en
rondeau from the E major
violin partita BWV1006
and the complete A minor
partita for solo flute
BWV 1013 , transposed
here to D minor. Finally,
an arrangement of the
familiar chorale Jesu,
Joy of Mans Desiring from
BWV 147 takes advantage
of the basss natural and
artificial harmonics.
Performance notes are
included. Written in
notation and tablature
for the 4-string electric
bass.
With Fingering Piano (Piano Solo) BWV 830 Piano Solo with fingering. Composed ...(+)
With Fingering Piano
(Piano
Solo)
BWV 830 Piano Solo with
fingering. Composed by
Johann
Sebastian Bach
(1685-1750).
Edited by Ulrich
Scheideler.
Henle Music Folios.
Classical.
Softcover. 31 pages. G.
Henle
#HN1656. Published by G.
Henle
Without Fingering Piano (Piano Solo) BWV 830 Piano solo without fingering. Com...(+)
Without Fingering Piano
(Piano
Solo)
BWV 830 Piano solo
without
fingering. Composed by
Johann
Sebastian Bach
(1685-1750).
Edited by Ulrich
Scheideler.
Henle Music Folios.
Classical.
Softcover. 31 pages. G.
Henle
#HN1696. Published by G.
Henle
By Louis Spohr (1784-1859). Arranged by Schwenke. For clarinet (violin 2), violi...(+)
By Louis Spohr
(1784-1859). Arranged by
Schwenke. For clarinet
(violin 2), violin,
viola, cello, double bass
ad lib. and piano.
Facsimile Editions -
Winds, Strings and Piano.
Unusual instrumentation,
but enjoyable to play and
perform. Fine arrangement
of Spohr's Octet.
Schwenke was a masterful
arranger. Classical
Without Fingering Piano (Piano Solo) BWV 829 Piano Solo without fingering. Com...(+)
Without Fingering Piano
(Piano
Solo)
BWV 829 Piano Solo
without
fingering. Composed by
Johann
Sebastian Bach
(1685-1750).
Edited by Ulrich
Scheideler.
Henle Music Folios.
Classical.
Softcover. 27 pages. G.
Henle
#HN1695. Published by G.
Henle
Without Fingering Piano (Piano Solo) BWV 828 Piano Solo without fingering. Com...(+)
Without Fingering Piano
(Piano
Solo)
BWV 828 Piano Solo
without
fingering. Composed by
Johann
Sebastian Bach
(1685-1750).
Edited by Ulrich
Scheideler.
Henle Music Folios.
Classical.
Softcover. 31 pages. G.
Henle
#HN1694. Published by G.
Henle
With Fingering Piano (Piano Solo) BWV 829 Piano Solo with fingering. Composed ...(+)
With Fingering Piano
(Piano
Solo)
BWV 829 Piano Solo with
fingering. Composed by
Johann
Sebastian Bach
(1685-1750).
Edited by Ulrich
Scheideler.
Henle Music Folios.
Classical.
Softcover. 27 pages. G.
Henle
#HN1655. Published by G.
Henle
Composed by Johann Sebastian Bach (1685-1750). Arranged by Robert Bancalari. For...(+)
Composed by Johann
Sebastian Bach
(1685-1750). Arranged by
Robert Bancalari. For
mandolin. Squareback
saddle stitch.
Intermediate. Book and
online audio. Published
by Mel Bay Publications,
Inc
By Keith Snell. Edited by Proctor. Arranged by Keith Snell. Educational instrume...(+)
By Keith Snell. Edited by
Proctor. Arranged by
Keith Snell. Educational
instrumental collection
(Flute). Level: advanced.
52 pages. Published by
Belwin.
106 Graded Pieces from Baroque to the 20th C. Compiled and Edited by P. Low, ...(+)
106 Graded Pieces from
Baroque to the 20th C.
Compiled and Edited by P.
Low,
S. Schumann, C. Siagian.
Composed by Various.
Edited
by Charmaine Siagian.
Willis.
Classical, Recital,
Solos.
Softcover. Published by
Willis Music
Piano SKU: LM.27365D Composed by Charles Herve and Jacqueline Pouillard. ...(+)
Piano
SKU:
LM.27365D
Composed by
Charles Herve and
Jacqueline Pouillard. De
Bach a nos jours.
Classical. CD. Editions
Henry Lemoine #27365D.
Published by Editions
Henry Lemoine
(LM.27365D).
ISBN
9790231701678.
ALBE
NIZ : Malaguena - BACH :
Scherzo (3e Partita en La
min.) - BARTOK : Danse
populaire roumaine n. 1 -
BEETHOVEN : Bagatelle en
Mib Op.33 n. 1 - BOUTRY :
Danse de la puce -
CHABRIER : Melancolie -
CHOPIN : Mazurka en La
min. Op.68 n. 2 - Valse
Op.69 n. 1 - DEBUSSY :
Danse de la poupee (La
Boite a joujoux) - DVORAK
: Andante en La mineur
(Suite Op.98) - GRANADOS
: Epilogue - Vals muy
lento - GRIEG : Le Lutin
Op.71 n. 3 - HAENDEL :
Allegro (7e Suite en Sol
mineur) - KODALY :
Kindertanz -
Klavierstucke Op.11 n. 3
- MENDELSSOHN : Romance
sans paroles Op.62 n. 1 -
MOZART : Allegro (Sonate
en Ut maj. KV 545) -
POULENC : Le Petit
elephant (L'Histoire de
Babar) - PROKOFIEV :
Visions fugitives op.22
n. 3 - Visions fugitives
op.22 n. 10 - Visions
fugitives op.22 n. 11 -
REGER : Albumblatt -
SCARLATTI : Sonate en Si
mineur - SCHONBERG :
Kleine Klavierstucke
Op.19 n. 5 - Le Cavalier
- Romance en Sib maj.
Op.124 n. 11 - SCRIABINE
: Prelude Op.2 n. 2 -
SMETANA : Feuillet
d'album en Si mineur -
TCHAIKOVSKI : Perce-neige
(Avril).
BWV 1001-1006. By Lawrence Golan. For Violin. Solos. Classic. Level: Intermediat...(+)
BWV 1001-1006. By
Lawrence Golan. For
Violin. Solos. Classic.
Level:
Intermediate-Advanced.
Book. Size 8.75x11.75. 96
pages. Published by Mel
Bay Publications, Inc.
Composed by J Remy.
String music. Study
score. Clifton Edition
#C360. Published by
Clifton Edition
(ST.C360).
ISBN
9790570813605.
Gavo
tte en Rondeau from
Violin Partita No.3 (BWV
1006).
Paper,
daylight and candles were
often in short supply
during Bachâ??s very
busy lifetime but simply
to view the autograph
score in his hand of the
Sonatas and Partitas for
solo violin is to be
bound into a spell by the
beauty, skill and
extempore furiosity of
the script. The cycle has
been described as a
miracle of implied
harmony and rich harmonic
textures, â??its
freshness and maturity,
its depth, its beauty,
its response to all
moodsâ? informing a
work of humanity and
genius unparalleled in
all the literature for
solo violin.
The
present arrangement of
the Gavotte en Rondeau
from Partita No. 3
(BWV1006) is based on
Rachmaninoffâ??s
intricate harmonisation
for piano. â??Ruht
Wohlâ?? from the St.
John Passion (BWV 245).
In the final Chorus from
the St. John Passion,
Bach imbues the popular
dance-forms of the
Sarabande and Minuet with
a spiritual theme of
atonement and
reconciliation. The three
ritornelli stand like
pillars in a palindromic
structure whose unbroken
melodic line and flowing
counterpoint represent a
â??timeless
continuanceâ??. The
original scoring is light
and transparent, and
transfers appropriately
to a choir of cellos
without the loss of any
counterpoint. Prelude Op.
25 No 3 by Rachmaninoff.
Throughout his career as
a composer and virtuoso
pianist, this Prelude was
one of Rachmaninoffâ??s
favourite pieces and he
dedicated it to his
teacher Alexander Siloti.
A powerful structure is
built up from a small
rhythmic motif,
reminiscent of
Tchaikovskyâ??s
representations of fate
or Shostakovichâ??s of
looming state power. This
is contrasted with a
lyrical middle section
and a final phrase marked
leggiero in which the
music flies off into the
air like a bird.
For Church Services and Concerts. Edited by Gross, Uwe-Karsten; Gottsche, Gunthe...(+)
For Church Services and
Concerts. Edited by
Gross, Uwe-Karsten;
Gottsche, Gunther Martin.
For Organ. Collection.
Published by Baerenreiter
Verlag (German import).