 | Bach, Johann Sebastian - Fugue in E Minor for Woodwind Quartet BWV 945 Quatuor à vent: Flûte, Hautbois, Clarinette, Basson |
VoirPDF : Fugue in E Minor (BWV 945) for Woodwind Quartet (8 pages - 224.72 Ko)81x⬇ VoirPDF : Basson (63.23 Ko) VoirPDF : Bb Clarinette (64.65 Ko) VoirPDF : Flûte (66.23 Ko) VoirPDF : Hautbois (66.34 Ko) MP3 : Fugue in E Minor (BWV 945) for Woodwind Quartet 10x⬇ 105x
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| Compositeur : | Bach, Johann Sebastian (1685 - 1750) | ||||
| Instrumentation : | Quatuor à vent: Flûte, Hautbois, Clarinette, Basson | ||||
| Genre : | Baroque | ||||
| Tonalité : | La mineur | ||||
| Arrangeur : Editeur : | MAGATAGAN, MICHAEL (1960 - ) | ||||
| Droit d'auteur : | Public Domain | ||||
| Ajoutée par magataganm, 16 Janv 2022 Johann Sebastian Bach was a German composer, organist, harpsichordist, violist, and violinist whose sacred and secular works for choir, orchestra, and solo instruments drew together the strands of the Baroque period and brought it to its ultimate maturity. Although he did not introduce new forms, he enriched the prevailing German style with a robust contrapuntal technique, an unrivalled control of harmonic and motivic organisation, and the adaptation of rhythms, forms and textures from abroad, particularly from Italy and France. Although originally ascribed to J. S. Bach as BWV 495, this fugue is believed to be the work of Christoph Graupner (13 January 1683 — 10 May 1760). This work is less clearly a "possible" work, weaker in style and source situation. The lost copy from the Hauser collection was supposedly an autograph, but BG 36 did not describe it as such, and it lacked an attribution (Kobayashi 1973, 342, 388); the attribution in P 315 also is not original. The assignment to Bach might have depended on an enthusiastic guess by Robert Schumann, who first published the piece in 1839. In P 315—a late Viennese source according to Eichberg (1975, 14)—the fugue occurs anonymously alongside an Allemande and Courante in A (BWV 838) now assigned to Graupner. These have little in common musically with the fugue." The fugue nevertheless has a distinctive theme and a rational, clearly articulated design that falls into two halves, using sharply contrasting counter-subjects. The second countersubject, introduced after the cadence at m. 34, is a lively, if old-fashioned, violinistic idea, and in the final phrase a sequence derived from it brings the piece to an impressive conclusion. The more restrained first counter-subject is less well conceived, consistently forming weak passing dissonances (echepees). Moreover, the octave leaps in the subject produce passages that are awkward to play as well as weak contrapuntally, as when the alto leaps over the tenor in m. 22. Yet Bach's fondness for thematic material containing octaves is clear from BWV 992, 915, and other early works. Although this hardly constitutes evidence for his authorship, it cannot rule it out. Source: IMSLP (http://imslp.org/wiki/Fugue_in_E_minor,_BWV_945_(Bach, _Johann_Sebastian)). Although originally written for Harpsichord. I created this Interpretation of the Fugue in E Minor (BWV 945) Transcribed in A Minor for Woodwind Quartet (Flute, Oboe, Bb Clarinet & Bassoon). Partition centrale : | Fugue en Mi mineur (3 partitions) | | |||
