 | Bach, Johann Sebastian - Affettuoso from the Brandenburg Concerto in D Major for Flute, Cello & Piano BWV 1050 Mvt. 2 Flute, Violoncelle et Piano |
VoirPDF : Affettuoso from the Brandenburg Concerto No. 5 in D Major (BWV 1050 Mvt. 2) for Flûte, Cello & Piano (10 pages - 279.89 Ko)199x⬇ VoirPDF : Violoncelle (71.55 Ko) VoirPDF : Flûte (72.81 Ko) VoirPDF : Piano (121.11 Ko) VoirPDF : Conducteur complet (167.41 Ko) MP3 : Affettuoso from the Brandenburg Concerto No. 5 in D Major (BWV 1050 Mvt. 2) for Flute, Cello & Piano 37x⬇ 646x
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| Compositeur : | Bach, Johann Sebastian (1685 - 1750) | ||||
| Instrumentation : | Flute, Violoncelle et Piano3 autres versions | ||||
| Genre : | Baroque | ||||
| Tonalité : | Ré majeur | ||||
| Arrangeur : Editeur : | MAGATAGAN, MICHAEL (1960 - ) | ||||
| Droit d'auteur : | Public Domain | ||||
| Ajoutée par magataganm, 24 Fév 2021 Johann Sebastian Bach most likely completed his Brandenburg Concerto No. 5 in D major, BWV 1050, in 1721. This work is the fifth of six concertos the composer dedicated to Christian Ludwig, Margrave of Brandenburg. The offering was likely a sort of application for employment; Bach got no response, but these pieces have become some of his best-known material. Every one of the concertos is distinct, as are the composer's sets of suites and partitas. Hearing the fifth concerto in the context of the rest of the set makes it clear that, apart from Bach's inimitable strength as a contrapuntist, the key to his ability to make music that is both sublime and entertaining lies in the fact that in his hands, everything is elastic. No other composer of the Baroque era could write through the constraints of form as if it was not there at all. Bach saw more options than anyone else, in form and in influence. The way he blended the Italian sound into his own in these concertos ennobled both Italian and German music. The scope of his vision and his relentless invention, making everything he wrote new, frustrates any attempt at comparison. This fifth concerto is scored for flute, solo violin, obbligato harpsichord, and strings. It is the only one of the six pieces to have any solo material given to the harpsichord, which is part of the continuo throughout the other works, filling out the harmonies. In the second movement (the 'Affettuoso'), there are five tutti passages each taking four bars. The identical opening and closing tutti passages are in B minor, with the violin playing the leading melody line. The flute takes the lead in the other tuttis. The central tutti passage is the only one, apart from the outer ones, in a minor key. The first of the two major key tuttis is a mere transposition of the opening tutti to its relative major, also switching the violin and flute roles. The fourth tutti, in G major, variates the melodic material. The harpsichord takes the lead in the intermittent solo episodes: the harpsichordist's right hand, accompanied by a bass line in the left hand and some figuration by the other concertato instruments, variates on the tutti material in soloist episodes varying from five to eleven bars in length. The structure of the movement is thus more or less symmetrical, with some added weight to the fourth tutti and episode. The music of this movement is exclusively performed by the three concertato instruments, with the right hand of the harpsichordist being allotted the soloist role, and the other instruments, together with the continuo line of the harpsichordist's left hand, producing the orchestral accompaniment – as a whole this distribution of roles is quite different from that of a trio sonata movement. The violone part of the early version of the concerto breaks off after the first movement, leaving uncertain whether it was intended to perform only in the outer movements or also in the middle movement: it is possible that in this version the violone reinforced the continuo bass-line in the tuttis. The movement's tempo indication is a standard "Adagio" in the older version, changed to "Affettuoso" in the final version. The latter indication may reflect more clearly what Bach wanted to express in the movement. Additionally, while some of the harpsichord's melodies involve sustained notes (which would not sound for a long enough time if the movement is played too slow), Bach may have wanted to accelerate the pace a bit by the new tempo indicator. Bach contrasted the harpsichord's long notes to short-note figuration by violin and flute: these instruments, although naturally more suitable to play sustained notes, play no long notes throughout the movement. Source: AllMusic (http://www.allmusic.com/composition/brandenburg-concer to-no-5-in-d-major-bwv-1050-mc0002388723). Originally written for Flute, Violin & Harpsichord, I created this Arrangement of the Affettuoso from the Brandenburg Concerto No. 5 in D Major (BWV 1050 Mvt. 2) for Flute, Cello & Piano. Partition centrale : | 5ème concerto brandebourgeois en Ré majeur (21 partitions) | | |||
