 | Bach, Johann Sebastian - Overture in G Minor for Viola & Piano BWV 1070 Alto et Piano (ou orgue) |
VoirPDF : Overture in G Minor (BWV 1070) for Viola & Piano (23 pages - 459.41 Ko)208x⬇ MP3 : Overture in G Minor (BWV 1070) for Viola & Piano 31x⬇ 387x
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| Compositeur : | Bach, Johann Sebastian (1685 - 1750) | ||||
| Instrumentation : | Alto et Piano (ou orgue) | ||||
| Genre : | Baroque | ||||
| Tonalité : | Sol mineur | ||||
| Arrangeur : Editeur : | MAGATAGAN, MICHAEL (1960 - ) | ||||
| Droit d'auteur : | Public Domain | ||||
| Ajoutée par magataganm, 02 Oct 2017 It is tempting to speculate that where a piece has been misattributed to one of the great musical geniuses, it must have at least some of the qualities that make that personage great. Not so with the so-called Suite for Orchestra BWV 1070, which for a long time was listed in the Bach Werke Verzeichnis, or Schmieder, catalog of the master's works. Not that it is at all a bad piece; it is a good, if not highly original late-Baroque suite for strings and continuo, though lacking the greatness of either Johann Sebastian Bach (1865 - 1750) or his eldest son, Wilhelm Friedemann Bach (1710 - 1784). The fault seems to lie with one Christian Friedrich Penzel, a student of Johann Sebastian Bach's. In 1753, he wrote out a copy of the work and wrote on it that it was by Johann Sebastian Bach. When musical scholarship on Bach began in earnest, the Penzel manuscript came to light. Wilhelm Schmieder, compiling his authoritative Thematisch-systematisches Verzeichnis der musikalischen Werke von Johann Sebastian Bach (or BWV) the Bach anniversary year of 1950, felt he had to list this piece along with the four correctly attributed Suites for Orchestra, BWV 1066 - 1069. He listed it as No. 1070, though noting his reservations about its authenticity. Meanwhile, the editors of the New Bach Edition, a scholarly edition of Bach's works, saw fit to include this suite with the note that while it was certainly not the work of Johann Sebastian, it might be the work of Wilhelm Friedemann. Others have speculated, with little foundation that, Carl Philipp Emanuel Bach might be the author. It is probably the work not of a Northern German master like the Bachs, but someone working in Bavaria, Austria, or the region, judging from the use of the titles torneo and capriccio for two of the movements. The opening movement, Overture. Larghetto, is a solemn piece in the form of a prelude and fugue. There is rather too much reliance of sequences (repetitions of the same short figure on different starting notes) and the harmonies are relatively plain, both factors pointing away from any of the four fine composers of the J.S. Bach family. Still, it is a graceful and highly listenable piece. The movement called "Torneo" is in a fast tempo. Its main melody has a dashing, rapid run as an upbeat figure. The title refers to a type of operatic spectacle that was part tournament, popular in Northern Italy, and the music has a bustling, athletic quality that is appropriate to the name. The longest movement in the work is marked Aria. Adagio. It begins with a recitative-like figure, then adopts a more measured, flowing style built on the same figurations. Then comes a Minuetto alternativo and Trio with a rather heavy tread. The finale, marked Capriccio is a bustling piece written in a learned imitative style. Source: AllMusic (http://www.allmusic.com/composition/overture-suite-for -strings-continuo-in-g-minor-no-5-doubtful-bwv-1070-mc0 002368966). Although originally written for 3 Oboes, Bassoon, 3 trumpets, Timpani, Strings & Continuo, I created this Arrangement of the Overture in G Minor (BWV 107) for Viola & Piano. Partition centrale : | Overture in G minor (2 partitions) | | |||
