 | Bach, Johann Sebastian - Suite in C Major for Guitar BWV 1009 Guitare seule (notation standard) |
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| Compositeur : | Bach, Johann Sebastian (1685 - 1750) | ||||
| Instrumentation : | Guitare seule (notation standard)58 autres versions | ||||
| Genre : | Baroque | ||||
| Tonalité : | Do majeur | ||||
| Arrangeur : Editeur : | MAGATAGAN, MICHAEL (1960 - ) | ||||
| Droit d'auteur : | Public Domain | ||||
| Ajoutée par magataganm, 01 Aoû 2017 Johann Sebastian Bach was better known as a virtuoso organist than as a composer in his day. His sacred music, organ and choral works, and other instrumental music had an enthusiasm and seeming freedom that concealed immense rigor. Bach's use of counterpoint was brilliant and innovative, and the immense complexities of his compositional style -- which often included religious and numerological symbols that seem to fit perfectly together in a profound puzzle of special codes -- still amaze musicians today. Many consider him the greatest composer of all time. The Suite in C major is probably the most popular of Bach's six suites for solo cello, among cellists and listeners alike. How could one resist the work's mix of nobility, exuberance, and relative contrapuntal simplicity? Casals, who more than any other performer brought these suites to the forefront of the cello repertory, found in it a heroic quality. Yet this suite also has close ties to its brethren. The Prelude recalls the discursive improvisatory flavor of the second suite, but opens with a descending figure and a mood of bright sunshine instead of the study in tragedy and tension that the second suite undertakes from the beginning. The Prelude also makes brilliant use of a mighty pedal point; a single note is held in the bass register while a series of progressively richer and richer figures build tension, pushing harder and harder for resolution. A similar figure is used to heighten a sense of pathos in the Prelude to the St. John Passion. Here, however, the pedal point develops instead into an expression of great warmth and happiness. After the Prelude come a lively Allemande, a Courante, a Sarabande, a double Bourrée, and a Gigue. The Sarabande proceeds in a series of triple and quadruple stops that offer the cellist plenty of room for gutsy expressiveness and at the same time outline the implied polyphony that so fascinates those who hear these works. For this suite, as in the fourth suite, Bach uses a pair of Bourrées for the galant element. These reinforce the sense of buoyant optimism that pervades the work, though a sudden minor-key turn in the second Bourrée reminds us that no triumph is ever complete. But the final Gigue restores the lightness of this bouncy, virtuosic suite, perhaps the most idiomatic to the cello of all six suites. Source: AllMusic (http://www.allmusic.com/composition/suite-for-solo-cel lo-no-3-in-c-major-bwv-1009-mc0002394271). Although originally written for Solo Cello. I created this Arrangement of the Suite No. 3 in C Major (BWV 1009) transposed to G Major for Classical Guitar. Partition centrale : | 6 Suites pour violoncelle (158 partitions) | | |||
