 | Bach, Johann Sebastian - Fugue in E Minor for Double Reed Trio BWV 956 Hautbois, Cor anglais, Basson |
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| Compositeur : | Bach, Johann Sebastian (1685 - 1750) | ||||
| Instrumentation : | Hautbois, Cor anglais, Basson | ||||
| Genre : | Baroque | ||||
| Tonalité : | Mi mineur | ||||
| Arrangeur : Editeur : | MAGATAGAN, MICHAEL (1960 - ) | ||||
| Droit d'auteur : | Public Domain | ||||
| Ajoutée par magataganm, 02 Sep 2017 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. The sole surviving copy of Fugue in E Minor (BWV 956) is by a student of Kellner, it might have been copied from a manuscript in Kellner's possession. Stinson (1989a, 130) suggests that Kellner himself could have been the composer, finding that the piece "betrays nothing of the experimental range of Bach's early efforts." But this is perhaps to overlook the chromatic counter-melody in mm. 25-6, the Neapoli-tan harmonies in mm. 48 and 49, and the well-handled acceleration of surface motion in the final section. There are also clumsy moments, including hidden fifths between the two lower parts (m. 21) and a banal lapse into parallel thirds (m. 28). But there is greater variety of texture, harmony, and voice leading, and more of a sense of drama, than in two fugues known to be by Kellner himself)' The latter also lack the vestiges of seventeenth-century style found here, such as the persistent figure torte. The subject, as in BWV 905/2, is of the sequential type that Bach used in some early fugues but largely abandoned after his Weimar period. The fugue as a whole resembles those early efforts of Bach in which, after the initial exposition, single entries of the subject alternate with substantial episodes. The choice of modulations suggests some tonal planning, a move to the relative major falling near the exact center (m. 35b). The final entry, in the bass (m. 63), is prepared by an ascending sequence that moves to the tonic swiftly and surely from the fairly remote key of F.', using clever if dissonant voice leading (mm. 57b-60a). In short, BWV 956 remains a "possible" early work of Bach's. Sole source: P 804/8 (Leonhart Frischmuth; facsimile in Stinson 1989a, 131). Editions: BC 42, NBA V/12. Although originally written for Harpsichord. I created this Interpretation of the Fugue in E Minor (BWV 956) for Double-Reed Trio (Oboe, English Horn & Bassoon). Partition centrale : | Fugue en Mi mineur (3 partitions) | | |||
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