 | Bach, Johann Sebastian - Fugue in A Minor for String Quartet BWV 904 No. 2 Quatuor à cordes |
VoirPDF : Fugue in A Minor (BWV 904 No. 2) for String Quartet (9 pages - 185.08 Ko)140x⬇ MP3 : Fugue in A Minor (BWV 904 No. 2) for String Quartet 22x⬇ 262x
Vidéo :
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| Compositeur : | Bach, Johann Sebastian (1685 - 1750) | ||||
| Instrumentation : | Quatuor à cordes | ||||
| Genre : | Baroque | ||||
| Tonalité : | La mineur | ||||
| Arrangeur : Editeur : | MAGATAGAN, MICHAEL (1960 - ) | ||||
| Droit d'auteur : | Public Domain | ||||
| Ajoutée par magataganm, 29 Jun 2017 Johann Sebastian Bach was a member of a family that had for generations been occupied in music. His sons were to continue the tradition, providing the foundation of a new style of music that prevailed in the later part of the eighteenth century. Johann Sebastian Bach himself represented the end of an age, the culmination of the Baroque in a magnificent synthesis of Italian melodic invention, French rhythmic dance forms and German contrapuntal mastery. Born in Eisenach in 1685, Bach was educated largely by his eldest brother, after the early death of his parents. At the age of eighteen he embarked on his career as a musician, serving first as a court musician at Weimar, before appointment as organist at Arnstadt. Four years later he moved to Mühlhausen as organist and the following year became organist and chamber musician to Duke Wilhelm Ernst of Weimar. Securing his release with difficulty, in 1717 he was appointed Kapellmeister to Prince Leopold of Anhalt-Cöthen and remained at Cöthen until 1723, when he moved to Leipzig as Cantor at the School of St.Thomas, with responsibility for the music of the five principal city churches. Bach was to remain in Leipzig until his death in 1750. J.S. Bach was one of the most renowned keyboardists of his day, and he left a rich legacy of music for harpsichord originally intended for instruction and ‘spiritual refreshment’. This recording of mostly lesser-known works includes several early examples which afford fascinating insights into the young composer’s experimentation with counterpoint, harmony and form. They are all compelling, emotionally powerful works in their own right, with virtuoso content and an expressive range that easily matches that of Bach’s more famous keyboard pieces. Much of J.S. Bach's keyboard music has, over the course of the last several decades, been transplanted from its nineteenth century home in the piano repertoire back to the care of harpsichordists, its original interpreters. There are really just a few Bach keyboard works that are still widely and actively performed by the world's pianists: the Well-Tempered Clavier and the Goldberg Variations, certainly, and the English and French Suites -- and the Chromatic Fantasia and Fugue in D minor, BWV 903, a work of such color and vitality that it would be foolish to ever expect pianists to completely let it go (even if that nature of the writing, especially in the Fantasia portion, makes for a piece that works better on a plucked keyboard instrument such as the harpsichord). Not to be confused with an earlier piece in the same key and going by the same title (BWV 944, ca. 1708), J.S. Bach's Fantasia and Fugue in A minor for harpsichord (or perhaps clavichord), BWV 904, is an early Leipzig-period work probably composed ca. 1725. The fantasia opens with a dramatic, thickly chordal phrase, built upon a descending bass line; this turns out to be a kind of informal refrain theme between statements of which can be heard intertwining contrapuntal passages much like those usually found in the episodes of a fugue. The fugue itself is really a double fugue: the first subject -- a long, winding idea with nearly as many spaces as notes -- is put through the full expository works but is then cast aside in favor of a new subject -- this one pungently chromatic, steadily dripping downwards. Although one would never at first imagine it, these two seemingly incompatible musical ideas (the one absolutely diatonic and full of rhythmic holes, the other absolutely chromatic and rhythmically solid) were contrived from the start to fit together like a jigsaw puzzle; Bach demonstrates this in vintage fashion throughout the final third of the piece. Source: Allmusic (http://www.allmusic.com/composition/fantasia-and-fugue -for-keyboard-in-a-minor-bwv-904-bc-l136-mc0002358973). Although originally written for Harpsichord. I created this Arrangement of the Fugue in A Minor (BWV 904 No. 2) for String Quartet (2 Violins, Viola & Cello). Partition centrale : | Fantaisie et Fugue en La mineur (7 partitions) | | |||
