 | Buxtehude, Dieterich - Ciacona in E Minor for Flute Quintet BuxWV 160 Ensemble de Flûtes |
VoirPDF : Ciacona in E Minor (BuxWV 160) for Flûte Quintet (18 pages - 584.4 Ko)1 506x⬇ VoirPDF : Alto Flûte (67.4 Ko) VoirPDF : Flûte 1 (112.1 Ko) VoirPDF : Flûte 2 (111.88 Ko) VoirPDF : Flûte 3 (111.71 Ko) VoirPDF : Flûte 4 (111.45 Ko) VoirPDF : Conducteur complet (334.36 Ko) MP3 : Ciacona in E Minor (BuxWV 160) for Flute Quintet 285x⬇ 2118x
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| Compositeur : | Buxtehude, Dieterich (1637 - 1707) | ||||
| Instrumentation : | Ensemble de Flûtes | ||||
| Genre : | Baroque | ||||
| Tonalité : | Mi mineur | ||||
| Arrangeur : Editeur : | MAGATAGAN, MICHAEL (1960 - ) | ||||
| Date : | 1690 | ||||
| Droit d'auteur : | Public Domain | ||||
| Ajoutée par magataganm, 10 Avr 2013 Dieterich Buxtehude (c. 1637 to 1639) was a German-Danish organist and composer of the Baroque period. His organ works represent a central part of the standard organ repertoire and are frequently performed at recitals and in church services. He composed in a wide variety of vocal and instrumental idioms, and his style strongly influenced many composers, including Johann Sebastian Bach. Buxtehude, along with Heinrich Schütz, is considered today to be one of the most important German composers of the mid-Baroque. The commemoration of Buxtehude's death in 2007 resulted in widespread interest in his vocal works. Buxtehude left more than 120 such pieces, which is remarkable considering that as organist of St Mary's in Lübeck he was not responsible for the vocal music for the liturgy. Some of his sacred music may have been performed during the services on Sundays and feastdays, but most of it was probably intended for performance during public concerts, in particular the famous Abendmusiken. This Ciacona -- lasting just under six minutes -- may be a brief work, but it is a substantial one nonetheless, offering more than modest evidence to bolster the commonly held view that Buxtehude was the most important composer for organ before Bach. This masterly piece, written in 3/4 time, presents a stately theme and a highly imaginative series of variations, following the pattern of a Baroque ciacona (or chaconne). The theme is gentle and builds slowly from a recurring four-note germ of descending contour in the harmonies. Gradually the music develops a sense of momentum, and greater contrapuntal activity accrues, the whole always maintaining its hymn-like character, its worshipful feeling. Typically, a ciacona is slowly or moderately paced, but this E minor effort has a lively character, even if it does not move swiftly or have propulsive rhythms. It grows from a modest, almost somber mood at the outset to a brighter, stately character two minutes or so into the piece. By the midpoint, however, the music takes on a grandeur in its seriousness, with rich, bass-laden harmonies and often thick chords. The work ends gloriously and with a feeling of happy resolution, the whole imparting a sense of journey through tribulation and arrival at final triumph. Although it was originally written for Organ, I adapted this work for a Flute Quintet (Flutes (4) and Alto Flute). Partition centrale : | Chaconne en Mi mineur (6 partitions) | | |||
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