Free-scores.com : Bach, Johann Sebastian - Prelude & Fugue in D Minor for Woodwind Quartet (Quatuor à vent: Flûte, Hautbois, Clarinette, Basson)

CRITÈRES : Prélude et Fugue en Ré mineur, BWV 539 (6) (Bach, Johann Sebastian)

Prelude & Fugue in D Minor for Woodwind Quartet
BWV 539
Johann Sebastian Bach
Quatuor à vent: Flûte, Hautbois, Clarinette, Basson

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VoirPDF : Prelude & Fugue in D Minor (BWV 539) for Woodwind Quartet (20 pages - 413.92 Ko)638x⬇

VoirPDF : Basson (93.15 Ko)

VoirPDF : Bb Clarinette (98.49 Ko)

VoirPDF : Flûte (113.64 Ko)

VoirPDF : Hautbois (105.68 Ko)

VoirPDF : Conducteur complet (238.62 Ko)

MP3 : Prelude & Fugue in D Minor (BWV 539) for Woodwind Quartet 103x⬇ 2033x

Prelude & Fugue in D Minor for Woodwind Quartet

MP3 (7.33 Mo) : (par Magatagan, Mike)5x⬇ 16x

MP3

Vidéo :

Compositeur	Bach, Johann Sebastian (1685 - 1750)
Instrumentation	Quatuor à vent: Flûte, Hautbois, Clarinette, Basson
Partition centrale	Prélude et Fugue en Ré mineur (6 partitions)
Genre	Baroque
Arrangeur Editeur	MAGATAGAN, MICHAEL (1960 - )
Droit d'auteur	Public Domain
	Ajoutée par magataganm, 12 Jun 2016
When one contemplates Johann Sebastian Bach and his role in the development of the prelude and fugue, one naturally thinks of the Well-Tempered Clavier, the famous collection in which he explored the possibilities of prelude and fugue writing in an encompassing, encyclopedic way. But the Well-Tempered Clavier represents Bach’s summary of a genre that he codified and refined at an earlier point in his life, in a series of adventurous and increasingly ambitious organ works. These works first eme...(+) When one contemplates Johann Sebastian Bach and his role in the development of the prelude and fugue, one naturally thinks of the Well-Tempered Clavier, the famous collection in which he explored the possibilities of prelude and fugue writing in an encompassing, encyclopedic way. But the Well-Tempered Clavier represents Bach’s summary of a genre that he codified and refined at an earlier point in his life, in a series of adventurous and increasingly ambitious organ works. These works first emerged during his youthful years as a church organist in Arnstadt (1703-1707) and Mühlhausen (1707-1708) and then reached an extraordinary peak of sophistication and virtuosity during his tenure as court organist in Weimar (1708-1717), where the pleasure that the reigning duke took in his playing “fired him with the desire to try every possible artistry in his treatment of the organ,” as his obituary later put it. The Prelude and Fugue in D Minor (“Fiddle”), BWV 539, dates from shortly after Bach’s Weimar stay—either from his tenure as court chapel master in Cöthen (1717-1723) or from his initial years as Cantor of the St. Thomas School in Leipzig (1723-1750). The Fugue is a keyboard transcription of the second movement of the Sonata in G Minor for Unaccompanied Violin, BWV 1001, a work completed in 1720. Bach also arranged the Fugue for lute (BWV 1000), and one can certainly understand why he returned to the music several times: based on a crisp, incisive Vivaldi-like theme, it has a relentless forward movement that makes it immensely compelling. The Fugue concludes with a short cadenza in a free style—a remnant of its violin origins. Source: Gothic Catalog (http://www.gothic-catalog.com/J_S_Bach_Weimar_Preludes _and_Fugues_Lippin...). Although originally composed for Organ, I created this modern interpretation for Woodwind Quartet (Flute, Oboe, Bb Clarinet & Bassoon).

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Quatuor à vent: Flûte, Hautbois, Clarinette, Basson

Baroque