 | Bach, Johann Sebastian - Fantasia in G Major for Marimba & Strings BWV 572 1 marimba, 2 violons, 1 alto, 1 violoncelle |
VoirPDF : Fantasia in G Major (BWV 572) for Marimba & Strings (12 pages - 431.26 Ko)238x⬇ MP3 : Fantasia in G Major (BWV 572) for Marimba & Strings 53x⬇ 479x
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| Compositeur : | Bach, Johann Sebastian (1685 - 1750) | ||||
| Instrumentation : | 1 marimba, 2 violons, 1 alto, 1 violoncelle | ||||
| Genre : | Baroque | ||||
| Arrangeur : Editeur : | MAGATAGAN, MICHAEL (1960 - ) | ||||
| Droit d'auteur : | Public Domain | ||||
| Ajoutée par magataganm, 08 Jui 2016 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. As a young man, Bach developed a rather unique talent for writing long passages of pseudo recitative for the organ, trusting the acoustics of the building to 'fill out' the harmony the listener experiences, even though no more than a single note at any one time is being played. The organ wasn't the only instrument where he displayed this skill as with his Cello sonatas. Pièce d'Orgue in G, BWV 572, also known as Fantasia in three parts, is written in a French style. It originated rather early in Bach's career (before 1712). The first part is entitled as Tres vitement (very fast), the second - Gravement (heavy) and the final part - Lentement (slow). Basically it is a virtuosic episode written in a monophonic texture containing both the elements of arpeggio and scale-based passages. At any rate, even at this early stage of Bach's career, the composer shows a unique angle of blending multi-cultural elements in one work. Because of fast runs and passages, the opening are reminiscent of a toccata. The Italians would call the opening section the Passagio which was also a common feature in the North German Praeludia. However, it is questionable whether the Italian term is appropriate in the French style composition. In the longest main central section, we can hear very imposing stepwise rising theme in long note values which is treated in a fugal manner in various voices. This is a typical French 5 part texture, because the French employed 5 stringed instruments in an ensemble (2 violins, 2 violas, and a violon). Therefore, many of the French classical type of compositions are written in this texture as well (especially the fugues). Apparently for Bach this central section was like a case study in suspensions (Just look at any measure you want and you will see tied notes over the bar lines). The suspension technique gives a constant feeling of tension and continuity with most of the cadences in this section being deceptive. That means whenever Bach ends a fragment in one key, he does not use chords of the Dominant and Tonic but rather Dominant and the chord of 6th scale degree. Pièce d'Orgue ends with a virtuosic but a little slower and heavier texture which has 5 voices encoded: 4 voices could be perceived in both hands and magnificent Dominant pedal point in the pedal line. Although originally written for Organ, I created this modern interpretation of the Fantasia in G Major (BWV 572) for Marimba & Strings (2 Violins, Viola & Cello). Please see Bertalan Fodor's rendering of the entire work at https://musescore.com/bertalan-fodor/scores/129504 and this rendering of the Gravement (section 2) at https://musescore.com/user/1831606/scores/1987591 Partition centrale : | Fantaisie en Sol majeur (8 partitions) | | |||
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