Free-scores.com : Bach, Johann Sebastian - Air from the Orchestral Suite No. 3 for Viola & Piano (Alto et Piano (ou orgue))

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CRITÈRES : Suite pour Orchestre No.3 en Ré majeur, BWV 1068 (138) (Bach, Johann Sebastian)

ALTO › Bach, Johann Sebastian

Air from the Orchestral Suite No. 3 for Viola & Piano

Air from the Orchestral Suite No. 3 for Viola & Piano
BWV 1068
Johann Sebastian Bach
Alto et Piano (ou orgue)

VoirPDF : Air from the Orchestral Suite No. 3 (BWV 1068) for Viola & Piano (2 pages - 98.97 Ko)2 565x⬇

VoirPDF : Alto Part (75.37 Ko)

VoirPDF : Piano Part (83.39 Ko)

MP3 : Audio principal (83.39 Ko)285x⬇ 1600x

Air from the Orchestral Suite No. 3 for Viola & Piano

MP3 (4.12 Mo) :

(par Magatagan, Michael)205x⬇ 340x

Air from the Orchestral Suite No. 3 for Viola & Piano

MP3 (4.11 Mo) :

(par Magatagan, Michael)269x⬇ 258x

Vidéo :

Compositeur	Bach, Johann Sebastian (1685 - 1750)
Instrumentation	Alto et Piano (ou orgue)
Partition centrale	Suite pour Orchestre No.3 en Ré majeur (138 partitions)
Genre	Baroque
Arrangeur Editeur	MAGATAGAN, MICHAEL (1960 - )
Droit d'auteur	Public Domain
	Ajoutée par magataganm, 24 Mai 2014
The four orchestral suites (called ouvertures by their author), BWV 1066–1069 are four suites by Johann Sebastian Bach. The name ouverture refers only in part to the opening movement in the style of the French overture, in which a majestic opening section in relatively slow dotted-note rhythm in duple meter is followed by a fast fugal section, then rounded off with a short recapitulation in triple meter of the opening music. More broadly, the term was used in Baroque Germany for a suite of dan...(+) The four orchestral suites (called ouvertures by their author), BWV 1066–1069 are four suites by Johann Sebastian Bach. The name ouverture refers only in part to the opening movement in the style of the French overture, in which a majestic opening section in relatively slow dotted-note rhythm in duple meter is followed by a fast fugal section, then rounded off with a short recapitulation in triple meter of the opening music. More broadly, the term was used in Baroque Germany for a suite of dance-pieces in French Baroque style preceded by such an ouverture. This genre was extremely popular in Germany during Bach's day, and he showed far less interest in it than was usual: Robin Stowell writes that "Telemann's 135 surviving examples [represent] only a fraction of those he is known to have written"; Christoph Graupner left 85; and Johann Friedrich Fasch left almost 100. Bach did write several other ouverture (suites) for solo instruments, notably the Cello Suite no. 5, BWV 1011, which also exists in the autograph Lute Suite in G minor, BWV 995, the Keyboard Partita no. 4 in D, BWV 828, and the Overture in the French style, BWV 831 for keyboard. The two keyboard works are among the few Bach published, and he prepared the lute suite for a "Monsieur Schouster," presumably for a fee, so all three may attest to the form's popularity. Scholars believe that Bach did not conceive of the four Orchestral Suites as a set (in the way he conceived of the Brandenburg Concertos). The Air is one of the most famous pieces of baroque music. An arrangement of the piece by German violinist August Wilhelmj (1845–1908) has come to be known as Air on the G String. I created this arrangement for Viola and Piano.

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