Free-scores.com : Bach, Johann Sebastian - "Nun komm' der Heiden Heiland" for Flute & Harpsichord (Flute et Harpe)

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CRITÈRES : 18 préludes, chorals pour orgue, BWV 659 (74) (Bach, Johann Sebastian)

HARPE › Bach, Johann Sebastian

"Nun komm' der Heiden Heiland" for Flute & Harpsichord
BWV 659
Johann Sebastian Bach
Flute et Harpe

VoirPDF : "Nun komm' der Heiden Heiland" (BWV 659) for Flûte & Harpsichord (3 pages - 102.53 Ko)1 034x⬇

VoirPDF : Flûte Part (67.06 Ko)

VoirPDF : Clavecin Part (78.61 Ko)

MP3 : Audio principal (78.61 Ko)161x⬇ 865x

Nun komm der Heiden Heiland for Flute & Harpsichord

MP3 (3.32 Mo) :

(par Magatagan, Michael)108x⬇ 170x

Nun komm der Heiden Heiland for Flute & Harpsichord

MP3 (3.31 Mo) :

(par Magatagan, Michael)83x⬇ 139x

Vidéo :

Compositeur	Bach, Johann Sebastian (1685 - 1750)
Instrumentation	Flute et Harpe
Partition centrale	18 préludes, chorals pour orgue (74 partitions)
Genre	Baroque
Arrangeur Editeur	MAGATAGAN, MICHAEL (1960 - )
Droit d'auteur	Public Domain
	Ajoutée par magataganm, 13 Déc 2012
The Great Eighteen Chorale Preludes, BWV 651–668, are a set of chorale preludes for organ prepared by Johann Sebastian Bach in Leipzig in his final decade 1740-1750, from earlier works composed in Weimar, where he was court organist. The works form an encyclopedic collection of large scale chorale preludes, in a variety of styles harking back to the previous century, that Bach gradually perfected during his career. Together with the Orgelbüchlein, the Schübler Chorales and the third book of ...(+) The Great Eighteen Chorale Preludes, BWV 651–668, are a set of chorale preludes for organ prepared by Johann Sebastian Bach in Leipzig in his final decade 1740-1750, from earlier works composed in Weimar, where he was court organist. The works form an encyclopedic collection of large scale chorale preludes, in a variety of styles harking back to the previous century, that Bach gradually perfected during his career. Together with the Orgelbüchlein, the Schübler Chorales and the third book of the Clavier-Übung, they represent the summit of Bach's sacred music for solo organ. "Now comes the gentiles' Saviour" (Nun komm' der Heiden Heiland), BWV 659, is written in meantone temperament over the quavers of the continuo-like "walking bass" in the pedal, the two inner parts move forward meditatively in canon, beneath the florid and melismatic cantus firmus. The beautiful melody, endlessly prolonged and never fully perceptible amid the freely spiraling arabesques, evokes the mystery of the incarnation; it is matched by the perfection of the accompaniment. Although this work was written for solo voice and basso continuo, I created this arrangement for Flute and Harpsichord.

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