Free-scores.com : Bach, Johann Sebastian - Prelude & Fugue in C Major for Wind Quintet (Quintette à vent : Flûte, Clarinette, Hautbois, Cor, Basson)

CRITÈRES : Prélude et Fugue en Do majeur, BWV 531 (4) (Bach, Johann Sebastian)

Prelude & Fugue in C Major for Wind Quintet
BWV 531
Johann Sebastian Bach
Quintette à vent : Flûte, Clarinette, Hautbois, Cor, Basson

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VoirPDF : Prelude & Fugue in C Major (BWV 531) for Wind Quintet (13 pages - 246.86 Ko)385x⬇

MP3 : Prelude & Fugue in C Major (BWV 531) for Wind Quintet 52x⬇ 1095x

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Compositeur	Bach, Johann Sebastian (1685 - 1750)
Instrumentation	Quintette à vent : Flûte, Clarinette, Hautbois, Cor, Basson
Partition centrale	Prélude et Fugue en Do majeur (4 partitions)
Genre	Baroque
Arrangeur Editeur	MAGATAGAN, MICHAEL (1960 - )
Droit d'auteur	Public Domain
	Ajoutée par magataganm, 07 Jun 2016
The Prelude & Fugue in C Major (BWV 531) is an early work by Johann Sebastian Bach that almost certainly predates the composer's move to Weimar in 1708, J.S. Bach's Prelude and Fugue in C major, BWV 531 is music of a most exuberant kind. The propulsive opening thought of the Prelude, a kind of rapid-note alternation in the pedals that rises by way of arpeggiation, has an aspect of joyous, celebratory brass fanfare to it. The Fugue's subject, though technically built from a different interval pat...(+) The Prelude & Fugue in C Major (BWV 531) is an early work by Johann Sebastian Bach that almost certainly predates the composer's move to Weimar in 1708, J.S. Bach's Prelude and Fugue in C major, BWV 531 is music of a most exuberant kind. The propulsive opening thought of the Prelude, a kind of rapid-note alternation in the pedals that rises by way of arpeggiation, has an aspect of joyous, celebratory brass fanfare to it. The Fugue's subject, though technically built from a different interval pattern, is right from the same page, gesture- and rhythm-wise, as that first thought of the Prelude (it is also, one might add, a very peculiar fugue subject). When, before they have even had a chance at the subject, the pedals interrupt the Fugue's contrapuntal texture with a measure of bursting-at-the-seams broken octaves (to which the upper voices respond with six-voice chords --there is no strict maintenance of the four-voice texture here), it is a magical moment in the organ repertory. As he so often does, Bach finishes this organ fugue with a brief quasi-cadenza, the likes of which has already been heard at the end of the Prelude as a kind of bridge to the Fugue. Source: Almusic.com (http://www.allmusic.com/composition/prelude-and-fugue- for-organ-in-c-maj...). Although originally composed for Organ, I created this modern interpretation for Wind Quintet (Flute, Oboe, Bb Clarinet, French Horn & Bassoon).