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| Composer : | Bach, Johann Sebastian (1685 - 1750) | ||||
| Instrumentation : | Clarinet solo1 other version | ||||
| Style : | Baroque | ||||
| Key : | D minor | ||||
| Arranger : Publisher : | MAGATAGAN, MICHAEL (1960 - ) | ||||
| Copyright : | Public Domain | ||||
| Added by magataganm, 29 Jul 2017 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. The Suite in D minor is one of two minor-key suites among the six for solo cello. With this suite, Bach seems to aspire to an almost Beethovenian mixture of tragedy and defiance, all within his usual framework of strict procedures. There are six movements: a Prelude, Allemande, Courante, Sarabande, double Minuet, and Gigue. The Prelude reminds this listener of a great Bach organ toccata (and some observers, indeed, have speculated on links between Bach's organ improvisations and his string writing). Bach uses a simple arpeggio figure to build phrases of ever-increasing complexity, as in the parallel passage in the first suite. But here the minor-key arpeggio that sets the tone for the work is used to gradually build tension as it climbs through the cello's range in a series of rising waves. The movement builds to a high-pitched, tense climax, followed by an improviser's silence while the echoes die out. Finally we return to the low strings for a coda that sums up the movement in small, intimate terms. Each of the movements that follow offers its own take on tragedy and defiance, but the moments that best characterize this suite include the unusual and dramatic double Minuet and the resigned Sarabande. Mstislav Rostropovich memorably described the latter movement as an essay in "white-hot solitude," and its stylized dirge and ringing open fifths recall the laments of the great masters of the French viol tradition. This suite, perhaps above all the others, compels the listener's attention through the contrast between the graceful and courtly language of the French dances that constitute the suite form and the dark, sinewy meat of Bach's own compositional thinking. At the end the Gigue wraps things up with angular rhythms and violent, unrelenting passions. But Bach isn't done with us yet; this movement prepares for the sunniness of the next suite in the set. Source: AllMusic (http://www.allmusic.com/composition/suite-for-solo-cel lo-no-2-in-d-minor-bwv-1008-mc0002366237). Although originally written for Solo Cello. I created this Arrangement of the Suite No. 2 in D Minor (BWV 1008) for Bb Clarinet. Sheet central : | 6 Suites pour violoncelle (158 sheet music) | | |||
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