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Vidéo :
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| Composer : | Bach, Johann Sebastian (1685 - 1750) | ||||
| Instrumentation : | String trio | ||||
| Style : | Baroque | ||||
| Key : | A major | ||||
| Arranger : Publisher : | MAGATAGAN, MICHAEL (1960 - ) | ||||
| Copyright : | Public Domain | ||||
| Added by magataganm, 13 May 2017 Johann Sebastian Bach was a member of a family that had for generations been occupied in music. His sons were to continue the tradition, providing the foundation of a new style of music that prevailed in the later part of the eighteenth century. Johann Sebastian Bach himself represented the end of an age, the culmination of the Baroque in a magnificent synthesis of Italian melodic invention, French rhythmic dance forms and German contrapuntal mastery. Born in Eisenach in 1685, Bach was educated largely by his eldest brother, after the early death of his parents. At the age of eighteen he embarked on his career as a musician, serving first as a court musician at Weimar, before appointment as organist at Arnstadt. Four years later he moved to Mühlhausen as organist and the following year became organist and chamber musician to Duke Wilhelm Ernst of Weimar. Securing his release with difficulty, in 1717 he was appointed Kapellmeister to Prince Leopold of Anhalt-Cöthen and remained at Cöthen until 1723, when he moved to Leipzig as Cantor at the School of St.Thomas, with responsibility for the music of the five principal city churches. Bach was to remain in Leipzig until his death in 1750. J.S. Bach was one of the most renowned keyboardists of his day, and he left a rich legacy of music for harpsichord originally intended for instruction and ‘spiritual refreshment’. This recording of mostly lesser-known works includes several early examples which afford fascinating insights into the young composer’s experimentation with counterpoint, harmony and form. They are all compelling, emotionally powerful works in their own right, with virtuoso content and an expressive range that easily matches that of Bach’s more famous keyboard pieces. The early fugues show that Bach posed difficult compositional challenges for himself and on the whole, met those challenges successfully. The Prelude & Fugue in A Major (BWV 896) exists as a short prelude (likely copied by Bach's older brother however lacking in the later copy from which the Bach-Gesellschaft Ausgabe [BGA] edition was made) and the two movements did not appear together in print until John Walter Hill's 1991 edition. Neither movement calls for pedals although I have added them in this arrangement. The fugue is one of Bach's strongest early efforts in a strictly contrapuntal idiom, and this might account for its having been furnished with a prelude. The inspiration for this type of fugue might have come from Reinken's fugal gigues, which offered a model for the strict contrapuntal writing outside the 'stile antico'. But unlike Reinken's guigues, BWV 896 offsets rigorous expository passages with episodes. The latter, although short and restrained, are just sufficiently distinct in style to set the expository sections in relief. The episodes suggest another possible model, the dance movements in Kuhnau's Biblical Sonatas, which the fugue seems to quote at several points. Source: The Keyboard Music of J.S. Bach by By David Schulenberg. Although originally written for Keyboard (Harpsichord), I created this Interpretation of the Prelude & Fugue in A Major (BWV 896) for String Trio (Violin, Viola & Cello). Sheet central : | Prélude et Fugue en La majeur (4 sheet music) | | |||
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