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Для одного исполнителя
Название пользователя: Шесть сюит для виолончели, BWV 1007-1012
Инструменты |
Виолончель |
Состав исполнителей |
Соло |
Тип нот |
Для одного исполнителя |
Части |
1 до 6 из 6 |
Издатель |
Breitkopf und Härtel |
Уровень сложности |
Выше среднего |
Переложение для альта
Название пользователя: Шесть сюит для виолончели соло (Переложение для альта), BWV 1007-1012
Инструменты |
Альт, Виолончель |
Состав исполнителей |
Соло |
Тип нот |
Для одного исполнителя |
Части |
1 до 6 из 6 |
Аранжировщик |
Фриц Шпиндлер |
Издатель |
Музгиз |
Уровень сложности |
Выше среднего |
Манускрипт
Название пользователя: Сюиты для виолончели соло, BWV 1007-1012
Инструменты |
Виолончель |
Состав исполнителей |
Соло |
Тип нот |
Для одного исполнителя |
Части |
1 до 6 из 6 |
Уровень сложности |
Выше среднего |
Высококачественные ноты
Название пользователя: Шесть сюит для виолончели, BWV 1007-1012
Инструменты |
Виолончель |
Состав исполнителей |
Соло |
Тип нот |
Для одного исполнителя |
Уровень сложности |
Выше среднего |
Для одного исполнителя
Название пользователя: Сюиты для виолончели, BWV 1007-1012
Инструменты |
Виолончель |
Состав исполнителей |
Соло |
Тип нот |
Для одного исполнителя |
Части |
1 до 6 из 6 |
Издатель |
Карл Фишер |
Уровень сложности |
Выше среднего |
Год создания |
1723 |
Жанр |
Классика/Соната |
Arrangement for solo saxophone
Название пользователя: J. S. Bach: Complete Cello Suites, arranged for solo saxophone, BWV 1007-1012
Инструменты |
Саксофон альт, Саксофон тенор, Саксофон баритон, Саксофон сопрано |
Состав исполнителей |
Соло |
Тип нот |
Для одного исполнителя |
Части |
1 до 36 из 36 |
Аранжировщик |
Paul Wehage |
Издатель |
Musik Fabrik |
Уровень сложности |
Сложно |
Время звучания |
75'0 |
Год создания |
1720 |
Жанр |
Классика |
During the period between 1717 and 1723, J. S. Bach was in the service of Prince Leopold of Anhalt-Cöthen in Brandenburg. Prince Leopold was a great lover of music, but the Calvinist Religious services at Cöthen did not permit any religious music outside of the simple psalm settings of the Calvinist service . During this period, which Bach considered to be the happiest of his life despite the sudden death of his first wife Maria-Barbara, Bach devoted himself to writing instrumental works for both the Collegium Musicus, the municipal orchestra that was under Bach’s direction and for whom he wrote his famous Brandenbutg Concerti and for the musicians of the Court. Apart from the Brandenburg Concerti, other works which date from this period include several of the orchestral suites, the first book of the Well-tempered Clavier, the Chromatic Fantasy and Fugue, the Solo Sontates and Partitas for Violin and the Six Suites for Cello. The Six Cello Suites were written after the series of Solo Sonatas and Partitas for Violin and what is especially striking is the relative simplisticity of texture in comparison to the Violin works. The Dutch Cellist Anner Byslma has suggested that Bach had to simply the fugue movements of the Violin works to make them playable and found that the simplified textures implied the harmonic structure just as well. The Cello Suites would be, according to Bylsma, a further exploration of a more minimalist texture, which would account for the relative lack of ornamentation. The general structure for each of the six suites is similar, an opening prelude followed by a series of Dance movements in the following order :: Prelude Allemande Courante Sarabande «Galanterie » (sets of Minuets, Bourées or Gavottes in an ABA form) Gigue The opening preludes are composed in the typical « Durchfurun » or « spun out » style typical of these works of Bach and use various arpeggios and scalar figures to set both the tonality and the general mood of the suite to follow. Of special interest is the Prelude of the 5th suite, which is in the form of a Ouverture à la Française much like the Overtures of Baroque Operas. In the second « fugato » section of this movement, Bach implies the entrance of the various voices rather than actually writing out all of the lines as he does with his Violin Fugues in the Sonatas. While the particular movements which follow carry the titles of Baroque Dances, it is doubtful whether they were actually intended to be music for Dance. Indeed, one might be tempted to wonder just how much dancing was done at the court of a Calvinist Prince. However, Bach does follow the general forms of the dance works, although they do not seem to be ideally suited for Baroque Dance. The Allemande during the time of these compositions was a slow, stately dance in duple time. Quantz, in his book of Flute performance practice, says that the Allemande should always be played with the beat on the half note. These movements also tend to exploit the « Durchfuhrun » style with a clearer phrase structure than the Preludes. The Courante movements were refered to as « Corrente » in the first published edition of 1825 by Norblin. The « Corrente » is a rapid virtuoso instrumental work in 3/4 influenced by the Italian school, as opposed to the slower Courante which was a French Court Dance which was danced in Six beats to the measure. The Courante of the 5th Suite would seem to be more of a true Courante. It would seem that the others were more influenced by the « Corrente » style, although they are clearly marked as « Courante » in the manuscript sources. The Sarabande is a slow dance in ¾ with the usual accents falling on the second beat. The study of Baroque Dance would indicate that the Sarabande is a bit more rapid than has generally been though and that the accents do not always fall on the second beat, but may fall on the first beat for melodic interest. Bach frequently chan
Suite No.1: Arrangement for four celli. All movements, all parts – complete score, Op.1
Название пользователя: Bach Unaccompanied Suite No.1: Arranged for Four Celli. All Movements, All Parts, Complete Score, Op.1
Инструменты |
Виолончель |
Состав исполнителей |
Квартет |
Тип нот |
Партитура, Партии |
Тональность |
Соль мажор |
Части |
1 до 6 из 6 |
Аранжировщик |
Thomas Zebovitz |
Издатель |
Sound Post Creations |
Уровень сложности |
Выше среднего |
Время звучания |
25'0 |
Год создания |
2017 |
Жанр |
Классика/Камерная музыка |
This is the culmination of my arrangement of the First Bach Suite for Unaccompanied Cello, arranged for 4 celli. You can hear the individual movements in the corresponding offerings on this web page. I am looking forward to playing a concert of the complete suite, all the movements. If you do it before me, let me know how it goes. Feel free to double on the parts. I think it sounds better with more cellists participating.
Stay tuned for more content. I have over 100 compositions and arrangements ready to go, it's just a matter of taking the considerable amount of time to post on this website. If there's something you wish to be arranged for groups of celli, let me know. If it isn't already available, I will take a stab at it.
Thanks
Suite No.1: Movement 1 - Prelude. Arrangement for four celli, Op.1
Название пользователя: Bach Unaccompanied Suite No.1: Movement 1 - Prelude. Arranged for Four Celli, Op.1
Инструменты |
Виолончель |
Состав исполнителей |
Квартет |
Тип нот |
Партитура, Партии |
Тональность |
Соль мажор |
Части |
1 до 1 из 6 |
Аранжировщик |
Thomas Zebovitz |
Издатель |
Sound Post Creations |
Уровень сложности |
Выше среднего |
Время звучания |
2'0 |
Год создания |
2017 |
Жанр |
Классика/Транскрипция |
We will never know what Johann was thinking when he penned the Unaccompanied Suites for Cello. As I've played this movement many times, it occurred to me that this movement is a journey. Playing the single part of the music is like walking on a path and looking only at the path. What would you see if you looked to the left, or the right, or even up? In this movement and in the movements that follow, I will show you what I think can be seen from that path.
This movement is bouncy and joyous. Listen to the music and I think you will want to recruit a bunch of cellists and have a go at it.
Suite No.1: Movement 2 – Allamand. Arrangement for four celli, Op.1
Название пользователя: Bach Unaccompanied Suite No.1: Movement 2: Allamand. Arranged for Four Celli, Op.1
Инструменты |
Виолончель |
Состав исполнителей |
Квартет |
Тип нот |
Партитура, Партии |
Тональность |
Соль мажор |
Части |
2 до 2 из 6 |
Аранжировщик |
Thomas Zebovitz |
Издатель |
Sound Post Creations |
Уровень сложности |
Выше среднего |
Время звучания |
5'0 |
Год создания |
2017 |
Жанр |
Классика/Транскрипция |
Movement 1 was a path to travel on. When I play the Allamand movement, I hear dancing. I hear a tango. Don't you? Think of the Allamand as a slow tango, and then, unexpectedly, a new theme chimes in. Imagine beautifully dressed ladies, handsome gentlemen dancing and flirting with each other. This is what I tried to realize in this piece.
Regardless, I know you will want to get 3 of your cello buddies together and play it.
Technically, this movement challenges the first cellist with a pretty high pitched part. The themes will take you up to E4 on the A-String, which is the lower third of the string. The lower parts can easily be played by intermediate to advanced cellists.
In my experience playing in community cello choirs, there is usually a wide range of abilities. I write these parts to give everybody something challenging and satisfying to play. Your ensemble skills are used as well. It can take a bit of work to get the music the way you want.
Please enjoy this movement. Write me, let me know your thoughts. Tom
Suite No.1: Movement 3 – Courante. Arrangement for four celli, Op.1
Название пользователя: Bach Unaccompanied Suite No.1: Movement 3: Courante. Arranged for Four Celli, Op.1
Инструменты |
Виолончель |
Состав исполнителей |
Квартет |
Тип нот |
Партитура, Партии |
Тональность |
Соль мажор |
Части |
3 до 3 из 6 |
Аранжировщик |
Thomas Zebovitz |
Издатель |
Sound Post Creations |
Уровень сложности |
Выше среднего |
Время звучания |
2'45 |
Год создания |
2017 |
Жанр |
Классика/Транскрипция |
Playing this movement feels like a musical comedy. At least it does to me. Listen to the sound sample, and you will see the things I did to bring out the joke, starting with the first four notes. I put intentional accents on the 3rd and 4th notes as if they affirm the first two notes. After the comedic introduction, Bach writes a lot of noodling, which to me sounds like accompaniment looking for a tune, which I provide.
The second cello has the original movement start to end. Cello 1 is playing above, Celli 3 and 4 are the rhythm section. It's fun to play, but also challenging.
Suite No.1: Movement 4 – Lento. Arrangement for four celli, Op.1
Название пользователя: Bach Unaccompanied Suite No.1: Movement 4: Lento. Arranged for Four Celli, Op.1
Инструменты |
Виолончель |
Состав исполнителей |
Квартет |
Тип нот |
Партитура, Партии |
Тональность |
Соль мажор |
Части |
4 до 4 из 6 |
Аранжировщик |
Thomas Zebovitz |
Издатель |
Sound Post Creations |
Уровень сложности |
Средний уровень |
Время звучания |
3'10 |
Год создания |
2017 |
Жанр |
Блюз/Инструментальный |
The fourth movement of Suite No. 1 has a religious sound, at least to me. Listen to the sound file, which has the quarter note at 30 bpm, close your eyes, and imagine sitting in a pew in a country church, with the sunlight filtered through crude stained glass windows. This is the only movement where you have repeats. All the other movements, I write out the repeats, changing them, embellishing them, but not this movement. It is peaceful, stately, and spiritual.
Suite No.1: Movement 5 – Menuets 1 and 2. Arrangement for four celli, Op.1
Название пользователя: Bach Unaccompanied Suite No.1: Movement 5: Menuets 1 and 2. Arranged for Four Celli, Op.1
Инструменты |
Виолончель |
Состав исполнителей |
Квартет |
Тип нот |
Партитура, Партии |
Тональность |
Соль минор |
Части |
5 до 5 из 6 |
Аранжировщик |
Thomas Zebovitz |
Издатель |
Sound Post Creations |
Уровень сложности |
Выше среднего |
Время звучания |
3'45 |
Год создания |
2017 |
Жанр |
Классика/Транскрипция |
I will probably get disagreement when I say that the First Unaccompanied Cello Suite starts off more interestingly than it ends. But, that's my opinion and you are certainly entitled to yours. And, you may think it arrogant of me to state that I believe I have succeeded in making the ending movement more interesting than they are. I don't think I would undertake this project if I thought otherwise, but there it is. Menuets are dances, and dances are mating rituals. Mating is not a straight line from Point A to Point B, it is a curvy path with stops and starts, with dead ends, slow spot, not so slow ranges, and sad and triumphant endings or non-endings with everything in between. In this movement I contrast the Bach's spare composition with a simple pizzicato accompaniment in some spots, and full, thick harmonies in others. This is music to play, music to experiment with, music to share. When I listen to it, it touches both heart and mind, maybe it will for you as well. The ending may not be conclusive, but what dance is?
A word about difficulty, the first and second parts go up to that D just inside the top half of the A-string. The 3rd and 4th celli stay mainly in first position, however, the third cello will often carry the content that Bach wrote.
Suite No.1: Movement 6 – Gigue. Arrangement for four celli, Op.1
Название пользователя: Bach Unaccompanied Suite No.1: Movement 6: Gigue. Arranged for Four Celli, Op.1
Инструменты |
Виолончель |
Состав исполнителей |
Квартет |
Тип нот |
Партитура, Партии |
Тональность |
Соль мажор |
Части |
6 до 6 из 6 |
Аранжировщик |
Thomas Zebovitz |
Издатель |
Sound Post Creations |
Уровень сложности |
Выше среднего |
Время звучания |
2'15 |
Год создания |
2017 |
Жанр |
Классика/Транскрипция |
This is the last movement of the Bach Suite No. 1 arranged for Four Celli. With the release of this movement, I am also releasing the complete set at a discounted price. The Gigue is yet another dance, but different than the Menuets. Although it is characterized as a lively dance, I'm hearing a more sedate mood in the writing. The movement begins with doubling in the upper and lower voices. Harmonies are introduced from time to time, but, not until the last quarter of the piece do we bring in an over-arching theme. The skill level is not as challenging as the Menuet movements, it only reaches to the C above middle C in the first part. The melodic line transfers to cello 3 and the 4th part is the percussion section, keeping the beat, which is necessary for the bit of syncopation. Enjoy
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