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Sechs Sonaten für Violine und Tasteninstrument, BWV 1014-1019

Klassische Musik/Sonate • Alternativer Titel: Sechs Sonaten für Violine und Cembalo
 
 
   
 

Partitur, Solostimme

Titel nach Uploader: Sechs Sonaten für Violine und Cembalo (oder Klavier), BWV 1014-1019


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PDF, 9.77 Mb ID: SM-000039575 Datum des Uploads: 06 Okt 2010
Instrumentierung
Klavier, Cembalo, Geige
Partitur für
Solo, Klavierbegleitung
Art der Partitur
Partitur für zwei Interpreten, Solo Stimme
Satz, Nr.
1 bis 6 von 6
Schwierigkeitsgrad
Fortgeschritten
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Solostimme

Titel nach Uploader: Sechs Sonaten für Violine (oder Bratsche) und Tasteninstrument – Bratschenstimme, BWV 1014-1019


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PDF, 2.08 Mb ID: SM-000081362 Datum des Uploads: 09 Nov 2011
Instrumentierung
Bratsche
Partitur für
Duo
Art der Partitur
Partitur für zwei Interpreten
Arrangeur
Friedrich Hermann
Verleger
Breitkopf und Härtel
Schwierigkeitsgrad
Fortgeschritten
Genre
Klassische Musik/Arrangement
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Arrangement for soprano saxophone and keyboard

Titel nach Uploader: J. S. Bach: Six Sonatas, arranged for soprano saxophone and keyboard by Paul Wehage, BWV 1014-1019


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Verkäufer Musik Fabrik
PDF, 4.54 Mb ID: SM-000294267 Datum des Uploads: 14 Aug 2017
Instrumentierung
Klavier, Sopransaxophone
Partitur für
Solo, Klavierbegleitung
Art der Partitur
Partitur für zwei Interpreten, Solo Stimme
Satz, Nr.
1 bis 20 von 20
Arrangeur
Paul Wehage
Verleger
Musik Fabrik
Schwierigkeitsgrad
Fortgeschritten
Länge
75'0
Jahr der Komposition
1720
n 1720 J. S. Bach was in the service of Prince Leopold of Anhalt-Cöthen, serving as his Kapellmeister. Since the court of Anhalt-Cöthen was Calvinist, Church music was limited to congregational psalms and hymns. Bach’s work during this period consisted of writing chamber music for the Prince, who was an accomplished violinist, gambist and harpsichordist. Other works from this period include the Cello Suites, the viola da gamba sonatas, the Flute sonatas and the partita for solo flute and the Orchestral Suites.

The first five sonatas are in the four movement “Church Sonata” style. The first five sonatas all share the same principal of Slow-Fast-Slow-Fast with a generally unified three-voice “Trio Sonata” texture. Passages which include double stops have been arranged as grace notes, which should be performed rapidly, but with a sensitivity to creating the necessary resonance which suggest implied chords. 

The Sonata number 6 which is in a five movement form, including a central movement for Solo Keyboard. The first five sonatas all share the same principal of Slow-Fast-Slow-Fast with a generally unified three-voice “Trio Sonata” texture. Passages which include double stops have been arranged as grace notes, which should be performed rapidly, but with a sensitivity to creating the necessary resonance which suggest implied chords.
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