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Sechs Sonaten für Violine und Tasteninstrument, BWV 1014-1019
 Klassische Musik/Sonate • Alternativer Titel: Sechs Sonaten für Violine und Cembalo
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Partitur, Solostimme
Titel nach Uploader: Sechs Sonaten für Violine und Cembalo (oder Klavier), BWV 1014-1019
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 |
Solostimme
Titel nach Uploader: Sechs Sonaten für Violine (oder Bratsche) und Tasteninstrument – Bratschenstimme, BWV 1014-1019
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 |
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
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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