Description: These six flute sonatas of J.S. Bach fall into two groups of three. In this Book One (Nos. 1-3), the composer provided a concertante keyboard part, where the right hand is as musically important as the flute and bass lines, apart from the occasional passage when he reverts to a figured bass. This volume, edited by William Bennett, includes the solo flute part as a separate insert.
Description: The six Flute Sonatas of J.S. Bach fall into two groups of three. In Nos. 1-3 the composer provided a concertante keyboard part, where the right hand is as musically important as the flute and bass lines, apart from the occasional passage when he reverts to a figured bass. Nos. 4-6, however, adopt the four-movement pattern favored, for instance, by Telemann. This edition is has been edited and realised by William Bennett. The solo flute part is also included on a separate insert.
Description: Bach probably composed his six violin sonatas between 1717 and 1723, during his tenure as court Kapellmeister in Köthen. Apparently he was no longer content with adding the solo part to a bass-line, so wrote the harpsichord part out in full instead. As for compositional technique, his model here was the Baroque trio sonata; but the path to the duo sonata in the modern sense, however, is already traced out. The sonatas were not published until 50 years after Bach's demise. The transmission of the individual sonatas is sometimes problematic, especially since little autograph material has survived. In the Appendix to this Urtext volume, we have reproduced various versions of different pieces.
Description: The most important source for Bach's Cello Suites is a copy made by his wife Anna Magdalena because the autograph is no longer extant. As further copies show, the actual musical text is scarcely problematic. However, the slurs, which are particularly important for string instruments, are very inexact and compel the editor to make difficult decisions. Our practical edition, HN 666, is in two parts. It not only offers the Urtext edition – with preface and critical commentary – but also a part for playing. The new study edition contains the Urtext part, but in addition offers a reproduction of Anna Magdalena's copy. This means that both cellists and music lovers alike are able to form their own opinion about the much discussed problems. Contents: Suite G Major BWV 1007 • Suite D minor BWV 1008 • Suite C Major BWV 1009 • Suite E flat Major BWV 1010 • Suite (Skordatur) C minor BWV 1011 • Suite D Major BWV 1012 • Appendix: 5th Suite in pitch notation c minor BWV 1011.
Description: The most important source for Bach's Cello Suites is a copy made by his wife Anna Magdalena because the autograph is no longer extant. As further copies show, the actual musical text is scarcely problematic. However, the slurs, which are particularly important for string instruments, are very inexact and compel the editor to make difficult decisions. Our practical edition, HN 666, is in two parts. It not only offers the Urtext edition – with preface and critical commentary – but also a part for playing. The new study edition contains the Urtext part, but in addition offers a reproduction of Anna Magdalena's copy. This means that both cellists and music lovers alike are able to form their own opinion about the much discussed problems.
Description: Composed by J.S. Bach originally for flute and piano, this edition of 6th Sonata was arranged for alto saxophone in E flat and piano by Marcel Mule. Its difficulty would fit the skills and abilities of intermediate players. In terms of composition, this piece was created in four different sections: Adagio ma non tanto, Allegro, Siciliano and Allegro.
Marcel Mule (1901-2001) is one of the greatest French saxophonists, renowned worldwide for his work on the classical saxophone repertoire. He was teaching his students how to obtain a good quality of sound and believed it was dependent on the embouchure, the emission, the mastery of vibrato and thus of breathing. He wrote different methods that focus on technique, articulation and tone productions such as Scale and Arpeggios (in three books), Daily Exercises After Terschack or 30 Great Exercises or Studies After Soussmann (in two books), among others.
Description: In the early 1700s, Bach's chorales enchanted listeners with their inventive harmonies, chromaticism, contrapuntal motion, and changes of tonal center. Since that time, music students the world over have studied the chorales as a paragon of “common practice” harmony and voice leading. And by virtue of their sublime beauty, musicians continue to perform the chorales to this day. The four-part texture of the chorales can make their performance on guitar – with its fingering limitations – somewhat problematic. But by sometimes thinning the texture to three or two parts, and sometimes inverting the lower parts (allowing the alto or tenor to temporarily serve as the bass), we've created easy-to-play classical guitar solos that capture all the interest and beauty of Bach's original compostitions. The book also includes recordings of every piece. The audio is accessed online using the unique code inside each book and can be streamed or downloaded. The audio files include PLAYBACK+, a multi-functional audio player that allows you to slow down audio without changing pitch, set loop points, change keys, and pan left or right.
Description: Contents: Prelude And Fugue In C Major, BWV 553 • Prelude And Fugue In D Minor, BWV 554 • Prelude And Fugue In E Minor, BWV 555 • Prelude And Fugue In F Major, BWV 556 • Prelude And Fugue In G Major, BWV 557 • Prelude And Fugue In G Minor, BWV 558 • Prelude And Fugue In A Minor, BWV 559 • Prelude And Fugue In B-Flat Major, BWV 560
Description: Respected scholar Peter Aston has created the definitive edition for the Christmas Cantata (BWV 142) long attributed to Bach. Returning to the original source manuscripts, Dr. Aston has not only provided a new English translation, but detailed notes that will appeal to any musician.
Description: This arrangement of a splendid Bach chorus first used in the secular Cantata 207 is perhaps better known in its later version from Cantata 207a, Auf, schmetternde Töne der muntern Trompeten (“Come, resounding tones of merry trumpets”). Much of the music for this cantata is celebratory and lushly scored for a large orchestra including trumpets, oboes d'amore and flutes, making it an ideal vehicle for concert band.
Description: This arrangement of a splendid Bach chorus first used in the secular Cantata 207 is perhaps better known in its later version from Cantata 207a, Auf, schmetternde Töne der muntern Trompeten (“Come, resounding tones of merry trumpets”). Much of the music for this cantata is celebratory and lushly scored for a large orchestra including trumpets, oboes d'amore and flutes, making it an ideal vehicle for concert band.
Description: Jean Guillou did not change a single note for this arrangement. He just distributed the different parts to the manuals and the pedal in a way that guarantees a clear and varied registration in harmony with the architecture of the work and the fingerings and pedallings of difficult passages. The registration only serves as a suggestion, since the ways of using the instruments are as varied as the tastes and views of the artists.
Description: Bach's famous instrumental arioso is set here with a simple Latin text. The expressive piano accompaniment can be used alone or with the optional string parts, richly enhancing this choral work. A beautiful way to introduce your singers to important works of the master composers.
