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Schumann's publisher accepted his arrangements of the Bach violin sonatas in 1854, but rejected his Bach cello-suite arrangements. [18] His only cello-suite arrangement surviving is the one for Suite No. 3, discovered in 1981 by musicologist Joachim Draheim in an 1863 transcription by cellist Julius Goltermann.
Prelude in C major, BWV 846/1. This is the first prelude from The Well-Tempered Clavier, Book 1, with bars 16–20 omitted, most likely in order to make the piece fit in two pages. Keyboard suite in D minor, BWV 812. This is the first French Suite. Keyboard suite in C minor, BWV 813. This is an incomplete version of the second French Suite.
BWV 1007 – Cello Suite No. 1 in G major; BWV 1008 – Cello Suite No. 2 in D minor; BWV 1009 – Cello Suite No. 3 in C major; BWV 1010 – Cello Suite No. 4 in E-flat major; BWV 1011 – Cello Suite No. 5 in C minor; BWV 1012 – Cello Suite No. 6 in D major
This is a recording by John Michel of J. S. Bach's Cello Suite 1 in G Prelude. It was suggested for nomination by Raul654, who handled the OTRS ticket for this and several other pieces performed by John Michel.
Toccata and Fugue in D minor and the Other Bach Transcriptions for Solo Piano Dover Publications, 1996, ISBN 0-486-29050-6 •Note: Includes the same items as Vol III of the BB6. However, the actual sources are other publications of the same pieces as noted below. 1) Prelude and Fugue in D Major, BWV 532 [from Breitkopf & Härtel, EB 3355]
The Prelude and Fugue in C major, BWV 846, is a keyboard composition written by Johann Sebastian Bach. It is the first prelude and fugue in the first book of The Well-Tempered Clavier, a series of 48 preludes and fugues by the composer. An early version of the prelude, BWV 846A, is found in the Klavierbüchlein für Wilhelm Friedemann Bach.
It was commissioned and premiered and recorded [1] by Julia Maclaine, a Canadian cellist, an assistant Principal Cello of the National Arts Centre Orchestra. [2] MacLaine found the inspiration for this project in a Juilliard recital by American cellist Bonnie Hampton [ 3 ] in which the Preludes from Bach ’s Solo Cello Suites were interspersed ...
This type of reduction has a long tradition, not only in counterpoint treatises or theory books, [34] but also in the simplified notation of some Baroque works, e.g. the Prelude to Händel's Suite in A major, HWV 426, or early versions of Bach's C major Prelude of Book I of the Well Tempered Keyboard. One indirect advantage of rhythmic ...