Fugues en sol miné (French Edition)
Maybe she composed it [2] 1st movement of JSBs french Suite in c minor copied into the Notebook by Magdalena herself [3] This aria appears twice in the Notebook, this version in d minor without words and another in g minor with words.
en sol mineur translation English | French dictionary | Reverso
The latter was undoubtedly transposed within the range of Magdalenas voice, and she evidently sang it to please her husband [4] Same as Wie wohl ist mir, o Freund der Seelen Chorale in F major [5] Anonymous composer - Harmonized by JSB for Magdalena]. A text by Benjamin Schmolck without music appeard in a Dresden songbook dated [6] Melody by Joh.
Schop - Text by Joh. The 4-part version appears in a book of 4-part chorales written by JSB for his son Emannuel [7] The original melody is not likey JSBs, but he undoubtedly expanded it and added his own bass. Original key is fa minor. Minuet in g minor, BWV Anh. Polonesa in g minor, BWV Anh.
Choral in a minor, BWV Anh. Minuet in a minor, BWV Anh. Minuet in c minor, BWV Anh.
Polonesa in d minor, BWV Anh. Minuet in d minor, BWV Anh. Quality live by Carmen Ossorio? Minuetto in d minor. Sonatas [5], BWV Thanks to Matt Kleid. Bach ; BWV by Wh.
About Samples Piano Rolls. How to save How to play. Hammerschmidt Handel Hassler Haydn, F. Johann Sebastian Bach on Kunst der Fuge site: This is perhaps an appropriate point at which to summarize the fifteen bars of conclusion devised by me. I have supplied the following:.
About Luke Dahn
The success or failure of the attempt will be evident to the listener, and probably there are many who could complete the work in a more satisfactory manner than I have done. However, I would venture to say that any acceptable completion by anyone other than Bach himself would be virtually compelled to follow an outline similar to mine. Just as one would not want to subjoin further episodes to the fragment, which would tend to increase the importance of one's own contribution to the piece at the expense of Bach's, one should not end too perfunctorily--for example, by following the fragment with just enough material to get to a full cadence.
The latter course would call attention to the completing hand's inability and incompetence, which, again, would detract from the genuine portion by Bach.
Regarding my reuse of bars without alteration: I felt that, although it would have been nice to introduce some slight variation into the repetition, this desideratum was outweighed by the benefit of the reused music being from Bach's own hand. As Suessmayr's completion of Mozart's Requiem admittedly a more substantial piece than this one demonstrates, employing an earlier section to help conclude an unfinished piece is a respectable and effective procedure.
I hope the completion I have essayed, whether satisfactory or a spur to some abler hand to finish the fugue in a worthy manner, allows this piece to finally be heard in something closer to the form Bach intended. The fact that he followed his fantasia with this fugue shows that he intended the former to serve as a prelude to something, rather than being the free-floating work that its performance history has made it. And the boldness of the fugue, noted as early as Forkel , should earn it a reprieve from the obscurity of the complete works editions of Bach.
If my completion brings these facts to light, I will consider it successful. Norton, , p Kollmann , in Hans T. Dover Publications provides a helpful reprint of this work and other selected portions of the Bach- Gesellschaft's edition in J. Dover, BWV 's fantasy and fugue appear, joined together, on pp. A library search for a corresponding volume of the Neue Bach Ausgabe was unsuccessful; I can only assume that this is one of the volumes still in preparation in this new critical edition of Bach's works. These were both completed, Hutchings informs us, by Viennese theorist Simon Sechter "long after Mozart's death," and are printed with Sechter's completions in the old edition of complete works of Mozart done by Breitkopf and Hartel in the last quarter of the 19th century.
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Some of the completion work is rather questionable: Belknap Press of Harvard UP, , pp. Given the additional evidence I have obtained in the years since I wrote the above essay, I decided that it was better to leave that piece to speak for itself, rather than dismembering it and attempting a revision.
Instead, I will summarize the additional material I have since encountered here in order to provide an update. I wrote in of being "somewhat astonished that no one, to the best of my knowledge, has attempted a completion of the unfinished fugue. First, apparently, to the field was the Italian pianist and composer Ferruccio Busoni , who inserted an arrangement of Bach's Adagio in G BWV between an adaptation of the Fantasy and Busoni's own idiosyncratic completion of the fugue, entitling the result " Fantasie, Adagio, und Fuge.
Those wishing to hear it can find it in a fine performance by the pianist Andrea Padova on an album entitled " Busoni nach Bach, Piano Works " on the Stradivarius label, catalog number STR Jim Michmerhuizen called my attention to another completion of this fugue by Igor Kipnis , on a recording released on the Arabesque label, catalog number Z Though this was unavailable for purchase at the time he alerted me, through the kindness of Bill Palmer , son of the late Dr.
Palmer, I was able to borrow a copy of this Kipnis recording that had belonged to Dr. It has since become available again through retailers such as Amazon. On track 6 of the album, Igor Kipnis plays both the Fantasia and Fugue that comprise BWV ; to the incomplete fugue's break-off point, at bar 48, he joins a repeat of bars 3 through 32, concluding with one measure of his own to bring the piece to a close.
I was pleased to find that the Kipnis completion anticipated mine in seeing the need to repeat the opening measures, although I am left uneasy by what I feel is an awkward join between the break-off point and the recapitulated material. This is a matter of taste, of course, and although it is no longer possible to ask the deceased harpsichordist his rationale the CD's liner notes are by Dr.
Klaus Hofmann, not by Kipnis , and simply give the reason as "[ i ]n order to provide a more effective conclusion A third attempt at completing the fugue by the harpsichordist, conductor, and early music specialist Richard Egarr appeared on the Harmonia Mundi France release J. Bach Per cembalo solo… catalog number HMU By the way, Mr. Palmer and published in Palmer provides an impressive reproduction of his source for the edition, an autograph in the possession of the Bach Choir of Bethlehem, Pennsylvania bearing the title "Fantasia per il Cembalo di G.
Palmer a good deal of difficulty to locate this source material, for he said in a interview:. Well, I couldn't find it [the autograph] where the Schmeider Bach- Werke - Verzeichnis said it was located. I looked for years, and when I finally found it, much to my amazement it was on the wall of the Bethlehem Bach Choir in Bethlehem, Pennsylvania. I wrote to them and asked if I could use a facsimile. They gave me permission and sent me a beautiful photograph of the autograph.
I published the entire manuscript in my edition of the C Minor Fantasia. Margery Halford ," The Harpsichord, Vol. However, nowhere in the edition published by Dr. Palmer is there any mention of the incomplete fugue. Since he stated that he published the "entire manuscript" to which the Bethlehem Bach Choir had given him access, the obvious conclusion is that the Choir's two-page manuscript did not include anything but the Fantasia.
This conclusion is validated in the liner notes to the Kipnis CD, where Dr. Klaus Hofmann states that there are two autographs: Plainly the existence of two autographs was not known to Schmeider , the compiler of the standard catalog of Bach's works. Palmer, following Schmeider's information, located an autograph for this work on the wall of the Bethlehem Bach Choir, he naturally deduced that it was the one Schmeider meant and used it as the source on which to base his edition.
Although we now know it is not the sole autograph, the Choir's manuscript does provoke an intriguing reassessment of what I said in my essay regarding BWV However, the fact that the Choir's autograph contains only the Fantasia suggests that J. Bach himself considered performances of the Fantasia alone to be acceptable.