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원본

Overture. Suite. No. 2 in B Minor, BWV 1067. Johann Sebastian Bach.

번역

서장. 스위트 룸. No. 2 in B Minor, BWV 1067. 요한 제바스티안 바흐.

원본

Overture. Suite. No. 2 in B Minor, BWV 1067 composed by Johann Sebastian Bach. 1685-1750. Arranged by Harry Newstone. For Orchestra. Study Score. Eulenburg Taschenpartituren. Pocket Scores. Study Score. 44 pages. Eulenburg Edition #ETP821. Published by Eulenburg Edition. HL.49010305. ISBN 379576842X. 5.25x7.5 inches. From early in the 17th century until the form engaged the interest of Johann Sebastian Bach, various notable German composers. including Rosenmüller, Fischer, Fasch and Telemann. had contributed to the development of the orchestral suite or 'Ouverture', which name betrays its French theatrical origins. From Bach himself only four such suites have come down to us due to the diligence of C.F.Penzel, who was a student at the Thomasschule from 1751, and who made copies of Bach's MSS he found there. Thus, neither the dates nor the order of composition of the suites can be established with any certainty. As to the present suite in B minor, recent criticism suggests that Bach's idiomatic flute writing in this popular suite would, even in 1737 or later, have been considered fashionably up-to-date even in Paris. It has also been suggested that the suite could have been written expressly for Pierre-Gabriel Buffardin, principal flautist of the Dresden Court Orchestra.

번역

서장. 스위트 룸. No. 2 in B Minor, BWV 1067 composed by Johann Sebastian Bach. 1685년에서 1750년까지. 해리 Newstone로 정렬. 오케스트라를위한. 연구 점수. Eulenburg Taschenpartituren. 포켓 점수. 연구 점수. 44 페이지. Eulenburg 에디션 # ETP821. Eulenburg 판에 의해 게시. HL.49010305. ISBN 379576842X. 5.25x7.5 inches. 초기 17 세기에 양식이 요한 세바스찬 바흐, 여러 가지 주목할만한 독일어 작곡가의 관심을 종사 할 때까지의. Rosenmüller, 피셔, Fasch와 텔레만 등의. 의 프랑스어 연극의 기원을 배반 이름, 관현악을위한 모음곡 또는 '베르 튀르'의 발전에 기여했다. 바흐 자신에서 네 개의 스위트 룸 등으로 인해 1751에서 Thomasschule의 학생이었다 CFPenzel의 노력에 우리에게 와서, 그는이 발견 바흐의 MSS의 복사본을 만든 사람이. 따라서, 날짜도 스위트의 구성의 순서 어느 쪽을 정확히 설정할 수 있습니다. As to the present suite in B minor, recent criticism suggests that Bach's idiomatic flute writing in this popular suite would, even in 1737 or later, have been considered fashionably up-to-date even in Paris. It has also been suggested that the suite could have been written expressly for Pierre-Gabriel Buffardin, principal flautist of the Dresden Court Orchestra.