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원본

Fantasie Und Fuge A-Moll, BWV 904. Johann Sebastian Bach. Saxophone sheet music.

번역

판타지와 푸가 마이너, BWV 904. 요한 제바스티안 바흐. 색소폰 악보.

원본

Fantasie Und Fuge A-Moll, BWV 904 composed by Johann Sebastian Bach. 1685-1750. Arranged by Olaf Muhlenhardt. Saxophone Quartet. For Saxophone Quartet. Full score and parts. Published by Advance Music. AV.7430. Bach probably composed Fantasia and Fugue around 1725 at the beginning of his Leipzig years. Hardly any of his keyboard works is so closely associated with his organ works. The remarks 'manualiter' in two of the surviving manuscripts suggest that it was also played on the organ. The character of the Fantasia is serious and grave. Even the interludes, despite their lighter texture, maintain an overall contemplative character. Its concerto form is strictly symmetrical. The main theme appears four times. in a-minor, e-minor, d-minor and finally a-minor. Three interludes often employ only three parts and effectively contrast the full harmony of the main theme. The four-part double fugue is an example of Bach's unique contrapuntal craftsmanship. He combines two notably contrasting themes. the first is diatonic, rhythmic and agile while the second consists of a descending chromatic line. It appears around the center of the movement after a short cadence cesura. Surprisingly, it is immediately presented in stretto form. At the end both themes are combined three times.

번역

요한 세바스찬 바흐가 작곡 판타지와 푸가 마이너, BWV 904. 1685년에서 1750년까지. 올라프 Muhlenhardt로 정렬. 색소폰 중주. 색소폰 중주를위한. 전체 점수 및 부품. 사전 음악에 의해 게시. AV.7430. Bach probably composed Fantasia and Fugue around 1725 at the beginning of his Leipzig years. Hardly any of his keyboard works is so closely associated with his organ works. The remarks 'manualiter' in two of the surviving manuscripts suggest that it was also played on the organ. The character of the Fantasia is serious and grave. Even the interludes, despite their lighter texture, maintain an overall contemplative character. 그것의 협주곡 형태는 엄격하게 대칭. The main theme appears four times. in a-minor, e-minor, d-minor and finally a-minor. Three interludes often employ only three parts and effectively contrast the full harmony of the main theme. The four-part double fugue is an example of Bach's unique contrapuntal craftsmanship. He combines two notably contrasting themes. the first is diatonic, rhythmic and agile while the second consists of a descending chromatic line. It appears around the center of the movement after a short cadence cesura. Surprisingly, it is immediately presented in stretto form. At the end both themes are combined three times.