Un style qui repose sur le contrepoint, ou l'interaction de deux ou plusieurs motifs, la fugue a captivé les auditeurs pendant des siècles.Cette collection originale propose une grande variété de pièces de grande époque de la fugue à l'époque baroque ainsi que d'autres époques, chacune créé par un maître du genre. Avec des oeuvres de Bach, Buxtehude, Brahms, Schumann et d'autres, tous ensemble ici pour orgue solo. / Orgue

An extensive volume filled with fugues from the last 350 years! Beginning with works by Frescobaldi Scarlatti Giambattista and Handel this collection features several compositions by the fugue's most famous expositor Johann Sebastian Bach including many pieces from the Well-Tempered Clavier. Contributions from latter-day composers include works by Mozart Beethoven Mendelssohn Robert and Clara Schumann Brahms and Saint-Saëns.

Compositeur de l'époque baroque, Johann Sebastian Bach a été un acteur majeur et influent dans le développement de la musique occidentale. Il a inspiré les plus grands. C'est ainsi que vous retrouverez tout son génie à travers cette partition Fantasies, Preludes and Fugues qui a été écrite pourPiano. Les éditions Henle qui ont éditées cette oeuvre l'ont répertoriée sour la référence 220. / Piano / Chanson En Séparée

Bach: Complete Organ Works Vol. 1 Preludes and Fugues I - with CD-ROM - ed. by David Schulenberg As close as possible to Bach In his ?Preludes and Fugues,? Johann Sebastian Bach made decisive contributions to the development of this genre tradition. The importance of this work group in his own organ oeuvre is confirmed by the many transmitted sources: hardly any autographs, but all the more copies. The genesis of the works and the question of versions associated with it are described at length in the introduction. In his new edition, editor David Schulenberg occasionally makes a new evaluation of the transmitted sources. To do so, he based himself as faithfully as possible on the manuscripts that can be traced back to Bach or to his circle. Here the American Bach expert generally chooses one source as his principal one. Divergences from other sources are documented in the Commentary. On the whole, the new Urtext edition sometimes also emends some long-cherished readings of ornaments, voice leading and notation. Also printed in Volume 1 is, for example, the early version of the C major Prelude BWV 545 as well as the inserted Trio movement of the three-movement version of this work. As with the previously published volumes, the CD-ROM enclosed in Volumes 1 and 2 contains dubious works and secondary versions for comparison with the principal versions. This time, the CD-ROMs are completely in German and English and feature the English version of the Commentary.

Par SAINT-SAENS CAMILLE. “The Etudes op. 52 and op. 111 are little masterpieces of invention. On every page you encounter ingenious inventions for piano technique and sound.” (Isidore Philipp) What Isidore Philipp described in “Musica” in 1907 is still true today: indeed, the etudes of Saint-Saens offer a panopticon of French piano technique as complex as it is dazzling. Individual etudes, such as the “Prélude No. 1” and “En forme de valse No. 6” from the “Etudes op. 52” or the “Toccata No. 6” and “Les Cloches de Las Palmas No. 4” are included in recitals time and again - they belong to the standard repertoire of piano students, at least in France. Even the “Etudes for the left hand op. 135” and the '“Fugues op. 161” are full of poetic surprises with their self-imposed limitations. The editor has written a detailed Introduction to these enchanting discoveries in this definitive volume. In addition to information on the history of the genre and its genesis, the Introduction provides biographical details about the dedicatees, insights on the contemporary reception of the works and notes on interpretation./ Recueil / Piano

Wide selection of fine pieces, many difficult to find elsewhere. Included are harpsichord toccatas, Capriccio on the Departure of His Most Beloved Brother, Aria Variata 'alla Maniera Italiana' and the 6 Little Preludes, as well as many lesser-known compositions ? over 40 in all. Content :
Toccata in F-sharp Minor, BWV 910
Toccata in C Minor, BWV 911
Toccata in D Major, BWV 912
Toccata in D Minor, BWV 913
Toccata in E Minor, BWV 914
Toccata in G Minor, BWV 915
Toccata in G Major, BWV 916
Prelude and Fugue in A Minor, BWV 895
Fugue n A Major, from Prelude and Fugue, BWV 896
Fugue in A Minor, BWV 897 (doubtful)
Prelude and Fughetta in D Minor, BWV 899 (doubtful)
Prelude and Fughetta in E Minor, BWV 900
Fantasia and Fugue in D Minor, BWV 905 (doubtful)
Fantasia and Fughetta in B-flat Major, BWV 907 (doubtful)
Fantasia and Fughetta in D Major, BWV 908 (doubtful)
Concerto and Fugue in C Minor, BWV 909 (doubtful)
Fantasia in G Minor, BWV 920 (doubtful)
Fantasisa in C Minor, BWV Anh. 86 (incomplete)
Prelude (Fantasia) in C Minor, BWV 921 (doubtful)
Prelude in B Minor, BWV 923 (doubtful)
Seven Little Preludes, BWV 924-930 (from the Clarvier-Büchlein vor Wilhelm Friedemann Bach)
Six Little Preludes, BWV 933-938
Five Preludes, BWV 939-943
Fugue in A Minor, BWV 944
Fugue in A Major, BWV 949 (doubtful)
Fugue in B Minor on a Theme by Albinoni, BWV 951
Fugue in C Major, BWV 952 (doubtful)
Fugue in C Major, BWV 953 (from the Clavier-Büchelein vor Wilhelm Friedemann Bach)
Fugue in B-flat Major, BWV 954 (arr. from J. A. Reincken's Hortus musicus)
Fugue in B-flat Major, BWV 955 (arr.of an organ fugue by J. C. Erselius)
Fugue in E Minor, BWV 956 (doubtful)
Fugue in G Major, BWV 957 (doubtful)
Fugue in A Minor, BWV 958
Fugue in A Minor, BWV 959
Fughetta in C Minor, BWV 961 (doubtful)
Prelude, Fugue and Allegro in E-flat Major, BWV 998 (for lute or keyboard)
Suite in A Minor, BWV 818
Suite in E-flat Major, BWV 819
Ouverture in F Major, BWV 820
Suite in B-flat Major, BWV 821
Suite in F Minor, BWV 823 (incomplete)
Partie in A Major, BWV 832
Partita in C Minor, BWV 997 (for lute or keyboard)
Partita in E Major, BWV 1006a (for lute or keyboard. arr. Of Violin Partita No. 3, BWV 1006)
Sonata in D Major, BWV 963
Sonata in D Minor, BWV 964 (arr. Of Violin Sonata No. 2, BWV 1003. doubtful)
Sonata in A Minor, BWV 965 (arr. from Reincken's Hortus musicus)
Sonata in C Major, BWV 966 (arr. from Violin Reinchken's Hortus musicus)
Adagio in G Major, BWV 968 (arr. from Violin Sonata No. 3, BWV 1005. doubtful)
Three Minuets, BWV 841-843 (from the Clavier-Büchlein vor Wilhelm Friedemann Bach)
Aria variata alla maniera italiana [Air varied in the Italian manner], BWV 989
Capriccio sopra la lontananza del suo fratello dilettissimo [Capriccio on the departure of his most beloved brother], BWV
Capriccio in E Major, BWV 993

Contents: Johann Georg Albrechtsberger: Orgelfuge (arr. J.K. Mertz)/ Mauro Giuliani: Fughetta Op. 113/ Anton Diabelli: Deux Fugues Op. 46/ Napoléon Coste: Fugue (from Op. 21)/ Robert Schumann: Fugue (from Op. 68, arr. F. Tárrega); Fugueta (from Op. 126, arr. F. Tárrega)

Compositeur de l'époque baroque, Johann Sebastian Bach a été un acteur majeur et influent dans le développement de la musique occidentale. Il a inspiré les plus grands. C'est ainsi que vous retrouverez tout son génie à travers cette partition Chromatic Fantasy and Fugue d minor BWV 903 and 903a qui a été écrite pourPiano. Les éditions Henle qui ont éditées cette oeuvre l'ont répertoriée sour la référence 1163. / Piano / Chanson En Séparée

Styles Pop et contrapuntique n'ont jamais eu tellement de plaisir ensemble! Basé sur la chanson à succès 'Bad Romance' rendu populaire par le artiste pop Lady Gaga, cet arrangement duo irrésistible est conçu dans le style d'une fugue à trois voix. Les voix sont soigneusement répartis entre le primo et pièces Secondo, le rendant facilement accessible pour les étudiants de niveau intermédiaire. / 2 Pianos / 12 pages / niveau : Intermédiaire / Partition

Bach: The Art Of Fugue And A Companion To The Art Of Fugue features sheet music for the complete score of J. S. Bach's Die Kunst der Fuge (The Art of Fugue) in this editionprepared by Donald Francis Tovey. Originally published by Oxford University Press in 1931 Tovey's edition presents the fourteen fugues plus the four canons in open score allowing readers to follow eachindividual voice. Furthermore Tovey completed the unfinished final fugue reintroducing the principal theme of the work's opening fugue to create a quadruple fugue.In addition to the complete score this editionfeatures Tovey's extended commentary on each of the fugues. Entitled A Companion to 'The Art of Fugue ' Tovey's commentary was originally published separately from the score; this editionincludes the commentary within the same volume as the music. The commentary outlines the contrapuntal devices employed in each of the fugues as well as keen observations on J. S. Bach's technicalcraftsmanship.In addition Tovey offers insights into the performance of these fugues and suggestions for their programming.Pianists organists and all lovers of chamber and Baroque music will appreciatethis inexpensive single-volume edition of one of Bach's finest works and a classic commentary.

Done with great taste, in a perfectly simple and straightforward manner, Liszt's piano transcriptions of Bach's organ music became the classic models for all future works in this genre. Includes 6 Organ Preludes and Fugues (BWV 543-548) and the world-famous Fantasia and Fugue in G minor (BWV 542).

Par MARCHETTINI PAOLO. I always considered the fugue the most perfect and pure of all musical forms. The possibility to build an entire piece of music from only one main idea represented an intriguing challenge for composers from different times. With this work, which I consider as a whole, I wanted to pay homage to this old, and beloved, form. I tried to infuse it with my personal view, hoping to give a contemporary feeling, still respecting the traditional tonal sense of the keys. Each fugue is preceded by a prelude which is sometimes connected thematically. Following the greatest baroque model, Johann Sebastian Bach, I avoided giving metronome and dynamic indications for the fugues. However, for the preludes I provided tempo and a few dynamic indications, only when I felt it was necessary. Note on performance: if the preludes and fugues are performed individually, they should be under the title: Prelude and Fugue I; Prelude and Fugue II, etc. It is also possible to indicate the key of each piece./ Répertoire / Piano

Facsimile of the autograph manuscript in the Staatsbibliothek zu Berlin - Preussischer KulturbesitzWith a Commentary by Christoph Wolff and Martina Rebmann Documenta musicologica II/5090 pages of facsimile and 28 pages of Commentary (Eng/Ger). The preludes and fugues of The Well-Tempered Clavier embrace an entire cosmos of compositional devices and musical characters. Here Bach not only presented the sum total of keyboard artistry in his day but foresaw its future evolution. His treatment of the keys marked a turning point in music history.The autograph score, originally a fair copy, contains later revisions and alterations reflecting the composer at work. This new facsimile edition presents the manuscript in high-quality four-colour reproduction. Bach authority Christoph Wolff provides a Commentary to the work's genesis and the characteristics of Bach's handwriting. Martina Rebmann (Staatsbibliothek zu Berlin) describes the subsequent history of the autograph. / Fac-similé

Par CHOSTAKOVITCH DIMITRI. Just back from a trip to Leipzig in the early autumn of 1950 where he heard Bach's Well-Tempered Klavier at the Bicentennial Bach Competition played by the Russian pianist Tatiana Nikolaeva, Shostakovich began his own series of 24 Preludes and Fugues, Op. 87, based on Bach's model. He composed them quickly, starting on October 10, 1950, and finishing on February 23, 1951. While his work would pay homage to Bach, Shostakovich's work would have several fundamental differences. First, the order of the individual pieces would be organized around the circle of fifths with a prelude and fugue in the relative minor following each major key piece rather than in ascending semi-tonalorder of Bach's work. Second, Shostakovich's pieces would be composed in order — that is, C major - A minor followed by G major - E minor followed by D major - B minor — and, more significantly, this order would have a sort of subliminal narrative sub-text, taking the music from the 'innocent' tonal world of the C major Prelude and Fugue to the profound and sublime severity of the concluding D minor Prelude and Fugue. Finally, Shostakovich's work, although conservative in its counterpoint and harmony — that is, there are no examples of invertible or reversible themes or counterpoint and the pieces are for the most part recognizably tonal in language — is still clearly the work of a modernist composer; his counterpoint and harmony may be conservative but the emotional and spiritual worlds of the preludes and fugues is at once sincere and ironic. The result is a work which can not only stand comparison with Bach's Well-Tempered Klavier, it is both Shostakovich's masterpiece for the piano and one of the contrapuntal masterpieces of the twentieth century./ Répertoire / Piano

Poul Ruders' Star Prelude And Love Fugue is a work for Piano solo dating from 1990. Programme note Star Prelude and Love Fugue is the fruit of “a wonderful stay in Tokyo in March 1988” (the composer’s words). The two pieces were composed in February 1990 and they are dedicated to Japanese pianist Aki Takahashi who gave the premiere performance at the Lerchenborg Musikdage on 3 August 1990. The prelude is a fantasia on the prelude of Act Two of Poul Ruders’ opera Tycho (1986) about Danish astronomer Tycho Brahe (which should explain the title). The theme of the  Love Fugueistaken from the opening bars of another earlier Ruders’ work namely the a cappella motet Charitas Nunquam Excidit (which is Latin for “love never ceases”). The following fugue is purged of the genre’s traditional gravitas as is already signalled by the expression mark 'Swinging'. Its initial eleven bars quote the motet but there after everything is newly composed. Per Erland Rasmussen 2001