24 Preludes and Fugues, Volume 1

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.

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 BACH JOHANN SEBASTIAN. Bach's towering musical achievement was to present in its final shape, the 'fabric of polyhony' (Grove Dictionary). This is no more axiomatic than in his Preludes and Fugues for Organ. Regarded as the world's greatest composer for organ, Bach coupled mastery of the instrument with his genius for composition to produce some of the richest and most beautiful music of all time. This comprehensive volume - reproduced directly from the authoritave Bach-Gesellschaft edition - reprints 25 sets of preludes and fugues, i. e compositions written as fugues. Individual Preludes and Fugues composed over the years are not included./ Répertoire / Orgue

Edited in five volumes by Wm. A. Little. Three Preludes and Fugues Opus 37 Duets and other Preludes and Fugues.

Par CHOSTAKOVITCH DIMITRI. Shostakovich's 24 Preludes And Fugues from Opus 87. This is the second volume which contains numbers 13-24 of the Preludes And Fugues./ Répertoire / Piano

Bach, Johann Sebastian Organ Works, Volume 6 Preludes, Toccatas, Fantasias and Fugues II / Early Versions and Variants to I (Volume 5) and II (Volume 6) Editor Kilian, Dietrich / Wollny, Peter Johann Sebastian Bach: Complete Organ Works in revised editions Any complete scholarly critical edition of the works of Johann Sebastian Bach must incorporate new research findings in the interest of scholars and performers alike. Now all of Bärenreiter's new performing editions of Bach's organ works are being revised to reflect the current state of scholarship and to convey maximum fidelity to the sources by being linked to 'Bach digital'. The present volume is an updated edition of Series IV, Volume 6 of the 'New Bach Edition' (NBA), prepared by Dietrich Kilian in 1964. The discovery of new sources and a reassessment of existing handwritten copies have brought about changes to the contents of the volume, which now includes the 'Fantasia in C minor' (BWV 1121), the 'Fantasia in G major' (BWV 571), the 'Fugue in G major' (BWV 577) and the C major version of the 'Toccata and Fugue in E major' (BWV 566). On the other hand, the 'Prelude in G major' (BWV 568) as well as the alternative versions of the 'Fugue in C minor' (BWV 574a) and the 'Prelude in A major' (BWV 536a) have been discarded as presumably spurious. Besides the new compilation and corrections of the musical text, the volume also contains a detailed Foreword by Peter Wollny with observations on each work and the extant sources. Page turns have been re-examined and improved. In collaboration with the Bach Archive Leipzig and its 'Bach' digital database, links are provided to all the major sources. The website http://links.baerenreiter.com enables readers to access the relevant page in the source simply and conveniently via short URLs. The links stored there are examined for their validity on a regular basis. Contents: BWV 551, 563-566 (version in E major), 569-571, 573-575, 577-579 and 1121 / Early versions and variants to I (Vol. 5) and II (Vol. 6): BWV 532a, 533a, 535a, 543a, 545a, 549a, 566 (version in C major) and 574b ' New detailed Foreword (Ger/Eng) by Peter Wollny on the works and their sources ' New contents reflecting the current state of source evaluations ' Links to sources in 'Bach digital' ' Complete new engraving and revised page-turns · Composer / Author: Bach, Johann Sebastian Toccata in C BWV 564 · Composer / Author: Bach, Johann Sebastian Fantasia in C BWV 570 · Composer / Author: Bach, Johann Sebastian Fantasia in c BWV 1121 früher BWV Anh. 205 · Composer / Author: Bach, Johann Sebastian Fantasia in C BWV 573 Fragment · Composer / Author: Bach, Johann Sebastian Fuga in c BWV 574 über ein Thema von Giovanni Maria Bononcini · Composer / Author: Bach, Johann Sebastian Fuga in c BWV 575 · Composer / Author: Bach, Johann Sebastian Toccata con Fuga in d BWV 565 · Composer / Author: Bach, Johann Sebastian Toccata in E BWV 566 · Early Versions and Variants to I (Volume 5) and II (Volume 6): · Composer / Author: Bach, Johann Sebastian Praeludium con Fuga in C BWV 545a · Composer / Author: Bach, Johann Sebastian Toccata Fassung in C zu BWV 566 · Composer / Author: Bach, Johann Sebastian Fuga in c BWV 574b über ein Thema von Giovanni Maria Bononcini · Composer / Author: Bach, Johann Sebastian Fuga in D BWV 532a · Composer / Author: Bach, Johann Sebastian Praeludium ô Fantasia in d BWV 549a · Composer / Author: Bach, Johann Sebastian Praeludium in e BWV 533a · Composer / Author: Bach, Johann Sebastian Praeludium con Fuga in g BWV 535a · Composer / Author: Bach, Johann Sebastian Praeludium in a BWV 543a · Composer / Author: Bach, Johann Sebastian Fantasia in G BWV 571 · Composer / Author: Bach, Johann Sebastian Fuga in G BWV 577 · Composer / Author: Bach, Johann Sebastian Fuga in g BWV 578 · Composer / Author: Bach, Johann Sebastian Praeludium in a BWV 569 · Composer / Author: Bach, Johann Sebastian Praeludium con Fuga in a BWV 551 · Composer / Author: Bach, Johann Sebastian Fantasia in h BWV 563 · Composer / Author: Bach, Johann Sebastian Fuga in h BWV 579 über ein Thema von Arcangelo Corelli

Under the title of 'Kleinere Werke' [Small Works] the second volume of Organ works by Carl Philipp Emanuel Bach in the Wiener Urtext Edition contains all works written by the composer except for the multi-movement sonatas for Organ: preludes fugues trio chorale arrangements and pieces for musical clock. The fugues in particular prove that C. Ph. E. Bach was an attentive pupil of his father. The music theoretician Friedrich Wilhelm Marpurg appreciated these fugues so much that he included some of them as examples in his theoretical writings. The pieces for musical clock are a varied selection of pieces in the style galant which were originallywritten for mechanical instruments and which are best to be performed on the organ. Together with the Organ sonatas published in Vol. 1 this is probably the most comprehensive collection of works by Bach's second eldest son which can be performed on the Organ.

Fantasy and Fugue; 6 Preludes and Fugues:Eb(St. Anne or Trinity); d(Violin Fugue); g; C; a; e(Cathedral,Little or Night Watchman); 3 Toccatas and Fugues:F; d(Dorian); C /

Freie Orgelwerke - BuxWV 136-161. Par BUXTEHUDE DIETERICH. This edition is the result of Harald Vogel?s many years of practice as an organist and musicologist. The music text is based on a reevaluation of 17 th - and 18 th -century manuscripts containing the free organ and keyboard works by Buxtehude. They originated during a transitional phase between the traditional letter tablature and the staff notation still in use today. Since many works have survived only in transcriptions for staff notation, the editor was confronted with a high error rate, which he carefully analyzes in the ?Einzelanmerkungen?. During the preparation of the edition, the editor always kept sight of the performance practice, but still, the image of the sources is never distorted (e. g. by superfluous rests, beaming not conforming to the sources and the unhistorical adjustment of time signatures) and stays very close to the compositional notation, the letter tablature. The flexible use of three staves and the differentiated distribution of the voices on the staves allow for an approximation in reading conventions of historical notation with its resulting information about hand division. Grouping the free organ repertoire into works with obbligato pedal and works for manuals, this edition is organized in two volumes. The first subvolume (I/1, EB 9304) contains the Preface and the Preludes, whereas the second subvolume (I/2, EB 9305) contains Toccatas, Ostinato works, alternative versions and a comprehensive Critical Commentary (in German only). Volume II (EB 9306) contains Buxtehude?s free organ and keyboard works (manualiter) with the corresponding texts (Preface and Critical Commentary). Until 1971, Harald Vogel worked on a dissertation (with Georg von Dadelsen, Hamburg) on ?Die Fuge um Bach?. Besides the description of the ?inclusion? of triple measures into the C notation and the irregularities of the ?voice mutation? in the polyphonic structures, this also included a discussion about the justification of the ?inner textual criticism?. With the inner textual criticism, deviations in parallel passages are unified. The North German fugue style, reaching a peak in Buxtehude?s work, is characterized by a constant diversity of details in subject and polyphonic progressions. One of the ?indicators of the fantastic style? is the dissolution of the polyphonic structures at the ends of the fugues, evident in Buxtehude?s work. In this edition, a musical text is presented that avoids the uniformity of detail not conforming to the sources. However, there are many examples of transcription and cursory errors, which are analyzed in a methodical systematic manner. About the editor: As an organist, professor, organ expert, and scholar, Harald Vogel has rendered outstanding services to the interpretation of early music and especially to historical performance practice concerning the organ for decades. He has received numerous awards, including an ECHO Klassik as Instrumentalist of the Year (2012), honorary doctorates from Luleå University of Technology (Sweden, 2008) and Oberlin College (USA, 2014), as well as the Buxtehude Prize of the City of Lübeck (2018). Harald Vogel is the author and editor of numerous scholarly publications and editions. Through his lifelong performance practice, he can look back on an extensive discography, including the complete recording of Buxtehude?s organ works, which he recorded in various locations with historical organ instruments of the North German organ building tradition in Scandinavia, North Germany and the Netherlands. / Date parution : 2022-10-12/ Recueil / Orgue

Fantasy and Fugue (Great); 9 Preludes and Fugues:C (Weimar); G (Great); A; f; c (Great); C (Leipzig); a (Great); e (Wedge or Scissors); b (Great) /

Sonata for Piano N 5 /Three Romances Without Words op. 17 N 52 / Mazurka N 8 / Prelude [and Fugue] N 17 / Gavotte N 14 / Short Pieces op. 84 N 147 / Mazurka op. 32 N 75 / Five Impromptus. Par FAURE GABRIEL. Centering on the important series of the “Impromptus”, the collection of “Pièces brèves”, and the “Trois Romances sans paroles”, the present volume also gathers piano works by Gabriel Fauré that are either unpublished or little-known. It is of additional interest insofar as it draws attention to a series of pieces dating from his earliest creative period. The young composer’s progress can thus be followed, from his student work at the “École de musique classique et religieuse” to the earliest masterpieces for piano born between 1875 and 1880. These scores show Fauré’s ability to imitate styles of the past, crafting preludes and fugues, a sonata in the Viennese tradition, and character pieces deriving straight from Mendelssohn, Schumann, and Chopin. Through them, a musical personality emerges little by little: its signs are tenuous in the “Sonate”, in the early versions of the “Fugues”, and in the “Trois Romances”, but they are more in evidence in the “Mazurke”, the “Gavotte”, and the “Prélude” in E minor. Of his early compositions, Fauré, to be sure, retained only what is included in this volume, namely those pieces which he deemed most personal and suitable for publication. All of these compositions are remarkable for their individual flavour. Despite the diverse origin of its constituent parts the contrasted “Pièces brèves” collection is unjustly neglected, as it forms an ensemble of high quality, with a search for concision that anticipates the “Neuf Préludes”. Next to the “Nocturnes” and “Barcarolles”, the five “Impromptus”, vigorously crafted between 1881 and 1906, show a composer with ever increasing creative powers who crosses borders in the pursuit of his artistic ideas. Beside the first versions of the 3rd “Romance” and two “Pièces brèves”, the appendices to the present volume include the interesting piano solo version of the “Pavane” doubtlessly penned by the composer, as well as the cadenzas to piano concertos by Beethoven and Mozart which he wrote for his students and, later, for the pianist Marguerite Hasselmans. These cadenzas’ originality has aroused the interest of pianists again and again./ Recueil / Piano

Description J.S Bach: Well-Tempered Clavier For The Piano Book I Forty -Eight Preludes and Fugues for the Piano in two volumes. Songlist Forty-eight Preludes And Fugues Nos 1-24

Bach, Johann Sebastian Johann Sebastian Bach. The Well-Tempered Clavier I BWV 846-869 ?The ?Well-Tempered Clavier? is the Old Testament, Beethoven's sonatas the New.We must believe in both.? Hans von Bülow The preludes and fugues of ?The Well-Tempered Clavier? embrace an entire cosmos of compositional devices and musical characters ? the ?ne plus ultra? of ?unity through diversity?. 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. BÄRENREITER FACSIMILE The seal is used exclusively for facsimile editions published by Bärenreiter which meet the highest demands in both scholarly and technical terms. The distinguishing features include: ? A facsimile in high-quality colour printing ? Scholarly commentary ? Attractive cover design Edition no.: BVK 2368 ISBN: 9783761823682 Volume / Series: Documenta musicologica II/50 / Bärenreiter Facsimile Editor: Bach-Archiv Leipzig Language(s) of work: English, German Product format: Facsimile Binding: Half-leather binding Pages / Format: 90/28 S. - 36,7 x 23,0 cm

Edited by Baroque scholar Judith Schneider, with expert fingering suggestions by Stuttgart Professor Maria Sofianska, the long-awaited Volume II of Bach's essential masterpiece contains 30 pages of extensive research and insight into Baroque music. Painstakingly compared with the most important autograph and manuscript sources, this comprehensive edition includes thorough analysis of written and improvised ornamentation, a discussion of period keyboard instruments, insight into pedaling, touch, tempo and rhythm issues, as well as a discussion of preludes and fugues.