Bach Cello Suites Horn Pdf

The Beethoven example is typical of much Classical and early Romantic fare. In this case, the winds are all doubled (2 flutes, 2 oboes, 2 clarinets and 2 bassoons), and there are two each horns and trumpets. There is no low brass. There is tympani. Strings are a standard 44322 configuration (4 first violin, 4 second violin, 3 viola, 2 cello, 2 bass). Sometimes strings are simply listed as "str," which means 44322 strings.

In the third example, we have a rather extreme use of the system. It is an orchestral work for piccolo, 2 flutes (1 of whom doubles on piccolo), 1 oboe, 2 clarinets plus an additional bass clarinet, 1 bassoon, 2 horns, 2 trumpets (plus an optional 2 cornets), 3 trombones, no tuba, percussion, tympani, 6 first violins, 6 second violins, 4 violas, 3 cellos, 2 double basses, Eb clarinet (as an additional chair, not doubled), 5 saxes (soprano, 2 alto, tenor & baritone) & a trombone soloist.

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As usual in a Baroque musical suite, after the prelude which begins each suite, all the other movements are based around baroque dance types;[1] the cello suites are structured in six movements each: prelude, allemande, courante, sarabande, two minuets or two bourrÃes or two gavottes, and a final gigue.[2] Gary S. Dalkin of MusicWeb International called Bach's cello suites "among the most profound of all classical music works"[3] and Wilfrid Mellers described them in 1980 as "Monophonic music wherein a man has created a dance of God".[1][4]

Recent research has suggested that the suites were not necessarily written for the familiar cello played between the legs (da gamba), but an instrument played rather like a violin, on the shoulder (da spalla). Variations in the terminology used to refer to musical instruments during this period have led to modern confusion, and the discussion continues about what instrument "Bach intended", and even whether he intended any instrument in particular. Sigiswald Kuijken and Ryo Terakado have both recorded the complete suites on this "new" instrument, known today as a violoncello or viola da spalla;[12] reproductions of the instrument have been made by luthier Dmitry Badiarov.[13]

Using the Bach edition prepared by cellist Johann Friedrich Dotzauer and published by Breitkopf & HÃrtel in 1826, Robert Schumann wrote arrangements with piano accompaniment for all six Bach cello suites.[16] Schumann's publisher accepted his arrangements of the Bach violin sonatas in 1854, but rejected his Bach cello-suite arrangements.[17] His only cello-suite arrangement surviving is the one for Suite No. 3, discovered in 1981 by musicologist Joachim Draheim in an 1863 transcription by cellist Julius Goltermann.[16][17] It is believed that Schumann's widow Clara Schumann, along with violinist Joseph Joachim, destroyed his Bach cello-arrangement manuscripts sometime after 1860, when Joachim declared them substandard.[16][17] Writing in 2011, Fanfare reviewer James A. Altena agreed with that critique, calling the surviving Bach-Schumann cello/piano arrangement "a musical duckbilled platypus, an extreme oddity of sustained interest only to 19th-century musicologists".[16]

The cello suites have been transcribed for numerous solo instruments, including the violin, viola, double bass, viola da gamba, mandolin, piano, marimba, classical guitar, recorder, flute, electric bass, horn, saxophone, clarinet, bassoon, trumpet, trombone, euphonium, tuba, ukulele, and charango. They have been transcribed and arranged for orchestra as well.

Scholars believe that Bach intended the works to be considered as a systematically conceived cycle, rather than an arbitrary series of pieces. Compared to Bach's other suite collections, the cello suites are the most consistent in order of their movements. In addition, to achieve a symmetrical design and go beyond the traditional layout, Bach inserted intermezzo or galanterie movements in the form of pairs between the sarabande and the gigue.

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