Partition complète, Fantasia et Fugue en C minor, C minor, Bach, Johann Sebastian

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Obtenez les partitions de la musique Fantasia et Fugue en C minor partition complète, fantaisies, par Bach, Johann Sebastian , BWV 562 ; BC. J41 (Fantasia), BC. J46 (Fugue) , C minor. La partition de musique baroque écrite pour les instruments suivants:
  • orgue (solo)

Cette partition compte 2 mouvements et est classifiée dans les genres pour orgue (arr), Fugues, pour 1 musicien, fantaisies, pour orgue, partitions pour orgue
Consultez encore tout un choix de musique pour orgue (solo) sur YouScribe, dans la catégorie Partitions de musique baroque.
Date composition: 1730 (Fantasia), 1740–45 (Fugue)
Edition: Zoltán Göncz
Publié le : mercredi 22 février 2012
Lecture(s) : 13
Licence : En savoir +
Paternité, pas d'utilisation commerciale
Nombre de pages : 10
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The second movement of the
Fantasia and Fugue in C minor
(BWV 562), which was composed in the
1747–48 (or earlier), survives in a fragmentary state. According to certain views the theme and its
countersubject did not possess enough melodic and contrapuntal potentials and therefore Bach abandoned
the composition altogether. Others suppose that the movement was originally a double fugue, the last
pages of which got lost. For that matter, the characteristic proportions of the surviving section also bear
evidence of this fact. The exposition of the fugue theme is already followed from bar 22 onwards by a
stretto; a similarly concise solution can be found at the beginning of the
Fugue in E flat major
(St Anna)
(BWV 552:2).
When I started complementing the fragment in 1990, it became evident that the work must originally have
been a double fugue. At the same time the piece was a “preliminary study” to an ever greater challenge,
the reconstruction of
The Art of Fugu
e. (The article “Reconstruction of the Final Contrapunctus of The
Art of Fugue” can be read in English in the
International Journal of Musicolog
y, vol. 5, 1996, pp. 25–93;
vol. 6) In the retrospective it seems to me that completing the
Fugue in C minor
was easier and more dif-
ficult at the same time. This fugue allows namely to proceed in several directions whereas the basic
scheme of
The Art of Fugue
is much more determined.
Because the fugue has remained unfinished, the fantasia is performed relatively seldom while the fugue
surviving as a torso never, however promising and grandiose it begins.
Zoltán Göncz
Budapest, July 17, 2003
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