И.С. Бах, флейтовая партита ля минор - обсуждение
 

http://blf.ru/forum/showthread.php?t=2149

Что особенно интересно, в нотах практически нет указаний относительно того, какова данамика, темп, интонация. Все это должен импровизировать исполнитель:)) И сколько я не слушал исполнений партиты, все они совершенно разные.

Re: И.С. Бах - Partita in a minor
 

у меня в репертуаре отсюда "Bourree Anglaise", особенно обожаю 44-й такт :)

Re: И.С. Бах - Partita in a minor
 

Скажите,а у Вас есть эти ноты для альтовой блокфлейты?

Re: И.С. Бах - Partita in a minor
 

Думаю, что такие существуют (видел как Альдо Бова играет). Я играю на альте по апликатурам сопрано, потому альтовыми версиями особо не интересуюсь. Могу в сибе транспонировать Алеманду в диапазон альта.

Re: И.С. Бах - Partita in a minor
 

Если Вас не затруднит,то было бы ах как замечательно!
Интересует все,особенно сарабанда!
Спасибо!

Re: И.С. Бах - Partita in a minor
 

транспонировал алеманду. тональность Ре минор. Остальные части я в сибе не набирал и транспонировать оперативно не могу... Но можно ведь вручную карандашом сдвинуть все на кварту вверх:)) Хотя стоит поискать альтовый вариант.... Приятных вам минут игры.

Re: И.С. Бах - Partita in a minor
 

Спасибо!

Re: И.С. Бах - Partita in a minor
 

По-моему, не надо ничего транспонировать или (сильно) переделывать, а надо искать способы сыграть поближе к тексту.
Последние восемь нот аллеманды на моей германской блокфлейте вполне удаётся сыграть вот так:

ми2: / 123 45--
ля2: / 12- ---- (X)
до3: / 123 45-- X
ми3: / 123 45/- X
ля2: / 12- ---- X
до3: / 123 45-- X
ми3: / 123 45/- X
ля3: / 1-3 -5--

Коленка ставится в процессе извлечения "ля2" и снимается перед финальной "ля3", которую надо играть стаккато - звук резкий, но для эффектного завершения сгодится.
Ну и чуть замедляться на этом пассаже - опять же, для концовки уместно.

Re: И.С. Бах - Partita in a minor
 

Совнршенно согласен, при случае исправлю, сам уже давно последние такты играю как в тексте))), но вот начало как-то не очень с коленкой, а вот в конце можно замедление сделать))) и зубы сохранить))))

Re: И.С. Бах, флейтовая партита ля минор - обсуждение
 

Описание партиты на All Music Guide:


As is the case with so many of J.S. Bach's chamber works, we know virtually nothing about the circumstances in which the Partita in A minor for unaccompanied flute, BWV 1013 was composed. It was probably written sometime during the early 1720s, during the last few years of Bach's tenure as kapellmeister at Cothen (a job that gave him ample freedom to explore secular chamber music), and at any rate could not have been composed before leaving Weimar in 1717.

Bach's other works for unaccompanied instruments (other than keyboard and lute) - the Suites for solo cello, BWV 1007-1012 and the Sonatas and Partitas for solo violin, BWV 1001-1006 - were all informed to one degree or another by his own skill as a string instrument performer (this is not to say that he was necessarily accomplished enough to perform them adequately; indeed, evidence indicates that he was not, and perhaps never tried). With the flute Partita, however, Bach was left almost entirely to his own ingenuity, as neither tradition nor personal familiarity could come into much play during the creation of so unlikely a work.

It is a dance-suite proper in which each of the four most common species of the day - allemande, courante, sarabande, and bourree - makes an appearance, and in which the same remarkable blend of actual tones and implied counterpoint that fuels the violin and cello works is found to be the driving force; it is music of uncommon charm and high Baroque grace.

Lengthiest of the Partita's four movements is the opening allemande, whose running sixteenth-notes outline a broad binary design. As with those movements from the solo violin and cello works that are exclusively melodic (meaning only that no multiple-stopping of the strings is called for) - such as the "Allemanda" from the D minor violin Partita, very similar in plan to this flute allemande - there are frequent leaps from one register to another as Bach engages to make melodically plain the implied harmonic voices (bass, treble, etc.) around which the music is written. In each half, the approach to the cadence is made via some juicy, chromatically descending miniature arpeggios.

The courante movement (or, to follow Bach's title more exactly, Corrente), following the Allemande as tradition demands, is of the livelier Italian-derived variety, relatively quick-tempoed and in simple triple meter. Also true to tradition are the assymetrical dimensions of the movement's two "halves": twenty-two bars, forty-one bars. Truly striking is the unexpected high D sharp that the flute hollers out near the end of the first half, by leap no less, and then leaves without ever resolving in the same register, forcing us to be content with an E natural an octave lower.

After an aristocratic sarabande of ingenious rhythmic flexibility, Bach concludes the Partita with a Bourree Anglais - then in vogue throughout Europe, to judge from the many appearances of this particular subspecies of the bourree that pop up in the music of Bach, Handel, and others. Probably the most immediately arresting of the four movements (the others are slower to give up their treasures, not less rich), it is built around the bourree's typical "backwards" short-short-long rhythm, set up in this case as the counterbalance for more florid running sixteenth-note passages and, as we approach the final cadence to A, some remarkably staid chromatic eighth notes.

Blair Johnston