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原文

Overture. Suite. No. 2 in B Minor, BWV 1067. Johann Sebastian Bach.

翻訳

序曲. スイート. No. 2 in B Minor, BWV 1067. ヨハン·セバスチャン·バッハ.

原文

Overture. Suite. No. 2 in B Minor, BWV 1067 composed by Johann Sebastian Bach. 1685-1750. Arranged by Harry Newstone. For Orchestra. Study Score. Eulenburg Taschenpartituren. Pocket Scores. Study Score. 44 pages. Eulenburg Edition #ETP821. Published by Eulenburg Edition. HL.49010305. ISBN 379576842X. 5.25x7.5 inches. From early in the 17th century until the form engaged the interest of Johann Sebastian Bach, various notable German composers. including Rosenmüller, Fischer, Fasch and Telemann. had contributed to the development of the orchestral suite or 'Ouverture', which name betrays its French theatrical origins. From Bach himself only four such suites have come down to us due to the diligence of C.F.Penzel, who was a student at the Thomasschule from 1751, and who made copies of Bach's MSS he found there. Thus, neither the dates nor the order of composition of the suites can be established with any certainty. As to the present suite in B minor, recent criticism suggests that Bach's idiomatic flute writing in this popular suite would, even in 1737 or later, have been considered fashionably up-to-date even in Paris. It has also been suggested that the suite could have been written expressly for Pierre-Gabriel Buffardin, principal flautist of the Dresden Court Orchestra.

翻訳

序曲. スイート. No. 2 in B Minor, BWV 1067 composed by Johann Sebastian Bach. 1685-1750. ハリーニューストン編曲. オーケストラのための. 研究スコア. Eulenburg Taschenpartituren. ポケットスコア. 研究スコア. 44ページ. オイレンブルク版＃ETP821. オイレンブルク版が発行. HL.49010305. ISBN 379576842X. 5.25x7.5 inches. フォームは、ヨハン·セバスチャン·バッハ、さまざまな注目すべきドイツの作曲家の興味を従事し、17世紀の初頭からまで. ローゼンミュラー、フィッシャー、ファッシュやテレマンなど、. そのフランスの演劇起源を裏切る名前オーケストラスイートまたは「序曲」の発展に貢献した. バッハ自身からわずか4などのスイートは、1751年からThomasschuleの学生だったCFPenzelの勤勉さに先に降りてくると、彼はそこに見つけバッハのMSSのコピーを作った人きた. このように、日付やスイートの構成の順序のいずれにも確実に確立することができます. As to the present suite in B minor, recent criticism suggests that Bach's idiomatic flute writing in this popular suite would, even in 1737 or later, have been considered fashionably up-to-date even in Paris. It has also been suggested that the suite could have been written expressly for Pierre-Gabriel Buffardin, principal flautist of the Dresden Court Orchestra.