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  4. Clavierubung. Part II. Italian Concerto BWV 971. Overture in the French Style BWV 831.Edited and with a preface and commentaries by Tatiana Shabalina

Clavierubung. Part II. Italian Concerto BWV 971. Overture in the French Style BWV 831.Edited and with a preface and commentaries by Tatiana Shabalina

Бах И. С. Clavierubung. Часть II. Итальянский концерт BWV 971. Увертюра во французском стиле BWV 831. Уртекст. Подготовка уртекста, вступительная статья и комментарии Т. Шабалиной
Clavierubung. Part II. Italian Concerto BWV 971. Overture in the French Style BWV 831.Edited and with a preface and commentaries by Tatiana Shabalina
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9785737902872
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It is well known that J.S. Bach wrote his clavier Concertos as a transcription of the Concertos by the Italian masters of violin. But the Concerto, named Italian (1735) with its two lively F major outer movements, in ritornello style, frame a florid arioso-style movement in D minor, the relative minor is an original work that uses the principle of the Italian concertos of the time.
An Italian style concerto relies upon the contrasting roles of different groups of instruments in an ensemble; Bach imitates this effect by creating contrasts using the forte and piano manuals of a two-manual harpsichord throughout the piece. In fact, along with the French Overture and some of the Goldberg Variations, this is one of the few works by Bach which specifically require a 2-manual harpsichord.
This edition is based on research conducted on original copies of the first editions of this work, that are stored in archives in Great Britain, Austria and Germany. Some of the copies contain remarks, coments and corrections made by J.S. Bach himself (in one case – more than a hundred). All performing instructions are given in the precise accordance with the lifetime print and handwritten remarks. It is the first edition in Russia that can claim such depths of analysis.
The complexity level corresponds to music colleges, conservatoires, concert performers.
Gift edition.
The present Urtext is prepared and researched by the prominent musicologist Tatiana Shebalina, PhD, professor of St –Petersburg conservatoire. She is also the author of the introductory article and comments.
Tatiana Shebalina belongs to the musicologists’ elite of Bach researchers. She is a member of Bach Society (Germany) George Bell International Institution, and Bach Network UK society. Her articles and essays are published on a regular basis in the leading magazines dedicated to Bach’s heritage. Since 1998 she has been working with Bach archives all around the globe Tatiana Shebalina is the author of a treatise on Bach manuscripts— Manuscripts by Bach: keys to the core of the mystery, J.S. Bach Life and Work Chronicles. Many textological discoveries of international scale related to dating of his works were made by her.

Contents:

Italian Concerto BWV 971
Overture in the French Style BWV 831
It is well known that J.S. Bach wrote his clavier Concertos as a transcription of the Concertos by the Italian masters of violin. But the Concerto, named Italian (1735) with its two lively F major outer movements, in ritornello style, frame a florid arioso-style movement in D minor, the relative minor is an original work that uses the principle of the Italian concertos of the time.
An Italian style concerto relies upon the contrasting roles of different groups of instruments in an ensemble; Bach imitates this effect by creating contrasts using the forte and piano manuals of a two-manual harpsichord throughout the piece. In fact, along with the French Overture and some of the Goldberg Variations, this is one of the few works by Bach which specifically require a 2-manual harpsichord.
This edition is based on research conducted on original copies of the first editions of this work, that are stored in archives in Great Britain, Austria and Germany. Some of the copies contain remarks, coments and corrections made by J.S. Bach himself (in one case – more than a hundred). All performing instructions are given in the precise accordance with the lifetime print and handwritten remarks. It is the first edition in Russia that can claim such depths of analysis.
The complexity level corresponds to music colleges, conservatoires, concert performers.
Gift edition.
The present Urtext is prepared and researched by the prominent musicologist Tatiana Shebalina, PhD, professor of St –Petersburg conservatoire. She is also the author of the introductory article and comments.
Tatiana Shebalina belongs to the musicologists’ elite of Bach researchers. She is a member of Bach Society (Germany) George Bell International Institution, and Bach Network UK society. Her articles and essays are published on a regular basis in the leading magazines dedicated to Bach’s heritage. Since 1998 she has been working with Bach archives all around the globe Tatiana Shebalina is the author of a treatise on Bach manuscripts— Manuscripts by Bach: keys to the core of the mystery, J.S. Bach Life and Work Chronicles. Many textological discoveries of international scale related to dating of his works were made by her.

Contents:

Italian Concerto BWV 971
Overture in the French Style BWV 831
Клавирные концерты И. С. Бах создавал как переложения для клавира итальянских скрипичных концертов. Главным итогом в этом жанра явился для композитора "Итальянский концерт", созданный в 1735 году. Название, данное самим Бахом, указывает на происхождение концертного жанра: его родиной была Италия. Произведение написано для клавира с двумя мануалами, без оркестрового сопровождения.
Публикация уртекста основана на изучении оригинальных экземпляров первых, прижизненных изданий второй части "Клавирных упражнений", находящихся в библиотеках и архивах Германии, Австрии и Англии (так, например, один из этих экземпляров содержит свыше ста исправлений, внесенных от руки в напечатанный текст самим композитором). Все исполнительские указания даны в точном соответствии с оригинальной, прижизненной печатью и ее рукописными правками.
Столь полно и тщательно подготовленный уртекст публикуется в нашей стране впервые.
Издание адресовано учащимся старших классов детских музыкальных школ и лицеев, музыкальных училищ, студентам консерваторий, концертирующим исполнителям, а также всем музыкантам, интересующимся музыкой И. С. Баха, текстологией и историей исполнительства XVIII века.
Подарочное издание

* * *

Уртекст подготовлен музыковедом, доктором искусствоведения, профессором Санкт-Петербургской государственной консерватории им. Н. А. Римского-Корсакова Татьяной Васильевной Шабалиной. Ею же написана вступительная статья и комментарии.
Татьяна Шабалина принадлежит к числу наиболее авторитетных российских исследователей творчества И. С. Баха. Член Международного Баховского общества (Германия), Международного Института Джорджа Белла (Великобритания) и общества Bach Network UK. Автор статей в ведущих баховедческих журналах Германии и Великобритании. С 1998 года регулярно работает с баховскими источниками в библиотеках и архивах Германии, Великобритании, Австрии, Франции, Польши, Чехии, России.
Татьяна Шабалина — автор монографии "Рукописи И. С. Баха: Ключи к тайнам творчества", "Хронографа жизни и творчества И. С. Баха". Ею сделан ряд международно признанных открытий в области текстологии и датировки баховских произведений.
Klavirnye kontserty I. S. Bakh sozdaval kak perelozhenija dlja klavira italjanskikh skripichnykh kontsertov. Glavnym itogom v etom zhanra javilsja dlja kompozitora "Italjanskij kontsert", sozdannyj v 1735 godu. Nazvanie, dannoe samim Bakhom, ukazyvaet na proiskhozhdenie kontsertnogo zhanra: ego rodinoj byla Italija. Proizvedenie napisano dlja klavira s dvumja manualami, bez orkestrovogo soprovozhdenija.
Publikatsija urteksta osnovana na izuchenii originalnykh ekzempljarov pervykh, prizhiznennykh izdanij vtoroj chasti "Klavirnykh uprazhnenij", nakhodjaschikhsja v bibliotekakh i arkhivakh Germanii, Avstrii i Anglii (tak, naprimer, odin iz etikh ekzempljarov soderzhit svyshe sta ispravlenij, vnesennykh ot ruki v napechatannyj tekst samim kompozitorom). Vse ispolnitelskie ukazanija dany v tochnom sootvetstvii s originalnoj, prizhiznennoj pechatju i ee rukopisnymi pravkami.
Stol polno i tschatelno podgotovlennyj urtekst publikuetsja v nashej strane vpervye.
Izdanie adresovano uchaschimsja starshikh klassov detskikh muzykalnykh shkol i litseev, muzykalnykh uchilisch, studentam konservatorij, kontsertirujuschim ispolniteljam, a takzhe vsem muzykantam, interesujuschimsja muzykoj I. S. Bakha, tekstologiej i istoriej ispolnitelstva XVIII veka.
Podarochnoe izdanie

* * *

Urtekst podgotovlen muzykovedom, doktorom iskusstvovedenija, professorom Sankt-Peterburgskoj gosudarstvennoj konservatorii im. N. A. Rimskogo-Korsakova Tatjanoj Vasilevnoj Shabalinoj. Eju zhe napisana vstupitelnaja statja i kommentarii.
Tatjana Shabalina prinadlezhit k chislu naibolee avtoritetnykh rossijskikh issledovatelej tvorchestva I. S. Bakha. Chlen Mezhdunarodnogo Bakhovskogo obschestva (Germanija), Mezhdunarodnogo Instituta Dzhordzha Bella (Velikobritanija) i obschestva Bach Network UK. Avtor statej v veduschikh bakhovedcheskikh zhurnalakh Germanii i Velikobritanii. S 1998 goda reguljarno rabotaet s bakhovskimi istochnikami v bibliotekakh i arkhivakh Germanii, Velikobritanii, Avstrii, Frantsii, Polshi, Chekhii, Rossii.
Tatjana Shabalina — avtor monografii "Rukopisi I. S. Bakha: Kljuchi k tajnam tvorchestva", "Khronografa zhizni i tvorchestva I. S. Bakha". Eju sdelan rjad mezhdunarodno priznannykh otkrytij v oblasti tekstologii i datirovki bakhovskikh proizvedenij.
EAN
9785737902872
BIC category:
AVRG
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