There is no incipit available for this piece.

J.S. Bach - Chamber Music - Miscellaneous

from:

Showing 1–16 of 39 results

  • 4th Mvmt.

    Originally in G major, transposed here to C. If played on tenor or soprano, with F fingering, will be in the same key as original continuo part. (Our keyboard part, when done, will be in C major, to work with recorder part played by alto.) N.B.: This is the original of which BWV 1038 (q. v.) for flute, violin and continuo is an arrangement?possibly not by Bach. As for the present work, doubt exists about where the bass part originated.

    Recorder part, 1 pp.
    $0.50

  • Trio Sonata from *Musical Offering* BWV 1079 Complete

    Originally for flute, violin, and continuo. Transposed here from c minor to d (except for the 3rd movement which goes from Eb to F). There are some optional low E’s.

    Recorder part, 2 pp.
    $0.50

  • Sonata No. 2 for Violin & Keyboard BWV 1015

    Recorder & Keyboard part, 14+5 pp.
    $1.00

  • Bach Sonata BWV 1029, transposed to c minor

    20+5 pp.
    $1.00

  • Bach Sonata BWV 1029, transposed to d minor

    25 pp.
    $2.00

  • Recorder parts for all 4 Mvmts.

    Originally in e minor, transposed here to g.

    Recorder part, 1+1+1+1 pp.
    $1.00

  • Sonata No. 5 for Violin & Keyboard BWV 1018

    Recorder & Keyboard part, 18+6 pp.
    $1.00

  • 1st Mvmt.

    Originally in g minor, transposed here to c. This arrangement has a precedent of sorts by Bach himself, in that Sonata No. 1 for Gamba, BWV 1027 seems to have originated as BWV 1039, a trio sonata for two flutes. Thus, the convertibility of music in different octaves and for different timbres (as well the number of instruments deployed) is clearly established in the repertory, even without reference to all the firm evidence we have about Baroque performance practice. In the first movement, some of the hardest passages for the recorder part are eliminated, or rather given to the keyboard player, simply by switching places between the original gamba part and the right hand of the keyboard part. Of course, the fact that these two parts are in the same style (very much as in a trio sonata, or a double concerto) is what makes this an especially viable transcriptional option. Note the alternative version in d; this one in c is a little bit more difficult. Film buffs take note that the slow movement of this sonata is featured prominently in the opening section of the 1991 movie “Truly, Madly, Deeply.”

    Recorder & Keyboard part, 10+2 pp.
    $0.50

  • 1st Mvmt.

    Originally in g minor, transposed here to d. This arrangement has a precedent of sorts by Bach himself, in that Sonata No. 1 for Gamba, BWV 1027 seems to have originated as BWV 1039, a trio sonata for two flutes. Thus, the convertibility of music in different octaves and for different timbres (as well the number of instruments deployed) is clearly established in the repertory, even without reference to all the firm evidence we have about Baroque performance practice. Note the alternative version in c; this one in d is a little easier. Film buffs take note that the slow movement of this sonata is featured prominently in the opening section of the 1991 movie ?Truly, Madly, Deeply.?

    Recorder & Keyboard part, 10+2 pp.
    $0.50

  • Opening

    Originally in e minor, transposed here to g.

    Recorder part, 1 pp.
    $0.50

  • “Fuga canonica in Epidiapente”, from *Musical Offering*, BWV 1079

    Originally for flute, violin and continuo in c minor, transposed here to d.

    Recorder & Keyboard part, pp.
    $0.50

  • 1st Mvmt.

    Originally in g minor, transposed here to c. This arrangement has a precedent of sorts by Bach himself, in that Sonata No. 1 for Gamba, BWV 1027 seems to have originated as BWV 1039, a trio sonata for two flutes. Thus, the convertibility of music in different octaves and for different timbres (as well the number of instruments deployed) is clearly established in the repertory, even without reference to all the firm evidence we have about Baroque performance practice. In the first movement, some of the hardest passages for the recorder part are eliminated, or rather given to the keyboard player, simply by switching places between the original gamba part and the right hand of the keyboard part. Of course, the fact that these two parts are in the same style (very much as in a trio sonata, or a double concerto) is what makes this an especially viable transcriptional option. Note the alternative version in d; this one in c is a little bit more difficult. Film buffs take note that the slow movement of this sonata is featured prominently in the opening section of the 1991 movie “Truly, Madly, Deeply.”

    Recorder part, 2 pp.
    $0.50

  • 1st Mvmt.

    Originally in g minor, transposed here to d. This arrangement has a precedent of sorts by Bach himself, in that Sonata No. 1 for Gamba, BWV 1027 seems to have originated as BWV 1039, a trio sonata for two flutes. Thus, the convertibility of music in different octaves and for different timbres (as well the number of instruments deployed) is clearly established in the repertory, even without reference to all the firm evidence we have about Baroque performance practice. Note the alternative version in c; this one in d is a little easier. Film buffs take note that the slow movement of this sonata is featured prominently in the opening section of the 1991 movie ?Truly, Madly, Deeply.?

    Recorder part, 2 pp.
    $0.50

  • 2. Adagio ma non troppo

    Originally in e minor, transposed here to g.

    Recorder part, 1 pp.
    $0.50

  • Misc. Chamber & Vocal solos

    94 pp.
    $1.00

  • 2nd Mvmt.

    Originally in g minor, transposed here to c. This arrangement has a precedent of sorts by Bach himself, in that Sonata No. 1 for Gamba, BWV 1027 seems to have originated as BWV 1039, a trio sonata for two flutes. Thus, the convertibility of music in different octaves and for different timbres (as well the number of instruments deployed) is clearly established in the repertory, even without reference to all the firm evidence we have about Baroque performance practice. In the first movement, some of the hardest passages for the recorder part are eliminated, or rather given to the keyboard player, simply by switching places between the original gamba part and the right hand of the keyboard part. Of course, the fact that these two parts are in the same style (very much as in a trio sonata, or a double concerto) is what makes this an especially viable transcriptional option. Note the alternative version in d; this one in c is a little bit more difficult. Film buffs take note that the slow movement of this sonata is featured prominently in the opening section of the 1991 movie “Truly, Madly, Deeply.”

    Recorder & Keyboard part, 2+1 pp.
    $0.50
Add to Cart