Bach - Cello Suites arr. for flute - A. Nicolet

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Berio - Circles and Sequenzas - A. Nicolet

Luciano Berio, Cavaliere di Gran Croce OMRI[1] (October 24, 1925 – May 27, 2003) was an Italian composer. He is noted for his experimental work (in particular his 1968 composition Sinfonia for voices and orchestra and his series of numbered solo pieces titled Sequenza) and also for his pioneering work in electronic music.

Biography

Berio was born at Oneglia (now part of Imperia). He was taught the piano by his father and grandfather who were both organists. During World War II he was conscripted into the army, but on his first day he injured his hand while learning how a gun worked, and spent time in a military hospital. Following the war, Berio studied at the Milan Conservatory under Giulio Cesare Paribeni and Giorgio Federico Ghedini. He was unable to continue studying the piano because of his injured hand, so instead concentrated on composition. In 1947 came the first public performance of one of his works, a suite for piano. Berio made a living at this time accompanying singing classes, and it was in doing this that he met American mezzo-soprano Cathy Berberian, whom he married shortly after graduating (they divorced in 1964). Berio would write many pieces aimed at exploiting her very distinctive voice.

In 1951, Berio went to the United States to study with Luigi Dallapiccola at Tanglewood, from whom he gained an interest in serialism. He later attended the Internationale Ferienkurse für Neue Musik at Darmstadt, meeting Pierre Boulez, Karlheinz Stockhausen, György Ligeti and Mauricio Kagel there. He became interested in electronic music, co-founding the Studio di Fonologia, an electronic music studio in Milan, with Bruno Maderna in 1955. He invited a number of significant composers to work there, among them Henri Pousseur and John Cage. He also produced an electronic music periodical, Incontri Musicali.

In 1960, Berio returned to Tanglewood, this time as Composer in Residence, and in 1962, on an invitation from Darius Milhaud, took a teaching post at Mills College in Oakland, California. In 1965 he began to teach at the Juilliard School, and there he founded the Juilliard Ensemble, a group dedicated to performances of contemporary music. In 1966, he again married, this time to the noted philosopher of science Susan Oyama (they divorced in 1972). His students included Louis Andriessen, Steven Gellman, Steve Reich, Luca Francesconi, Giulio Castagnoli and Phil Lesh of the Grateful Dead.

All this time Berio had been steadily composing and building a reputation, winning the Italian Prize in 1966 for Laborintus II. His reputation was cemented when his Sinfonia was premiered in 1968. In 1972, Berio returned to Italy. From 1974–80 he acted as director of the electro-acoustic division of IRCAM in Paris, and in 1977 he married for the third time with musicologist Talia Pecker. In 1987 he opened Tempo Reale, a centre for musical research and production based in Florence. In 1988 he was made an Honorary Member of the Royal Academy of Music, London.[2] In 1989 he received the Ernst von Siemens Music Prize. He was elected a Foreign Honorary Member of the American Academy of Arts and Sciences in 1994.[3] The same year, he became Distinguished Composer in Residence at Harvard University, remaining there until 2000. He was also active as a conductor and continued to compose to the end of his life. In 2000, he became Presidente and Sovrintendente at the Accademia Nazionale di Santa Cecilia in Rome. Luciano Berio died in 2003 in a hospital in Rome.

Work

Berio's electronic work dates for the most part from his time at Milan's Studio di Fonologia. One of the most influential works he produced there was Thema (Omaggio a Joyce) (1958), based on Cathy Berberian reading from James Joyce's Ulysses, which can be considered as the first electro-acoustic composition in the history of western music made with voice and elaboration of it by technological means.[4] A later work, Visage (1961) sees Berio creating a wordless emotional language by cutting up and rearranging a recording of Cathy Berberian's voice; therefore the composition is based on the symbolic and representative charge of gestures and voice inflections, “from inarticulate sounds to syllables, from laughter to tears and singing, from aphasia to inflection patterns from specific languages: English and Italian, Hebrew and the Neapolitan dialect." [5] [6]

In 1968, Berio completed O King a work which exists in two versions: one for voice, flute, clarinet, violin, cello and piano, the other for eight voices and orchestra. The piece is in memory of Martin Luther King, who had been assassinated shortly before its composition. In it, the voice(s) intones first the vowels, and then the consonants which make up his name, only stringing them together to give his name in full in the final bars.

The orchestral version of O King was, shortly after its completion, integrated into what is perhaps Berio's most famous work, Sinfonia (1967–69), for orchestra and eight amplified voices. The voices are not used in a traditional classical way; they frequently do not sing at all, but speak, whisper and shout. The third movement is a collage of literary and musical quotations. A-Ronne (1974) is similarly collaged, but with the focus more squarely on the voice. It was originally written as a radio program for five actors, and reworked in 1975 for eight vocalists and an optional keyboard part. The work is one of a number of collaborations with the poet Edoardo Sanguineti, who for this piece provided a text full of quotations from sources including the Bible, T. S. Eliot and Karl Marx.

Another example of the influence of Sanguineti is the large work Coro, scored for orchestra, solo voices, and a large choir, whose members are paired with instruments of the orchestra. The work extends over roughly an hour, and explores a number of themes within a framework of folk music from a variety of regions: Chile, North America, Africa. Recurrent themes are the expression of love and passion; the pain of being parted from loved ones; death of a wife or husband. A line repeated often is "come and see the blood on the streets", a reference to a poem by Pablo Neruda, written in the context of savage events in Latin America under various military regimes.

eSACHERe

Together with another 11 composer-friends (C. Beck, L. Berio, P. Boulez, B. Britten, H. Dutilleux, W. Fortner, A. Ginastera, C. Halffter, H. W. Henze, H. Holliger, K. Huber and W. Lutoslawski) of Paul Sacher, he was asked by Russian cellist Mstislav Rostropovich on Sacher's 70th birthday to write composition for cello solo with use of notes creating his name (eS, A, C, H, E, Re). Berio composed piece Les mots sont alles. Compositions were partially presented in Zurich on 2nd May 1976. The whole "eSACHERe" project will be (for the first time in complete performance by one cellist) performed by Czech Cellist František Brikcius in 2011 in Prague.

Sequenza

Berio also produced work which does not quote the work of others at all. Perhaps best known among these is his series of works for solo instruments under the name Sequenza. The first, Sequenza I came in 1958 and is for flute; the last, Sequenza XIV (2002) is for cello. These works explore the fullest possibilities of each instrument, often calling for extended techniques.

The various Sequenze are as follows:

Sequenza I for flute (1958);

Sequenza II for harp (1963);

Sequenza III for woman's voice (1965);

Sequenza IV for piano (1966);

Sequenza V for trombone (1965);

Sequenza VI for viola (1967);

Sequenza VII for oboe (1969) (rev. by Jacqueline Leclair and renamed "Sequenza VIIa" in 2000);

Sequenza VIIb for soprano saxophone (adaptation by Claude Delangle in 1993);

Sequenza VIII for violin (1976);

Sequenza IXa for clarinet (1980);

Sequenza IXb for alto saxophone (1981);

Sequenza IXc for bass clarinet (adaptation by Rocco Parisi in 1998);

Sequenza X for trumpet in C and piano resonance (1984);

Sequenza XI for guitar (1987-88);

Sequenza XII for bassoon (1995);

Sequenza XIII for accordion "Chanson" (1995);

Sequenza XIVa for violoncello (2002);

Sequenza XIVb for double bass (adaptation by Stefano Scodanibbio in 2004).

Stage works

Opera (1970, revised 1977)

La vera storia (1981)

Un re in ascolto (1984)

Vor, während, nach Zaide (1995; Prelude, interlude and ending for an opera fragment by Mozart)

Outis (1996)

Cronaca del luogo(1999)

Turandot (2001; Ending for the Puccini opera)

Transcriptions and arrangements

Berio is known for adapting and transforming the music of others, but he also adapted his own compositions: the series of Sequenze gave rise to a series of works called Chemins each based on one of the Sequenze. Chemins II (1967), for instance, takes the original Sequenza VI (1967) for viola and adapts it for solo viola and nine other instruments. Chemins II was itself transformed into Chemins III (1968) by the addition of an orchestra, and there also exists Chemins IIb, a version of Chemins II without the solo viola but with a larger ensemble, and Chemins IIc, which is Chemins IIb with an added solo bass clarinet. The Sequenze were also shaped into new works under titles other than Chemins; Corale (1981), for example, is based on Sequenza VIII.

As well as original works, Berio made a number of arrangements of works by other composers, among them Claudio Monteverdi, Henry Purcell, Johannes Brahms, Gustav Mahler and Kurt Weill. For Berberian he wrote Folk Songs (1964; a set of arrangements of folk songs). He also wrote an ending for Giacomo Puccini's opera Turandot (premiered in Las Palmas on 24 January 2002 [7] and in the same year in Los Angeles, Amsterdam and Salzburg) and in Rendering (1989) took the few sketches Franz Schubert made for his Symphony No. 10, and completed them by adding music derived from other Schubert works.

Transcription is a vital part of even Berio's "creative" works. In "Two Interviews," Berio mused about what a college course in transcription would look like, looking not only at Franz Liszt, Ferruccio Busoni, Igor Stravinsky, Johann Sebastian Bach, himself, and others, but to what extent composition is always self-transcription. In this respect, Berio rejected and distanced himself from notions of "collage," preferring instead the position of "transcriber," arguing that "collage" implies a certain arbitrary abandon that runs counter to the careful control of his highly intellectual play, especially within Sinfonia but throughout his "deconstructive" works. Rather, each quotation carefully evokes the context of its original work, creating an open web, but an open web with highly specific referents and a vigorously defined, if self-proliferating, signifier-signified relationship. "I'm not interested in collages, and they amuse me only when I'm doing them with my children: then they become an exercise in relativizing and 'decontextualizing' images, an elementary exercise whose healthy cynicism won't do anyone any harm," Berio told interviewer Rossana Dalmonte.

Perhaps Berio's most notable contribution to the world of post-WWII non-serial experimental music, running throughout most of his works, is his engagement with the broader world of critical theory (epitomized by his life-long friendship with linguist and critical theorist Umberto Eco) through his compositions. Berio's works are often analytic acts: deliberately analyzing myths, stories, the components of words themselves, his own compositions, or preexisting musical works. In other words, it is not only the composition of the "collage" that conveys meaning; it is the particular composition of the component "sound-image" that conveys meaning, even extra-musical meaning. The technique of the "collage," that he is associated with, is, then, less a neutral process than a conscious, Joycean process of analysis-by-composition, a form of analytic transcription of which Sinfonia and The Chemins are the most prominent examples. Berio often offers his compositions as forms of academic or cultural discourse themselves rather than as "mere" fodder for them.

Among Berio's other compositions are Circles (1960), Sequenza III (1966), and Recital I (for Cathy) (1972), all written for Berberian, and a number of stage works, with Un re in ascolto, a collaboration with Italo Calvino, the best known.

Berio's "central instrumental focus", if such a thing exists, is probably with the voice, the piano, the flute, and the strings. He wrote many remarkable pieces for piano which vary from solo pieces to essentially concerto pieces (points on the curve to find, concerto for two pianos, and Coro, which has a strong backbone of harmonic and melodic material entirely based on the piano part).

Lesser known works make use of a very distinguishable polyphony unique to Berio that develops in a variety of ways. This occurs in several works, but most recognizably in compositions for small instrumental combinations. Examples are Différences, for flute, harp, clarinet, cello, violin and electronic sounds, Agnus, for three clarinets and voices, Tempi concertanti for flute and four instrumental groups, Linea, for marimba, Vibraphone, and two pianos, and Chemins IV, for eleven strings and oboe.

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VA - Syrinx, The Art of the Flute - Gallois, Galway, Nicolet

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J. S. Bach Scores

Johann Sebastian Bach[1] (21 March 1685, O.S.31 March 1685, N.S. – 28 July 1750, N.S.) was a German composer, organist, harpsichordist, violist, and violinist whose sacred and secular works for choir, orchestra, and solo instruments drew together the strands of the Baroque period and brought it to its ultimate maturity.[2] Although he did not introduce new forms, he enriched the prevailing German style with a robust contrapuntal technique, an unrivalled control of harmonic and motivic organisation, and the adaptation of rhythms, forms and textures from abroad, particularly from Italy and France.
Revered for their intellectual depth, technical command and artistic beauty, Bach's works include the Brandenburg Concertos, the Goldberg Variations, the Partitas, The Well-Tempered Clavier, the Mass in B minor, the St Matthew Passion, the St John Passion, the Magnificat, the Musical Offering, The Art of Fugue, the English and French Suites, the Sonatas and Partitas for solo violin, the Cello Suites, more than 200 surviving cantatas, and a similar number of organ works, including the famous Toccata and Fugue in D minor and Passacaglia and Fugue in C minor, and the Great Eighteen Chorale Preludes and Organ Mass.
Bach's abilities as an organist were highly respected throughout Europe during his lifetime, although he was not widely recognised as a great composer until a revival of interest and performances of his music in the first half of the 19th century. He is now generally regarded as one of the main composers of the Baroque style, and as one of the greatest composers of all time.

Life

Childhood (1685–1703)

Johann Sebastian Bach was born in Eisenach, Saxe-Eisenach, on 21 March 1685, O.S.31 March 1685, N.S. He was the youngest child of Johann Ambrosius Bach, the director of the town musicians,[and Maria Elisabeth Lämmerhirt. His father taught him to play violin and harpsichord. His uncles were all professional musicians, whose posts ranged from church organists and court chamber musicians to composers. One uncle, Johann Christoph Bach (1645–93), introduced him to the art of organ playing. Bach was proud of his family's musical achievements, and around 1735 he drafted a genealogy, "Origin of the musical Bach family".

Bach's mother died in 1694, and his father eight months later. The 10-year-old orphan moved in with his oldest brother, Johann Christoph Bach (1671–1721), the organist at the Michaeliskirche in Ohrdruf, Saxe-Gotha-Altenburg. There, he copied, studied and performed music, and received valuable teaching from his brother, who instructed him on the clavichord. J.C. Bach exposed him to the works of the great South German composers of the day, such as Johann Pachelbel (under whom Johann Christoph had studied) and Johann Jakob Froberger, to the music of North German composers; to Frenchmen, such as Jean-Baptiste Lully, Louis Marchand, Marin Marais, and to the Italian clavierist Girolamo Frescobaldi. The young Bach probably[clarification needed] witnessed and assisted in the maintenance of the organ. Bach's obituary[11] indicates that he copied music out of Johann Christoph's scores, but his brother had apparently forbidden him to do so, possibly because scores were valuable and private commodities at the time.

At the age of 14, Bach, along with his older school friend George Erdmann, was awarded a choral scholarship to study at the prestigious St. Michael's School in Lüneburg in the Principality of Lüneburg. This involved a long journey with his friend, probably[clarification needed] undertaken partly on foot and partly by coach. His two years there appear to have been critical in exposing him to a wider facet of European culture. In addition to singing in the a cappella choir, it is likely that he played the School's three-manual organ and its harpsichords. He probably learned French and Italian, and received a thorough grounding in theology, Latin, history, geography, and physics. He would have come into contact with sons of noblemen from northern Germany sent to the highly selective school to prepare for careers in diplomacy, government, and the military.

Although little supporting historical evidence exists at this time, it is almost certain that while in Lüneburg, young Bach would have visited the Johanniskirche (Church of St. John) and heard (and possibly played) the church's famous organ (built in 1549 by Jasper Johannsen and nicknamed the "Böhm organ" after its most prominent master, Georg Böhm). Given his innate musical talent, Bach would have had significant contact with prominent organists of the day in Lüneburg, most notably Böhm (the organist at Johanniskirche) as well as organists in nearby Hamburg, such as Johann Adam Reincken.

Weimar, Arnstadt and Mühlhausen (1703–08)

In January 1703, shortly after graduating from St. Michael's and after having being turned down for the post of organist at Sangerhausen, Bach gained an appointment as a court musician in the chapel of Duke Johann Ernst in Weimar. His role there is unclear, but appears to have included menial, non-musical duties. During his seven-month tenure at Weimar, his reputation as a keyboard player spread. He was invited to inspect and give the inaugural recital on the new organ at St. Boniface's Church in Arnstadt. The Bach family had close connections with people in this ancient town located about 40 km to the southwest of Weimar. In August 1703, he accepted the post of organist at that church, with light duties, a relatively generous salary, and a fine new organ tuned in the modern tempered system that allowed a wide range of keys to be used.

Strong family connections and a musically enthusiastic employer failed to prevent tension between the young organist and the authorities after several years in the post. Bach was apparently dissatisfied with the standard of singers in the choir; more seriously, there was his unauthorised absence from Arnstadt for several months in 1705–06, when he visited the great organist and composer Dieterich Buxtehude and his Abendmusiken at the Marienkirche in the northern city of Lübeck. The visit to Buxtehude involved a journey on foot of about 400 kilometres (250 mi) each way. The trip reinforced Buxtehude's style as a foundation for Bach's earlier works, and that he overstayed his planned visit by several months suggests that his time with the older master was of great value him. Bach wanted to become amanuensis (assistant and successor) to Buxtehude, but did not want to marry his daughter, which apparently was a condition for his appointment.

According to a record of the proceedings of the Arnstadt consistory in August 1705, Bach was involved in a brawl:

Johann Sebastian Bach, organist here at the New Church, appeared and stated that, as he walked home yesterday, fairly late at night ... six students were sitting on the "Langenstein" (Long Stone), and as he passed the town hall, the student Geyersbach went after him with a stick, calling him to account: Why had he [Bach] made abusive remarks about him? He [Bach] answered that he had made no abusive remarks about him, and that no one could prove it, for he had gone his way very quietly. Geyersbach retorted that while he [Bach] might not have maligned him, he had maligned his bassoon at some time, and whoever insulted his belongings insulted him as well ... [Geyersbach] had at once struck out at him. Since he had not been prepared for this, he had been about to draw his dagger, but Geyersbach had fallen into his arms, and the two of them tumbled about until the rest of the students ... had rushed toward them and separated them.

In 1706 Bach was offered a post as organist at St. Blasius's in Mühlhausen, which he took up the following year. It included significantly higher remuneration and improved conditions, as well as a better choir. Four months after arriving at Mühlhausen, Bach married his second cousin, Maria Barbara Bach. Together they would have seven children, four of whom survived to adulthood, including Wilhelm Friedemann Bach and Carl Philipp Emanuel Bach who became important composers in their own right.
The church and city government at Mühlhausen agreed to Bach's plan for an expensive renovation of the organ at St. Blasius's. He, in turn, wrote an elaborate, festive cantata—Gott ist mein König, BWV 71—for the inauguration of the new council in 1708. The council was so delighted with the piece that they paid handsomely for its publication, and twice in later years had the composer return to conduct it. 

Weimar (1708–17)

After less than a year Bach left Mühlhausen, returning to Weimar this time as organist and concertmaster at the ducal court. The larger salary given him by Duke Johann Ernst and the prospect of working with a large, well-funded contingent of professional musicians may have prompted the move[citation needed]. Bach moved his family into an apartment just five minutes' walk from the ducal palace. In the following year, their first child was born and they were joined by Maria Barbara's elder, unmarried sister, who remained with them to assist in the running of the household until her death in 1729.

Bach's position in Weimar marked the start of a sustained period of composing keyboard and orchestral works, in which he had attained the technical proficiency and confidence to extend the prevailing large-scale structures and to synthesise influences from abroad. From the music of Italians such as Vivaldi, Corelli and Torelli, he learned how to write dramatic openings and adopted their sunny dispositions, dynamic motor-rhythms and decisive harmonic schemes. Bach absorbed these stylistic aspects in part by transcribing for harpsichord and organ the concertos of Vivaldi written for various combinations of strings and winds; a number of these transcribed works are still concert favourites. Bach was particularly attracted to the Italian style in which one or more solo instruments alternate section-by-section with the full orchestra throughout a movement.

In Weimar, Bach continued to play and compose for the organ, and to perform a varied repertoire of concert music with the duke's ensemble. He also began to write the preludes and fugues which were later assembled into his monumental work Das Wohltemperierte Clavier ("The well-tempered keyboard"—Clavier meaning clavichord or harpischord). It consists of two collections compiled in 1722 and 1744, each containing a prelude and fugue in every major and minor key.

During his time at Weimar, Bach started work on the "Little Organ Book" for his eldest son, Wilhelm Friedemann; this contains traditional Lutheran chorales (hymn tunes), set in complex textures to assist the training of organists. The book illustrates two major themes in Bach's life: his dedication to teaching and his love of the chorale as a musical form. Bach eventually fell out of favour in Weimar and was, according to a translation (see reference that follows) of the court secretary's report, jailed for almost a month before being unfavourably dismissed:

On November 6, [1717], the quondam concertmaster and organist Bach was confined to the County Judge's place of detention for too stubbornly forcing the issue of his dismissal and finally on December 2 was freed from arrest with notice of his unfavourable discharge.

Köthen (1717–23)

Leopold, Prince of Anhalt-Köthen hired Bach to serve as his Kapellmeister (director of music). Prince Leopold, himself a musician, appreciated Bach's talents, paid him well, and gave him considerable latitude in composing and performing. The prince was Calvinist and did not use elaborate music in his worship; thus, most of Bach's work from this period was secular, including the Orchestral Suites, the Six Suites for Unaccompanied Cello and the Sonatas and partitas for solo violin. The well-known Brandenburg Concertos date from this period. Bach composed secular cantatas for the court such as the Die Zeit, die Tag und Jahre macht, BWV 134a.

On 7 July 1720, while Bach was abroad with Prince Leopold, Bach's wife Maria Barbara, the mother of his first seven children, suddenly died. The following year, the widower met Anna Magdalena Wilcke, a young, highly gifted soprano 17 years his junior, who performed at the court in Köthen; they married on 3 December 1721. Together they had 13 more children, six of whom survived into adulthood: Gottfried Heinrich, Johann Christoph Friedrich and Johann Christian, all of whom became significant musicians; Elisabeth Juliane Friederica (1726–81), who married Bach's pupil Johann Christoph Altnikol; Johanna Carolina (1737–81); and Regina Susanna (1742–1809).

Leipzig (1723–50)

In 1723, Bach was appointed Cantor of the Thomasschule at St. Thomas Church (Thomaskirche) in Leipzig, as well as Director of Music in the principal churches in the town, namely the Nikolaikirche and the Paulinerkirche, the church of the University of Leipzig.[28] This was a prestigious post in the mercantile city in the Electorate of Saxony, which he held for 27 years until his death. It brought him into contact with the political machinations of his employer, the Leipzig Council. The Council comprised two factions: the Absolutists, loyal to the Saxon monarch in Dresden, Augustus the Strong; and the City-Estate faction[clarification needed], representing the interests of the mercantile class, the guilds and minor aristocrats. Bach was the nominee of the monarchists, in particular of the Mayor at the time, Gottlieb Lange, a lawyer who had earlier served in the Dresden court. In return for agreeing to Bach's appointment, the City-Estate faction was granted control of the School, and Bach was required to make a number of compromises with respect to his working conditions. Although it appears that no one on the Council doubted Bach's musical genius, there was continual tension between the Cantor, who regarded himself as the leader of church music in the city, and the City-Estate faction, which saw him as a schoolmaster and wanted to reduce the emphasis on elaborate music in both the School and the Churches. The Council never honoured Lange's promise at interview of a handsome salary of 1,000 Thaler a year, although it did provide Bach and his family with a smaller income and a good apartment at one end of the school building, which was renovated at great expense in 1732.

Bach's post required him to instruct the students of the Thomasschule in singing and to provide church music at the main churches in Leipzig. Bach was required to teach Latin, but he was allowed to employ a deputy to do this instead. A cantata was required for the church service on Sundays and additional church holidays during the liturgical year, he performed mostly his own compositions. The bulk of these cantatas was composed in his first three years in Leipzig, beginning with Die Elenden sollen essen, BWV 75, first performed in the Nikolaikirche on 30 May 1723, the first Sunday after Trinity. He collected them in annual cycles, five are mentioned in obituaries, three are extant. Most of these concerted works expound on the Gospel readings prescribed for every Sunday and feast day in the Lutheran year. Bach started a second annual cycle on the first Sunday after Trinity of 1724, composing only chorale cantatas, each based on a single church hymn, first O Ewigkeit, du Donnerwort, BWV 20, then works such as Wachet auf, ruft uns die Stimme, BWV 140, Nun komm, der Heiden Heiland, BWV 61, and Wie schön leuchtet der Morgenstern, BWV 1. For other than chorale cantatas, a stanza from a chorale typically forms the concluding movement of a work.

To rehearse and perform these works at Thomaskirche, Bach sat at the harpsichord or stood in front of the choir on the lower gallery at the west end, his back to the congregation and the altar at the east end[citation needed]. He would have looked upwards to the organ that rose from a loft about four metres above. To the right of the organ in a side gallery was the winds, brass and timpani; to the left were the strings. The Council provided only about eight permanent instrumentalists, a source of continual friction with the Cantor, who had to recruit the rest of the 20 or so players required for medium-to-large scores from the University, the School and the public. The organ or harpsichord was probably played by the composer (when not standing to conduct), the in-house organist, or one of Bach's elder sons, Wilhelm Friedemann or Carl Philipp Emanuel.

Bach drew the soprano and alto choristers from the School, and the tenors and basses from the School and elsewhere in Leipzig. Performing at weddings and funerals provided extra income for these groups; it was probably for this purpose, and for in-school training, that he wrote at least six motets, mostly for double choir[citation needed]. As part of his regular church work, he performed motets of the Venetian School and Germans such as Heinrich Schütz, which would have served as formal models for his own motets.

Bach wanted to broaden his composing and performing beyond the liturgy. In March 1729, he took over the directorship of the Collegium Musicum, a secular performance ensemble that had been started in 1701 by his old friend, the composer Georg Philipp Telemann. This was one of the dozens of private societies in the major German-speaking cities that had been established by musically active university students; these societies had come to play an increasingly important role in public musical life and were typically led by the most prominent professionals in a city. In the words of Christoph Wolff, assuming the directorship was a shrewd move that 'consolidated Bach's firm grip on Leipzig's principal musical institutions'. During much of the year, Leipzig's Collegium Musicum performed twice weekly for two hours in the Zimmermannsches Caffeehaus, a Coffeehouse on Catherine Street off the main market square. Many of Bach's works during the 1730s and 1740s were written for and performed by the Collegium Musicum; among these were almost certainly parts of the Clavier-Übung (Keyboard Practice) and many of the violin and harpsichord concertos.

In 1733, Bach composed the Kyrie and Gloria of the Mass in B minor. He presented the manuscript to the King of Poland, Grand Duke of Lithuania and Elector of Saxony, August III in an eventually successful bid to persuade the monarch to appoint him as Royal Court Composer[citation needed]. He later extended this work into a full Mass, by adding a Credo, Sanctus and Agnus Dei, the music for which was almost wholly taken from some of the best of his cantata movements. Bach's appointment as court composer appears to have been part of his long-term struggle to achieve greater bargaining power with the Leipzig Council. Although the complete mass was probably never performed during the composer's lifetime, it is considered to be among the greatest choral works of all time. Between 1737 and 1739, Bach's former pupil Carl Gotthelf Gerlach took over the directorship of the Collegium Musicum.

In 1747, Bach visited the court of the King of Prussia in Potsdam. There the king played a theme for Bach and challenged him to improvise a fugue based on his theme. Bach improvised a three-part fugue on Frederick's pianoforte, then a novelty, and later presented the king with a Musical Offering which consists of fugues, canons and a trio based on the "royal theme," nominated by the monarch. Its six-part fugue includes a slightly altered subject more suitable for extensive elaboration.

The Art of Fugue was written shortly before Bach's death and was finished but for the final fugue. It consists of 18 complex fugues and canons based on a simple theme. It was only published posthumously.

The final work Bach completed was a chorale prelude for organ, dictated to his son-in-law, Johann Altnikol, from his deathbed. Entitled Vor deinen Thron tret ich hiermit (Before thy throne I now appear, BWV 668a); when the notes on the three staves of the final cadence are counted and mapped onto the Roman alphabet, the initials "JSB" are found.

Death (1750)

Bach's health declined in 1749; on 2 June, Heinrich von Brühl wrote to one of the Leipzig burgomasters to request that his music director, Gottlob Harrer, fill the post of Thomascantor and Director musices posts "upon the eventual ... decease of Mr. Bach." Bach became increasingly blind, and the British eye surgeon John Taylor operated on Bach while visiting Leipzig in 1750.

On 28 July 1750 Bach died at the age of 65. A contemporary newspaper reported the cause of death as "from the unhappy consequences of the very unsuccessful eye operation". Some modern historians speculate that the cause of death was a stroke complicated by pneumonia. An obituary was written by his son Emanuel and his pupil Johann Friedrich Agricola at the time. Bach's estate was valued at 1159 Thaler and included five Clavecins, two lute-harpsichords, three violins, three violas, two cellos, a viola da gamba, a lute and a spinet, and 52 "sacred books", including books by Martin Luther and Josephus. He was originally buried at Old St. John's Cemetery in Leipzig. His grave went unmarked for nearly 150 years. In 1894 his coffin was finally discovered and reburied in a vault within St. John's Church. This building was destroyed by Allied bombing during World War II, and in 1950 Bach's remains were taken to their present resting place at Leipzig's Church of St. Thomas.

Bach Flute Scores:

- Flute Sonatas, from BWV 1030 to BWV 1035

- BWV 21: Cantata "Ich hatte viel Bekümmernis"

- BWV 209: Cantata "Non sa che sia dolore"

- BWV 212 (oberture): Cantata "Mer hahn en neue Oberkeet"

- BWV 572: Fantasie in Sol

- BWV 867: Prelude in Si bemol menor

- BWV 997: Laud Suite

- BWV 1013: Flute Partita

- BWV 1038: Trio Sonate in Sol Mayor

- BWV 1039: Trio Sonate for two flutes and continuo

- BWV 1050: Brandemburg Concerto N° 5

- BWV 1044: Concerto for flute, violín and harpsichord

- French Suite N° 5

- BWV 1079: Musical Ofering

-  Orchestral SUite N° 2

- BWV 140: Coral-Prelude from "Wachet auf, ruft uns die Stimme"

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Flute Solos and Flute Duets

Flute Duets:

Aggrell,G.Aurelli,F.Vinci,L.6 Sonatas 2FL.Ed.Tufvesson.pdf
Anónimo.3 Christmas duos 2FL.pdf
Bach,JS.Concierto Brandenburgo nº6 2FL.pdf
Bach,JS.Fughetta BWV961 2FL.Ed.Stretta music.pdf
Bach,WF.6 duos.Ed.Sheet music.pdf
Bach,WF.duo nº5 en Mi b M.Ed.Sheet music.PDF
Beethoven,L.Allegro and minuetto.2Fl.Ed.Sheet music.PDF
Bennett,R.R.Conversations for 2 flutes.Ed.Universal.pdf
Berbiguier.6 duos op 59 FL1.Ed.Sheet music.PDF
Berbiguier.6 duos op 59 FL2.Ed.Sheet music.PDF
Bodenmann,H.Dúos fáciles para 2FL.Ed.Melodie.pdf
Bodenmann,H.Dúos fáciles para 2FL.Vol2.Ed.Melodie.pdf
Boismortier.Sonata op 1 nº2 2fl.Ed.Sheet music.PDF
Boismortier.Sonata op 6 nº2 2fl.Ed.Sheet music.PDF
Bordet.Tambourins 2fl.Ed.Sheet music.pdf
Bordet.Tambourins des Troqueurs-2fl.Ed.Sheet music.pdf
Bozza,E.Trois Evocations 2Fl.Ed.Leduc.pdf
Bozza,E.Trois Pieces 2Fl.Ed.Leduc.pdf
Briccialdi.8 duos fáciles.Ed.Sheet music.PDF
Briccialdi.Allegro para 2Fl.Ed.Sheet music.PDF
Chinzer-Bordet.The Hunt duo.Ed.Sheet music.PDF
Couperin,F.Le Tic Toc.Les Maillotins,duo.Ed.Bärenreiter Kassel.pdf
Delabarre.Prelude,duo.Ed.Sheet music.PDF
Devienne,F.6 duos op 82 FL1.Ed.Sheet music.pdf
Devienne,F.6 duos op 82 FL2.Ed.Sheet music.pdf
Devienne,F.Presto 2FL.Ed.Sheet music.pdf
Di Lasso.2 Fantasias 2fl.Ed.Sheet music.pdf
Dietter.Gavotte-rondeau-en Sol M 2fl.Ed.Sheet music.pdf
Dietter.Romance en sol M.2fl.Ed.Sheet music.pdf
Duets for flute.Ed.Jerrys flute music sources.pdf
Dúos fáciles para 2 FL.pdf
Escher,R.Sonata per due flauti op8.pdf
Finger.Fuga a 2fl.Ed.Sheet music.pdf
Fürstenau.4 peq.duos.Ed.Sheet music.pdf
Fürstenau.5 peq.duos.Ed.Sheet music.pdf
Fürstenau.6 duos op 137 fl1.Ed.Sheet music.pdf
Fürstenau.6 duos op 137 fl2.Ed.Sheet music.pdf
Gariboldi.G.6 Duos fáciles op145 fl1.Ed.Sheet music.pdf
Gariboldi.G.6 Duos fáciles op145 fl2.Ed.Sheet music.pdf
Hindemith.P.Kanonische Sonatine op31 n3 2Fl.Ed.Schott.pdf
Hotteterre.Les fargis sur les délices 2fl.Ed.Sheet music.pdf
Hugot y Wunderlich.4 duos 2fl.Ed.Sheet music.pdf
Jensen,P.6 Duos fáciles 2 Fl op16.Ed.CC Lose.pdf
Koechlin.Sonata para 2 fl.Ed.Sheet music.PDF
Kuhlau,F.3 duos brillantes op 102 fl1.Ed.Sheet music.PDF
Kuhlau,F.3 duos brillantes op 102 fl2.Ed.Sheet music.PDF
Kuhlau,F.3 duos brillantes op 81 fl1.Ed.Sheet music.PDF
Kuhlau,F.3 duos brillantes op 81 fl2.Ed.Sheet music.PDF
Kuhlau,F.3 duos op 10 fl1.Ed.Sheet music.PDF
Kuhlau,F.3 grandes duos op39 fl1.Ed.Sheet music.PDF
Kuhlau,F.3 grandes duos op39 fl2.Ed.Sheet music.PDF
Kuhlau,F.Duo en Sol menor.Ed.Sheet music.PDF
Köhler.50 progresive duette op55 parte1 2Fl.Ed.Sheet music.PDF
Köhler.50 progresive duette op55 parte2 2Fl.Ed.Sheet music.PDF
Lann,V.Daybreak for 2 flutes.Manuscrito.pdf
Le Loup.Sarabande a 2fl.Ed.Sheet music.PDF
Legout-Borde.Musette 2fl.Ed.Sheet music.PDF
Mozart,W.A.3 duos K156 fl1.Ed.Sheet music.PDF
Mozart,W.A.3 duos K156 fl2.Ed.Sheet music.PDF
Mozart,W.A.3 duos k157 fl1.Ed.Sheet music.PDF
Mozart,W.A.3 duos k157 fl2.Ed.Sheet music.PDF
Mozart,W.A.6 duos K378-376-379.Fl1.Ed.Universal.pdf
Mozart,W.A.6 duos K378-376-379.Fl2.Ed.Universal.pdf
Mozart,W.A.Duos sobre la Flauta Magica 2FL.pdf
Mozart,W.A.Dúos fáciles para 2FL.pdf
Müller.Tema con variaciones a 2fl.Ed.Sheet music.pdf
Naudot.Two Gavottes.2FL.Ed.Sheet music.PDF
Niehaus,L.Jazzy Duos.Ed.Sheridon Stokes music.pdf
Peters Rey,G.Opus 2 para 1 y 2 Flautas.Ed.Verlags.pdf
Potter,Chr.3 Ratones ciegos 2FL.pdf
Quantz.J.J.Duo en sol M.op 2 n 1 FL1.Ed.Sheet music.PDF
Quantz.J.J.Duo en sol M.op 2 n 1 FL2.Ed.Sheet music.PDF
Rae,J.Easy Jazzy duos.Ed.Universal.pdf
Scarlatti,D.Duos 2FL.pdf
Soussmann.12_duos op 53.Ed.Sheet music.pdf
Stamitz.Duo en Re M.Ed.Sheet music.PDF
Stamitz.Duos op.Ed.Sheet music.PDF
Sweelinck.Duo 2 FL.Ed.Sheet music.PDF
Takemitsu,T.Masque para 2 fl.Ed.Salabert.pdf
Telemann,G.6 sonatas para 2 FL.Ed.Broekmans.pdf
Telemann,G.Canons melodieux (6 Sonates duo).Ed.Tufvesson.pdf
Telemann,G.Sonata II Fa#m 2FL.Ed.Bolognani.pdf
Telemann,G.Sonata en Mi M para 2FL.Ed.sheet music.PDF
Telemann,G.Sonate Sol M.op2 n1 2FL.Ed.stretta music.pdf
Tulou.Easy duets op 102 fl1.Ed.Sheet music.PDF
Tulou.Easy duets op 102 fl2.Ed.Sheet music.PDF
Tulou.Easy duets op 103 fl1.Ed.Sheet music.PDF
Tulou.Easy duets op 103 fl2.Ed.Sheet music.PDF
Tulou.Easy duets op 104 fl1.Ed.Sheet music.PDF
Tulou.Easy duets op 104 fl2.Ed.Sheet music.PDF
Wranitzky,P.3 Duets 2 Flutes Op42.Ed.Andre.pdf
Zhurbin,L.Bluezy Ditty 2FL.Ed.Ljova music.pdf






Solo Flute:



Alojz, Ajdic. Sounding landscape FL sola.Ed.Yugoslava.pdf
Amaral, Marco Aurelio. Choro para flauta.pdf
Bach,CP.Sonata la menor Ed. Ricordi.pdf
Bach,CP.Sonata la menor Ed.Score-on-line.Rev.Shahroudi.PDF
Bach,JS.Fantasía Cromática.Si m BWV903 flauta sola Ed. Leduc.pdf
Bach,JS.Partita BVW 1013 la m. Ed. Bärenreitel Kassel.pdf
Bach,JS.Partita BVW 1013 la m. Ed. Free score on line.pdf
Bach,JS.Suite para cello nº1 transcripción para flauta sola.pdf
Bach,JS.Toccata et Fugue.Re m BWV565 flauta sola Ed. Leduc.pdf
Berio, L. Sequenza para flauta sola. Ed.Suvini Zerboni.pdf
Blavet, M. Gigue en rondeau.Ed.Rowy van Hest.pdf
Blavet, M. Rondeau FL sola.Ed.Rowy van Hest.pdf
Bon, M. Whistle for a friend FL sola.Ed.Donemus.pdf
Borrás, T. Interludios op.177. Ed. Casa Beethovem.pdf
Bozza, E. Image Ed. Leduc.pdf
Bozza, E. Phorbéia. Ed. Leduc.pdf
Báez, Santiago. Huida para flauta sola.pdf
Báez, Santiago. Improvisación para flauta sola.pdf
Báez, Santiago. Tiento para Flauta sola.pdf
Camargo Guarnier,M.3 Improvisations for flute sola.Ed.Rongven music.pdf
Castillo,Manuel. Trazos.pdf
Cornils, Margaret. Harlequin Ed. Tempo Primo.pdf
De Lorenzo, L.The Airplane.Ed.FaLaUt.pdf
De Lorenzo,L. Fantasia en famenor.doc
De Lorenzo,L. Fantasia en famenor.htm
De Pablo, L. Melisma Furioso Ed.Suvini Zerboni.pdf
Debussy, C. Syrinx. Ed. Broekmans.pdf
Diermaier, Joseph. 5 Bilder. Universal Editions.pdf
Dusapin, Pascal. I Pesci (3 piezas para flauta sola) Ed. Salavert.pdf
Escher,R. Sonata fl sola Ed. Broeksman.pdf
Escher,R.Air pour charmer un lézard,en forma de chacona Ed.Alsbach Educa.pdf
Escher,R.Monologue Ed. Donemus.pdf
Fabregas,E.Andante Appssionato para flauta sola. Ed.Leduc.pdf
Feld, J. 4pieces. Ed. Leduc.pdf
Français, J. Suite. Ed. Schott.pdf
Fukushima, K. Mei. Ed. Suvini Zervoni.pdf
Fukushima, K. Requiem Ed. Suvini Zervoni.pdf
Gerhard, Roberto. Capriccio. Ed.Entire world, International..pdf
Granados,Marco.The Hibiee Jibiees. Venezuelan Joropo.pdf
Gris, Miguel A. Monólogo.pdf
Halffter, C. Debla.pdf
Hindemith, P. 8 Stücke Ed. Schott.pdf
Homs, J. Soliloqui. Ed. EMEC.pdf
Honneger, A. Danse de la chèvre. Ed. Salavert.pdf
Hoover, Katherine. Kokopeli. Ed. Papagena press.pdf
Hoover, Katherine. Reflections. Ed. Papagena press.pdf
Ibert, J. Pièce. Ed. Leduc.pdf
Izarra, Adina. El Amolador.pdf
Izarra, Adina. Plumismo-picc.pdf
Jensen, P. 6 solos flute Op17. Ed. Chez C.D. Milde.pdf
Jolivet, A. 5 Encantations. Ed. Boosey & haukes music.pdf
Karg Elert,S.Sonata Appassionata(ed.revisada) Ed.Zimmermann.pdf
Kasulin, Aitana. Endechas fl sola.pdf
Koechlin, Ch. 3 Sonatinas. Ed. Salabert.pdf
Kuhlau, F. Fantasía op.38 n.2.Ed.Universal.pdf
Kuhlau, F. Fantasía op38 n.3.Ed.Universal.pdf
Kuhlau, F. Fantasías op38 n.1.Ed.Universal.pdf
La Montaine, J. Sonata. Ed. Broude Brothers.pdf
Lambrechts,J.Embryon, monologues for flute sola Ed.Broekman.pdf
Larsen,Libby. Aubade. Ed. Schirmer.pdf
Liebermann, L. 8 Piezas Ed. Theodorer Presser.pdf
Liebermann, L. Soliloquy Ed. Theodorer Presser.pdf
Lindholm, H. Before beginning time op.32. Ed.Helin y sons.pdf
Lindholm, H. Minidrama 1.Ed. Herbert Lindholn.pdf
Loevendie,Theo.Strands. Ed. Peer musik verlag.pdf
Logar, Mihovil. Pastoral FLauta sola.pdf
Marais, M. Folies d'Espagne Ed. Sheet music.pdf
Mercadante,S.Variaciones sobre La cidarem la mano(Don Giovanni).pdf
Monzani, F. Tema con variaciones.Ed.FaLaUt.pdf
Muczinsky. 3 preludios Ed. Schirmer.pdf
Norton,N. An everchanging House.pdf
Persichetti, V. Parable 1 op.100 Ed. Elkan Vogel.pdf
Pucihar, Blaz . ForMe . Ed. Kossack.pdf
Ran, Shulamit. East wind. Ed. Theodorer Presser.pdf
Ribas,José Maria. Capricho sobre un aire suizo.pdf
Rivier, J,Virevoltes.Dedicado a JP Rampal.pdf
Rosza, M. Sonata op.39. Ed. Faber music.pdf
Sogner, M. Tema con variaciones.Ed.FaLaUt.pdf
Telemann,G.12 Fantasias (facsimile y ed.impresa). Ed.Musica Rara.pdf
Varése, E. Density. Ed. Colfrac music.pdf

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J. J. Quantz Scores

6 Duets for 2 Flutes 
QV 3:2 (Op.2)
 
Concerto for 2 Flutes
QV 6:1 | D major
Concerto for 2 Flutes
QV 6:7 | G major
Concerto for 2 Flutes
QV 6:8a | G minor
Concerto for 2 Oboes
QV 6:3 | E minor
Concerto in G major
QV 6:Anh.2

Flute Concerto
QV 5:45 | D major
Flute Concerto
QV 5:174 | G major
Flute Concerto F major
QV 5:139
Flute Concerto G major
QV 5:169

Flute Sonata
QV 1:86 | F major

Trio Sonata
QV 2:40 | A minor
Trio Sonata
QV 2:41a | A minor
Trio Sonata
QV 2:42 | B-flat major
Trio Sonata
QV 2:43 | B minor
Trio Sonata
QV 2:3 | C minor
Trio Sonata
QV 2:10 | D major
Trio Sonata
QV 2:12 | D major
Trio Sonata
QV 2:13 | D major
Trio Sonata
QV 2:14 | D major
Trio Sonata
QV 2:15 | D major
rio Sonata
QV 2:7 | D major
Trio Sonata
QV 2:9 | D major
Trio Sonata
QV 2:18 | E-flat major
Trio Sonata
QV 2:20 | E minor
Trio Sonata
QV 2:21 | E minor
Trio Sonata
QV 2:28 | G major
Trio Sonata
QV 2:29 | G major
Trio Sonata
QV 2:34 | G minor
Trio Sonata
QV 2:35 | G minor
Trio Sonata in A major
QV 2:Anh.31
Trio Sonata in A major
QV 2:Anh.32
Trio Sonata in A minor
QV 2:Anh.34
Trio Sonata in C major
QV 2:Anh.2a
Trio Sonata in C major
QV 2:Anh.3
Trio Sonata in C minor
QV 2:Anh.4
Trio Sonata in C minor
QV 2:Anh.5
Trio Sonata in D minor
QV 2:Anh.9
Trio Sonata in E minor
QV 2:Anh.12a
Trio Sonata in E minor
QV 2:Anh.14
Trio Sonata in E minor
QV 2:Anh.15a
Trio Sonata in E-flat major
QV 2:Anh.10
Trio Sonata in F major
QV 2:Anh.29
Trio Sonata in F minor
QV 2:Anh.18
Trio Sonata in G major
QV 2:Anh.19
Trio Sonata in G major
QV 2:Anh.20
Trio Sonata in G major
QV 2:Anh.23
Trio Sonata in G major
QV 2:Anh.26
Trio Sonata in G major
QV 2:Anh.27
Trio Sonata in G major
QV 2:Anh.28

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Georg Philipp Telemann's 12 Fantasias for Solo Flute were published in Hamburg in 1732–33. This is one of Telemann's collections of music for unaccompanied instruments, the others being thirty-six fantasias for solo harpsichord published in Hamburg in 1732–33, twelve for solo violin published in 1735, and a set of twelve fantasias for solo viola da gamba, published in the same year, but that is currently lost.

This work comprises the following:

Fantasia in A major (Vivace—Allegro)
Fantasia in A minor (Grave—Vivace—Adagio—Allegro)
Fantasia in B minor (Largo—Vivace—Largo—Vivace—Allegro)
Fantasia in B-flat major (Andante—Allegro—Presto)
Fantasia in C major (Presto—Largo—Presto—Dolce—Allegro—Allegro)
Fantasia in D minor (Dolce—Allegro—Spirituoso)
Fantasia in D major (Alla francese—Presto)
Fantasia in E minor (Largo—Spirituoso—Allegro)
Fantasia in E major (Affettuoso—Allegro—Grave—Vivace)
Fantasia in F-sharp minor (A Tempo giusto—Presto—Moderato)
Fantasia in G major (Allegro—Adagio—Vivace—Allegro)
Fantasia in G minor (Grave—Allegro—Allegro—Dolce—Allegro—Presto)

The collection is arranged by key, progressing more or less stepwise from A major to G minor. Telemann deliberately avoided keys that are impractical on the one-key flute, i.e. B major, C minor, F minor and F-sharp major. There are two ways to view the overall structure of the collection: one way, in which the work is divided into two parts, is suggested by the fact that Fantasia 7 begins with a French overture, indicating a start of a new section. This device was also later used by Johann Sebastian Bach in Variation 16 of his Goldberg Variations. Another was proposed by scholar Wolfgang Hirschmann—there are four modal groups of three fantasias: major-minor-minor, major-major-minor, major-minor-major, and minor-major-minor.
Telemann's solo flute fantasias are alone in the entire Baroque repertoire to include movements seemingly impossible on flute: fugues (fantasias 2, 6, and 8–11), a French overture (fantasia 7) and a passacaglia (fantasia 5).

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Andrea Kollé - Flöte . Solo . Flute

Andrea Kollé


Andrea Kollé plays the modern, transverse and classical flutes. Her repertoire is correspondingly broad. This musician is at home everywhere, whether as a solo flautist in symphony, opera or chamber orchestras, or in the most varied chamber music formations . She was born in Amsterdam, studied in Holland with Abbie de Quant and in Basle with Aurèle Nicolet.
Since 1990 she has been a member of the Zurich Opera Orchestra and plays in the "La Scintilla" Baroque Orchestra. Her concerts have taken her to many countries in Europe, and to the USA and Canada as well as important Festivals, such as The Davos Young Artist in Concert, Lucerne Festival and the Rüttihubeliade. Contemporary music is particularly important to her. She has given numerous world premières, most notably the Dutch première of Heinz Holliger's solo piece (T)air(E) in 1985. The Rumanian composer Dan Dediu dedicated his Naufragi for solo flute to her in 2001. Andrea Kollé has made various CD recordings, including a solo CD with compositions by Bach, Yun, Firsowa, Wildberger and Karg-Elert. She has also made recordings as part of the Zürcher Bläser Quintett for the Jecklin Edition and Musique Suisse labels.


Tracklist:

Carl Philipp Emanuel Bach [1714 - 1788) 

Sonate a-moll, WQ 132 

1) Poco adagio [4:56] 

2) Allegro [3:46] 

3) Allegro [3:15] 

Elena Firsowa (1950 - ) 

Zwel Inventionen 

4) I. Andante [3:44] 

5) II. Allegretto [2:32] 

Isang Yun (1917 - 1995) 

6) Salomo [7:28] 

Sigfrid Karg-Elert (1877 - 1933) 

7) Sonate "Appassionata" fis-moll [5:09] 

André Jolivet (1905 - 1974) 

8) Incantation "Pour que l'image devienne symbole" [3:54] 

Jacques Wildberger (1922 - 2006) 

9) Retrospective II [5:14] 

Johann Sebastian Bach (1685 - 1750) 

10) Allemande [3:47] 

11) Corrente [2:33] 

12) Sarabande [3:47] 

13) Bourée [1:48]

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Part 1

Part 2

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