【Kero】 Score Sheet 譜 樂譜 谱 乐谱 Partitura 楽譜付き Liszt Bach Preludes & Fugues S.462 No.2 462-2 BWV 545 李斯特 巴哈 前奏曲與賦格 作品462 李斯特 巴哈 前奏曲与赋格 作品462 Liszt Bach Preludios y fugas リスト バッハ オルガン のための6つの 前奏曲 と フーガ Piano 鋼琴 钢琴 ピアノ Organ 管風琴 Órgano オルガン Classical music Música clásica クラッシック 古典音樂 古典音乐 #Liszt #Bach #Prelude 00:00 Prelude 02:00 Fugue Liszt Bach Preludes & Fugues S.462 No.1 462-1 BWV 543 No.2 462-2 BWV 545 No.3 462-3 BWV 546 No.4 462-4 BWV 547 No.5 462-5 BWV 548 No.6 462-6 BWV 544 ref: Bach Prelude & Fuge BWV 545 https://www.youtube.com/watch?v=4oUBO69h8pg "Six great preludes and fugues" by Liszt, for Bach's BWV 543–548 for piano (S. 462), was composed in 1839–1840 and published in 1852 by C. F. Peters. As a child, Liszt had been instructed by his father to master the keyboard works of Bach, with daily exercises on fugues from the Well-Tempered Clavier (WTC). As a concert pianist, however, Liszt was not drawn to the organ. In 1857, having attended a Bach organ recital at the Frauenkirche, Dresden, which captivated both Clara Schumann and Joseph Joachim, Liszt's reaction had been, "Hm, dry as bones." Nevertheless, as far as Bach's music is concerned, Liszt became highly influential as a performer, transcriber and teacher. Already in 1836, early in his career, it is known that Liszt had developed a reverence for Bach's great "six preludes and fugues", BWV 543–548, or "The Great Six" fugues as they became known in the nineteenth century. In fact the previous year Liszt had eloped to Geneva with Marie d'Agoult, with whom they eventually had three children. After the birth of their first child, Liszt asked his mother in 1836 for his copies of The Art of the Fugue and the Great Six. In the same year Liszt became close to the circle of George Sand and Adolphe Pictet, both Bach devotees. Three years later, writing to Pictet from Rome, Liszt praised the "magnificent" Six Fugues, offering to send him a copy if he lacked one. During his period in Rome, there was a service at the church of the French Embassy, where Liszt performed one of Bach's fugues: according to Stinson, Liszt is unlikely to have had the pedal technique required for any of the Great Six, so almost certainly it was one of the WTC. When Liszt moved to Berlin in 1841, the first concerts where his new piano transcriptions of the Great Six were heard were at the beginning of 1842, with the E minor fugue of BWV 548 at the Singakademie and the A minor fugue of BWV 543 in Potsdam. During that period, as a travelling musician, Liszt's pianistic pyrotechnics proved a huge attraction for concert-goers. The term Lisztomania was coined by Heinrich Heine in 1844 to describe the frenzy generated by his Berlin audiences, even amongst the musically informed. Liszt performed the A minor fugue regularly in Berlin between 1842 and 1850. During this period there were reports that Liszt resorted to stunts in front of live audiences, which prompted possibly deserved charges of charlatanry. In August 1844, Liszt stayed in Montpellier while performing in the region. While there, he met up with his friend Jean-Joseph Bonaventure Laurens, an organist, artist and writer. His friendship with the Schumanns and Mendelssohn and the Bach library he had assembled with them enabled Laurens to become one of the main experts on Bach organ works in France. 40 years later, Laurens' brother recalls their lunchtime conversation. In semi-serious banter, Liszt demonstrated three ways of playing the A minor fugue, a work that Laurens said was so hard that only Liszt might be the only one capable of tackling it. Liszt first gave a straight rendition, which was a perfect classical way of playing; then he gave a second more colourful but still nuanced rendition, which was equally appreciated; finally he provided a third rendition, "as I would play it for the public ... to astonish, as a charlatan!" Laurens then writes that, "lighting a cigar that passed at moments from between his lips to his fingers, executing with his ten fingers the part written for the pedals, and indulging in other tours de force and prestidigitation, he was prodigious, incredible, fabulous, and received gratefully with enthusiasm." Stinson (2006) points out that this kind of gimmickry was not uncommon at that time: "Indeed, [Liszt] is reported to have accompanied Joachim in the last movement of Mendelssohn's Violin Concerto with a lighted cigar in his right hand the entire time!" ... https://www.youtube.com/watch?v=HvswenvKE9g

【Kero】 Score Sheet 譜 樂譜 谱 乐谱 Partitura 楽譜付き Bach Goldberg Variations BWV 988 Variatio 19. a 1 Clav. 巴哈 郭德堡變奏曲 作品988 巴哈 郭德堡变奏曲 作品988 Bach Variaciones Goldberg BWV 988 バッハ ゴルトベルク変奏曲 Piano 鋼琴 ピアノ Keyboard キーボード 大鍵琴 Harpsichord Cembalo チェンバロ Clavecín Classical music Música clásica クラッシック 古典音樂 古典音乐 #Bach #Variation #Goldberg Bach Goldberg Variations playlist https://www.youtube.com/watch?v=VWLYG3cKves&list=PLu81SiUmmTCCpxMFAJmGSnXXdlBiU44Mp 《哥德堡變奏曲》（德語：Goldberg-Variationen，BWV 988），是約翰·塞巴斯蒂安·巴赫的一部晚期鍵盤作品，1741年出版。全曲32段，全部演出需40-80分鐘。作曲家本人給此曲定的原題是《為雙層羽管鍵琴所作的一段詠嘆調及其一些列變奏組成的鍵盤練習曲》 這部作品長期不受人們重視，直到20世紀前半葉。女大鍵琴家旺達·蘭多芙絲卡的公開演奏及錄音。之後，1955年加拿大鋼琴家格倫·古爾德將其選作自己的第一張錄音作品。而現在，這首曲子被視為巴赫作品中最重要的變奏曲。全作品包括主題，30個變奏，主題反覆。每三個變奏為一組，每組最後一曲為卡農曲（從一度至九度卡農），如V1-V2-V3（V3是一度卡農曲），V4-V5-V6（V6 二度卡農曲），V7-V8-V9（V9 三度卡農曲），V10-V11-V12（V12 四度卡農曲）等等。 The Goldberg Variations, BWV 988, is a musical composition for keyboard by Johann Sebastian Bach, consisting of an aria and a set of 30 variations. First published in 1741, it is named after Johann Gottlieb Goldberg, who may also have been the first performer of the work. Variatio 19. a 1 Clav. This is a dance-like three-part variation in 38 time. The same sixteenth note figuration is continuously employed and variously exchanged between each of the three voices. This variation incorporates the rhythmic model of variation 13 (complementary exchange of quarter and sixteenth notes) with variations 1 and 2 (syncopations). Bach Goldberg Variations BWV 988 Aria Variatio 1. a 1 Clav. Variatio 2. a 1 Clav. Variatio 3. Canone all'Unisono. a 1 Clav. Variatio 4. a 1 Clav. Variatio 5. a 1 ô vero 2 Clav. Variatio 6. Canone alla Seconda. a 1 Clav. Variatio 7. a 1 ô vero 2 Clav. al tempo di Giga Variatio 8. a 2 Clav. Variatio 9. Canone alla Terza. a 1 Clav. Variatio 10. Fughetta. a 1 Clav. Variatio 11. a 2 Clav. Variatio 12. a 1 Clav. Canone alla Quarta in moto contrario Variatio 13. a 2 Clav. Variatio 14. a 2 Clav. Variatio 15. Canone alla Quinta. a 1 Clav.: Andante Variatio 16. Ouverture. a 1 Clav. Variatio 17. a 2 Clav. Variatio 18. Canone alla Sesta. a 1 Clav. Variatio 19. a 1 Clav. Variatio 20. a 2 Clav. Variatio 21. Canone alla Settima Variatio 22. a 1 Clav. alla breve Variatio 23. a 2 Clav. Variatio 24. Canone all'Ottava. a 1 Clav. Variatio 25. a 2 Clav.: Adagio Variatio 26. a 2 Clav. Variatio 27. Canone alla Nona. a 2 Clav. Variatio 28. a 2 Clav. Variatio 29. a 1 ô vero 2 Clav. Variatio 30. a 1 Clav. Quodlibet Aria da Capo ... https://www.youtube.com/watch?v=-2ffiic8ibQ