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Purcell, Henry - Chacony in G minor - for Violin and Piano - transcribed by Simon Fischer - Edition Peters
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Purcell, Henry - Chacony in G minor - for Violin and Piano - transcribed by Simon Fischer - Edition Peters
Chacony in G Minor for Violin and Piano, by Henry Purcell
Transcribed by Simon Fischer
Preface by Simon Fischer:
Music is not always necessarily tied to its original medium. The baroque composers were forever making transcriptions of their works for other instrumental combinations and the practice has been continued, though less frequently, through the centuries. This timeless and sublimely expressive piece was composed for a quartet of viols in about 1670. In the 20th century it was revived for modern string quartet, and later entered the orchestral repertoire in the arrangement by Benjamin Britten for string orchestra. My arrangement follows in the the tradition of the romantic violin transcriptions of the 19th and 20th centuries, and is intended to be played in a later style on modern insturments. It can also be played in more of a period style on baroque violin with harpsichord, in which case the suggested bowings, fingerings, and dynamics can be adjusted accordingly. While all the expressions, articulations and dynamics are additions, almost every note in this arrangement is the same as the original manuscript. In the violin part, the double stops (except the octaves) are a combination of the notes of the first and second violins (or viols) of the original quartet. In a very small number of cases a dotted rhythm has been altered for reasons of consistency or energy, and the occasional tie added or omitted; the flourish in bar 69 is an addition.
Includes pull-out violin part and piano accompaniment part.
Transcribed by Simon Fischer
Preface by Simon Fischer:
Music is not always necessarily tied to its original medium. The baroque composers were forever making transcriptions of their works for other instrumental combinations and the practice has been continued, though less frequently, through the centuries. This timeless and sublimely expressive piece was composed for a quartet of viols in about 1670. In the 20th century it was revived for modern string quartet, and later entered the orchestral repertoire in the arrangement by Benjamin Britten for string orchestra. My arrangement follows in the the tradition of the romantic violin transcriptions of the 19th and 20th centuries, and is intended to be played in a later style on modern insturments. It can also be played in more of a period style on baroque violin with harpsichord, in which case the suggested bowings, fingerings, and dynamics can be adjusted accordingly. While all the expressions, articulations and dynamics are additions, almost every note in this arrangement is the same as the original manuscript. In the violin part, the double stops (except the octaves) are a combination of the notes of the first and second violins (or viols) of the original quartet. In a very small number of cases a dotted rhythm has been altered for reasons of consistency or energy, and the occasional tie added or omitted; the flourish in bar 69 is an addition.
Includes pull-out violin part and piano accompaniment part.
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Original: $8.46
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Description
Chacony in G Minor for Violin and Piano, by Henry Purcell
Transcribed by Simon Fischer
Preface by Simon Fischer:
Music is not always necessarily tied to its original medium. The baroque composers were forever making transcriptions of their works for other instrumental combinations and the practice has been continued, though less frequently, through the centuries. This timeless and sublimely expressive piece was composed for a quartet of viols in about 1670. In the 20th century it was revived for modern string quartet, and later entered the orchestral repertoire in the arrangement by Benjamin Britten for string orchestra. My arrangement follows in the the tradition of the romantic violin transcriptions of the 19th and 20th centuries, and is intended to be played in a later style on modern insturments. It can also be played in more of a period style on baroque violin with harpsichord, in which case the suggested bowings, fingerings, and dynamics can be adjusted accordingly. While all the expressions, articulations and dynamics are additions, almost every note in this arrangement is the same as the original manuscript. In the violin part, the double stops (except the octaves) are a combination of the notes of the first and second violins (or viols) of the original quartet. In a very small number of cases a dotted rhythm has been altered for reasons of consistency or energy, and the occasional tie added or omitted; the flourish in bar 69 is an addition.
Includes pull-out violin part and piano accompaniment part.
Transcribed by Simon Fischer
Preface by Simon Fischer:
Music is not always necessarily tied to its original medium. The baroque composers were forever making transcriptions of their works for other instrumental combinations and the practice has been continued, though less frequently, through the centuries. This timeless and sublimely expressive piece was composed for a quartet of viols in about 1670. In the 20th century it was revived for modern string quartet, and later entered the orchestral repertoire in the arrangement by Benjamin Britten for string orchestra. My arrangement follows in the the tradition of the romantic violin transcriptions of the 19th and 20th centuries, and is intended to be played in a later style on modern insturments. It can also be played in more of a period style on baroque violin with harpsichord, in which case the suggested bowings, fingerings, and dynamics can be adjusted accordingly. While all the expressions, articulations and dynamics are additions, almost every note in this arrangement is the same as the original manuscript. In the violin part, the double stops (except the octaves) are a combination of the notes of the first and second violins (or viols) of the original quartet. In a very small number of cases a dotted rhythm has been altered for reasons of consistency or energy, and the occasional tie added or omitted; the flourish in bar 69 is an addition.
Includes pull-out violin part and piano accompaniment part.
