Sonata En Trio, BWV 525
[Guitar & Flute] [score & parts]
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This is a highly competent arrangement of the first of the six sonatas (BWV 525-530) written for organ and which were probably written for Each's eldest son, William Friedemann, this one being composed in 1727. Vingiano has chosen the more guitar-friendly key of A major (from the original Eb major) and has produced an extremely playable performance piece in which all the three voices in all three movements from the original scoring can clearly be heard (one in the flute part, the other two in the guitar) due in the main to the well- fingered score by the arranger. This is a very welcome addition to the repertoire for this instrument pairing.
Production D'Oz's presentation of this music is excellent and they should also be nominated for the 'considerate publisher of the year' award by not only including separate pullout sheets for each player, but also for providing an extra 'pull out' to the 'pull outs' to avoid a nasty page turn.
(Steve Marsh, Classical Guitar Magazine, September 2003)
| Featured Product | No |
|---|---|
| Arranger/Editor | Alberto Vingiano |
| Composer | BACH, JOHANN SEBASTIAN |
| Availability | Available |
| TAB/Notation | Music Notation Only |
| Description | This is a highly competent arrangement of the first of the six sonatas (BWV 525-530) written for organ and which were probably written for Each's eldest son, William Friedemann, this one being composed in 1727. Vingiano has chosen the more guitar-friendly key of A major (from the original Eb major) and has produced an extremely playable performance piece in which all the three voices in all three movements from the original scoring can clearly be heard (one in the flute part, the other two in the guitar) due in the main to the well- fingered score by the arranger. This is a very welcome addition to the repertoire for this instrument pairing. Production D'Oz's presentation of this music is excellent and they should also be nominated for the 'considerate publisher of the year' award by not only including separate pullout sheets for each player, but also for providing an extra 'pull out' to the 'pull outs' to avoid a nasty page turn. (Steve Marsh, Classical Guitar Magazine, September 2003) |