- Title
- Quartets volume 3 (all J. S. Bach)
- Original Title
- Composer
- Bach, Johann Sebastian
- Year
- Editor
- Arranger
- Shaw, Lowell E.
- Year Arranged
- 2001
- Original Instrumentation
- Keyboard
- Type of Arrangement
- 2
- Availability
- 1
- Publisher
- Hornists Nest
- Year Published
- 2001
- Catalogue Number
- HN 82
- Sheet Music Format
- A4, Score (10) & parts (4x4=16)
- Horns
- 4
- Additional Equipment
- Others
- Other Instruments
- Difficulty
- 2
- Duration
- 16
- Structure / Movements
- 5 pieces: I Prelude 6 BWV940 (from 12 little preludes) II Prelude 20 (from Well tempered clavier – book 1): Allegro III Prelude 12 (from Well tempered clavier – volume 2): Andante IV Prelude and fugue 7 (from Well tempered clavier – volume 2): Allegretto grazioso - Fugue V Prelude and fugue 18 (from Well tempered clavier – volume 1): Allegretto - Fugue
- Clefs
- Treble, bass
- Meters
- C, 9/8 , 2/4, ¢, 6/8
- Key signatures
- 1b, None, 4b, 3b
- Range
- Horn 1: c - c3 Horn 2: e - f2 Horn 3: g# - g2 Horn 4: F - b1
- Creator's Comments
- One of my happiest discoveries of my life has been the music of J. S. Bach. The Brandenburg Concerto No. 2 was my very first “favorite recording” and still occupies one of the top spots. Then, as my brother and I became more musically capable, a favorite family activity was to enlist our father to read Three Part Inventions or parts of The Well Tempered Clavier from the piano score on flute, horn and cello. The last 26 of the Franz 100 Duets are arranged from Bach. My favorite a capella horn activity is working on the Cello Suites. There seems to be Bach for every occasion and new marvels to be discovered with each reading. As I became interested in arranging, Bach was a favorite target for transcribing for horn groups, as well as for woodwind quintet, saxophone quartet, orchestra, and concert band. The contrapuntal nature of the music makes each part interesting and important, the range and duration of many of his pieces makes them eminently suitable for horns, and the marvelous happenings encourage the participants to get beyond just paying the notes and on into making music. The Hornists’ Nest catalog is liberally laced with Bach, and sales have certainly indicated that horn players share the love of his music. However, all of these arrangements were done for strictly selfish motives. Our ensemble sessions invariable include large segments of Bach, and we have found this group of Preludes and Fugues to be both challenging and enjoyable. The first Little Prelude (No. 6) is a remarkable example of how much music Bach could fit into ten measures. The Well Tempered Clavier is the source for the rest of this music. Prelude 20 is from Book 1, a sprightly piece that demands some seamless exchanges between parts and a facile fourth hornist. The metronome marking is from the keyboard version and is perhaps a trifle optimistic. Even if there are tempo concessions necessary due to technical difficulties, it is still a fascinating piece of music to play. Prelude 12 from Book 2 is an opportunity to get a bit dramatic and to do some woodwind-type playing.
- Performance Notes
- Most has been said above. Just a quick note on the changes in key (as noted on the music): - Prelude 20 is in A minor horn pitch (D minor concert pitch), original is in A minor - Prelude 12 is in F minor horn pitch (B flat minor concert pitch), original is in F minor - Prelude and fugue 7 are in F major (B flat major concert pitch), original is in E flat major - Prelude and fugue 18 are in C minor (F minor concert pitch), original is in G sharp minor Also, it should be noted that Hornists’ Nest more recent publication are some of the best on the market, with extensive notes, clear type-setting, and a smart and economical spacing of the music on the parts.
- Credits
- Access to review score: Nancy Joy (NMSU)
- External Link
- http://www.hornistsnest.net/
- Sound
- Score