bream, j. - the julian bream guitar library - vol 1 the baroque era
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8/19/2019 BREAM, J. - The Julian Bream Guitar Library - Vol 1 the Baroque Era
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VUENEhe Baroque ra
L' Epaque Braque De Barock Ara L Er Brroc
ContentsHENRY PURCELL Faur Pieces
Quatre Pices ie Stüke • Cuatro Obras
JOHNN FROBRGER Suite in A minarSuite en La mineur Suite in oll • Suite en La menor
DIETRICH BUXTEHUDE Suite in E minarSuite en Mi mineur • Suite in e oll Suite en Mi menor
. S BCH Suite in E minarSuite en Mi mineur Suite in e oll • Suite en Mi menor
J S BCH Twa PreludesDeux réludes Zwei Pludien Dos Preludios
WILLIM L WS Suite far twa guitrsSuite pour deu guitares Suite fü zwei itenSuite para dos guitarras
Explaato of sgsEplication des signes • klun de Zeien •Eplicación de señales
aber usic imiedLondon
3
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Brenreiter-Verlag, Kassel : Boosey & Hawkes (Australia) Pty. Ltd SydneyBoosey & Hawkes Canada) Ltd Willowdale G Schirmer !n New York
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2
Hy (1659-1695)
Four PieesQuare Pices V ück Cuar Obras
The livey and concise stye of Purcel's harpsichord music transfers happiyto the guitar, which was, in fact, popuar in England and the Continent inurcel's time. These four short pieces contrast in character. Not all theorigina ornamentation is technicaly feasible for the guitar; I ha ve,however, realized the ornaments that are effective on the ngerboard,thereby retaining the essential Baroque spirit of the music.
Le style vivant et concis de a musique pour clavecin de Purce s'adapteaisément a guitare qui était un instrument trs popuaire en Angeterre etsur le continent son époque Ces quatre pices brves sont de caractrecontrasté Les agréments originaux ne pouvant pas tous tre restitués laguitare, jai transcrit ceux qui se prtent le mieux a technique de'instrument préservant ainsi !'esprit esentielement baroque de lamusique.
Der vitae und przise Sti von Purces Cembaokompositionen eignet sichbestens für die Gitarre, die übrigens in Engand und auf dem europischemFestland zu Purces Zeit popur war Die vier kurzen Stücke kontrastierenim Charakter Da nicht ae originaen Verzierungen sich für die Tastaturder Gitarre eignen, habe ich nur diejenigen übernommen die auf derGitarre wirkungsvol sind; damit ist der wesentiche, barocke Stil der Musikerhalten gebieben.
El aegre estio conciso de la música del clavecín de Purcl se trasadafácimente a la guitarra, que en realidad fue popuar en nglaterra y elContinente en el tiempo de Purcel. Estas cuatro obras tienen caácteresopuestos No toda a ornamentación original es técnicamente factible en la
guitarra sin embargo, yo he traducido os ornamentos que son efectivossobre e diapasón, reteniendo así el estio elemental barroco de la música.
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FOUR PIECESQute Pice Ver Stücke Cuto Ob
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Jha b(66667)
Suite in minorSuie en La mineur menr Suie en La
Johann roerger was one of the hief Geran organists and oposersefore Bah. We elieve he introdued the sequene of oveents -Alleande, Courante, Saraande Gigue whih eae universallyadopted in the suite (f. Butehudes
E p. 3). Travelling
widely as a keyoard virtuoso, roerger was inuened y the greatrenh lutenists evidene of whih appears in this Suite partiularly in theuse of ornaents and the free oveent of voies.
Johann roerger tait lun des prinipau organistes et opositeursalleands avant Bah. 1 est généralement onsidéré ome le réateur dela suession de ouvements Alleande, Courante, Saraande, Gigue adoptée par tous les opositeurs de suite (par eeple, la M de Butehude p13). Au ours de ses noreu voyages ommevirtuose du lavier, roerger a sui linuene des grands luthistesfraais oe en témoigne dans ette suite lutilisation des agréents et
la lire onduite des voi.
Johann roerger war einer der edeutendsten deutshen Organisten undKomponisten vor Bah. Man glaut dass er es war der die olge vonStzen Alleande, Courante Saraande Gigue einführte, die spterallgeein als Suitenfolge üernoen wurde. (Siehe Butehudes , Seite 13). roerger ahte wete Reisen als Virtuose an Tasteninstruenten. Die vorliegende Suite eigt wie sehr er von franzsishenLautenspielern eeinusst war, esonders in Ornaentik und freierStiführung.
Johann roerger fue uno de los ás iportantes oranistas y ompositoresaleanes anteriores a Bah. Se ree que él inoduo el orden de suesiónde los oviientos Alleande, Courante Saraande Gigue quedespués fue adoptado universalente en la suite (opare on la M de Butehude página 13) Viajando etensaente oovirtuoso etraordinario del telado roerger estuvo inuído por los ásimportantes autistas franeses, en esta suite aparee aniesto este heho,prinipalmente en el uso de ornaentos y el oviiento lire de las voes.
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Dch Bxh(1637-1707)
Suite in E mnorSuie en Mi mineur menr Suie en Mi
The man soce o hs se y Dech Bxehe s a manscp neman ogan alae n he Thomas he coecon a he UnvesyLay o Uppsala A secon veson exss o keyoa, eng slghy
om he Uppsaa MS an s ncean whehe he wok was ognaynene o a keyoa o he le hs anscpon coaes eals omoh soces.
La soce pncpae e cee se e Bxehe es n mansc enalae oge aemane ans la coecon homas Ihe la Blohqe e Unvesé Uppsaa Une secone eson po a clave exseavec qeqes éences pa appo a mansc Uppsala, e nespas cean s cee oeve éa !ogne esnée a cave o a lh. Maanscpon empne es éals ax ex soces
De wchgse Voage ü ese Se von Dech Bxehe s enManskp n esche Ogeaa n e Thomas Ihe Sammng eUnvessohek n Uppsaa. Ene zwee Fassng, ü en Tasennsmen wech ewas von em Uppsaa MS a, n es s nesmm,o as Wek spünglch ü en asennsmen oe e Laeesmm wa De volegene Tanskpon kollaone ee Volagen
El aneceene ms eco e esa se e Dech Bxehe es nmansco en la alaa e gano aemn, en la coleccn e ThomasIhe en la oeca e la Unvesa e Uppsala Una segna vesnexse paa e ecao scepano n poco el mansco en Uppsaa, y noes sego s a oa e ognalmene esnaa paa el ecao o paa e
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SUITE IN E MINORSuite en Mi mineur · Suite in e moll
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J . Bach(1685-1750)
Suite in E minorSuie en Mi mineur menr Suie en Mi
Althouh severa} manuscrpt versons o ths sute exst n keyboardnotaton, t s almost certan that t was wrtten ornally or the lute herchly sonorous tesstura and the bold uratons so characterstc o thelute, are also admrably suted to the utar Suestons or the
nterpretaton o the ornaments wll be ound on pae 33
Ben que pluseurs versons manuscrtes de cette sute exstent en notatonpour claver l est presque certan quele état ntalement destnée auluth Lutlsaton rche de toute létendue sonore de lnstrument etlornementaton harde caractérstque du luth sadaptent admrablement la utare es consels pour lnterprétaton des aréments sont donnés a lapae 33. /
Obwohl verschedene MS Fassunen dese Sute r Klaver vorleen stbenahe scher dass se ursprnlch r Laute komponert war e reche,klanvolle Lae und de khnen Furen so typsch r de Laute enensch ebenso vorzlch r de Gtarre Vorschle r de Aushrun derVerzerunen nden sch au Sete 33
Aunque varas versones manuscrtas de esta sute exsten en notacón deteclado es cas seuro que ue escrta ornalmente para el laúd La rca ysonora consstenca y las uras enércas tan caracterstcas del laúd sontambén admrablemente convnadas a la utarra En la pána 33 seencontrarn suestones para la nterpretacón de los adornos
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34
J . Bach(1685-1750)
Two Preudeseux Préudes Zw s PreudisMuh of Bahs mus fr unaompaned el s we suted to the gutarnot east eause of the smarty n the range of the two nstrumntsutarsts also have a useful mode fr transrpton n Bahs own luteverson of the thrd unaompaned el sute. The two preudes havetransrbed from the rst and furth sutes are both haraterzed by
freey movng arpeggo gures and have purposey left the nterpretatonof phrasng and artuaton to the players own ntuton.
Une grande parte de a musque de Bah pour volonee seu onventadmrabement la gutare pusque les deux nstruments possdent a mmetessture. Pour les transrptons es gutarstes peuvent galement serfrer a verson pour luth de a trosme sute pour volonele rtepar Bah umme. Les deux prludes que ja transrts eux de lapremre et de a quatrme sutes sont toux deux aratrss par destrats trs brement arpgs et est dessen que ja lass lnterprtatondu phras et de lartulaton ntuton de exutant.
En grosser Te von Bahs Musk für Cel Solo egnet sh vorzüglh fürtarre nht zum wengsten wegen der Áhnlhket der beden Instrumente m Tonumfang. Bahs egene Fassung der drtten Cel SooSute für Laute kann ausserdem tarrespelern als brauhbares Bespeener Transkrpton denen De zwe Prluden aus der ersten und vertenSute e h übertragen habe snd durh fre laufende arpeggerendeFguren gekennzehnet Phraserung und Artkulaton habe h abshtlhdem efüh des Spelers überassen
Una gran antdad de la músa de Bah para el voonelo no aompañado
es ben dgno de a gutarra prnpamente a ausa de a extensn smlarde los dos nstrumentos. Tambn en la propa versn de Bah para aúddel terer sute para volonelo no aompañado gutarrstas tenen unmodelo út para transrpn. Los dos preudos que he transrto de osdos sutes prmero y uarto son araterzados ambos por guras arpegoon movmento lbre y he dejado on ntenn para a propa ntun delmúso a nterpretan de fraseo y expresn.
8/19/2019 BREAM, J. - The Julian Bream Guitar Library - Vol 1 the Baroque Era
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35
TWO PRELUDESDeux Préludes · Zwei Praludien · Dos Preludios
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46
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Explanation of the following signs may be useful:Die Erkrung der folgenden Zeichen mag für den Spieler von Nutzen seinL'explication des signes suivans pourrait tre uileLa explicación de los senales siguientes puede ser útil
cIII
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LH legato or slur
MG legato ou liaison
LH nger indicated should remain on thestring Pressure should be released for a shiftto another fret.
MG le doigt indiqué doit rester sur la cordeLa pression doit cesser au changement decase
LH ngers must be positioned before theensuing phrase is played
Les doigts de la MG doivent tre en positionavant de jouer la phrase suivante.
Grand
brréGrand brréBrré stopping strings or less
Brré sur cordes au moins
Momentary brré, stopping the strings indicated by the bracket
Brré momentané sur les cordes indiquéesentre parenthses
Natural harmonics are shown by a diamondnote-head at their true pitch with fet andstring numbers indicated For articial harmo
nics the diamond notehead shows the note tobe stopped while the frenger of the RHtouches the string above the fret indicated
Les harmoniques naturelles sont indiquées la hauteur réelle par une tte de note carréePour les harmoniques articielles la tte denote carrée indique la note ouer tandis quelindex droit se pose sur la corde au-dessus dela case indiquée
Notes indicated by the bracket to be pluckedsimultaneously by the
RHthumb
Les notes pourvues de parenthses sont pincer simulanément avec le pouce droit
Linke Hand legato oder Bindebogen .
MI. legato o ligadura.
Die angedeuteten linken Finger sollen auf derSaite bleiben Bei Bundwechsel soll derDruck aufhren
M el dedo indicado debe quedar sobre lacuerda a presión debe cesar al cambiar detraste
Bevor die nchste Phrase gespielt wird, mussdie Fingerstellung der lnken Hand eingenommen werden
Los dedos de la MI deben estar en posiciónantes de tocar la frase siguiente
Grosser Quergriff
brréGran "barré
Quergriff über oder weniger Saiten.
"Barré pisando cuerdas o menos
Kurzer Quergriff über die durch die Klammerbezeichneten Saiten
"Barré momentario pisando las cuerdasindicadas entre paréntesis
Natürliche Flageolettne werden mit viereckigen Notenkpfen in der richtigen Tonhheangezeigt mt vorgeschriebenem Bund und
Saitennummern Für künstliche Flageolettnezeigt der viereckige Notenkopf den zu stoppenden on ahrend der rechte Vordernger die Saite über dem bezeichneten Bundberührt
os armónicos naturales son indicados en sudiapasón exacto por una cabeza de notacuadrada con los números de traste y cuerdaindicados Para armónicos articiales la cabeza de nota cuadrada indica la nota para pisarmientras el dedo índice de la MD se pone enla cuerda sobre el traste indicado
Noten die mit Klammern versehen sindsollen gleichzeitig mit dem rechten Daumen
gespielt werden
Las notas indicadas por paréntesis son parapuntear con el dedo pulgar de la MD
47