50 хоральных прелюдий PDF
Preview 50 хоральных прелюдий
J. S. Bach 50 CHORALE PRELUDES TRANSCRIPTIONS FOR PIANO BY I. K. TSCHERLITZKY SHEET MUSIC FOURTH EDITION, STEREOTYPED И. С. Бах 50 ХОРАЛЬНЫХ ПРЕЛЮДИЙ ПЕРЕЛОЖЕНИЕ ДЛЯ ФОРТЕПИАНО И. К. ЧЕРЛИЦКОГО НОТЫ ИЗДАНИЕ ЧЕТВЕРТОЕ, СТЕРЕОТИПНОЕ УДК 786.2 6+ ББК 85.954.2 Б 30 Bach J. S. 50 Chorale Preludes : sheet music / J. S. Bach ; I. K. Tscher- litzky (transcriptions for piano). – 4th edition, ster. – Saint Petersburg : Lan : The Planet of Music, 2022. – 184 pages. – Text : direct. The organ heritage of J.S. Bach (1685—1750) is vast: the composer turned to his favorite instrument throughout all his career. Of a special genre variety are the chorale preludes (there are more than 150 of them). I. K. Tscherlitzky (1799—1865), a Petersburg pianist, organist and teacher, did much for the popularization of Bach's organ music writing the transcriptions for piano. This collection includes 50 chorale preludes in transcriptions for piano by Tscher- litzky. The edition is addressed to students of the senior classes of children's music schools, students of music colleges and high schools, as well as a wide range of music lovers. Б 30 Бах И. С. 50 хоральных прелюдий : ноты / И. С. Бах ; И. К Черлицкий (переложение для фортепиано). – 4-е изд., стер. – Санкт-Петербург : Лань : Планета музыки, 2022. – 184 с. – Текст : непосредственный. ISBN 978-5-507-44407-6 (Издательство «Лань») ISBN 978-5-4495-1972-6 (Издательство «ПЛАНЕТА МУЗЫКИ») ISMN 979-0-66005-368-3 (Издательство «ПЛАНЕТА МУЗЫКИ») Органное наследие И. С. Баха (1685—1750) обширно: композитор обращался к своему любимому инструменту на протяжении всего творческого пути. В жанровом разнообразии особое место занимают хоральные прелюдии (более 150). И. К. Черлиц- кий (1799—1865), петербургский пианист, органист и педагог, принимал активное участие в популяризации органной музыки Баха путем ее переложения для фортепи- ано. В настоящем сборнике публикуются 50 хоральных прелюдий в переложении для фортепиано Черлицкого. Издание адресовано ученикам старших классов детских музыкальных школ, студентам музыкальных училищ и вузов, а также широкому кругу любителей музы- ки. ББК 85.954.2 Ноты для переиздания предоставила Библиотека Санкт-петербургской Акаде- мической филармонии имени Д. Д. Шостаковича. Издательство выражает благодар- ность Директору библиотеки Павлу Вячеславовичу Дмитриеву и библиографу Евгению Витальевичу Расшивалову за помощь в осуществлении издания. Обложка © Издательство «ПЛАНЕТА МУЗЫКИ», 2022 А. Ю. ЛАПШИН © Е.А.Ильянова, составление, вступительная статья, 2022 © C.В.Стройкин, перевод, 2022 © Издательство «ПЛАНЕТА МУЗЫКИ», художественное оформление, 2022 FFFFOOOORRRREEEEWWWWOOOORRRRDDDD ÏÏÏÏÐÐÐÐÅÅÅÅÄÄÄÄÈÈÈÈÑÑÑÑËËËËÎÎÎÎÂÂÂÂÈÈÈÈÅÅÅÅ In the first half of the XIX cen-  ïåðâîé ïîëîâèíå XIX âåêà tury, the activities of Ivan Karlovich äåÿòåëüíîñòü Èâàíà Êàðëîâè÷à ×åð- Tscherlitzky (1799—1865) had a signifi- ëèöêîãî (1799—1865) îêàçàëà çíà÷è- cant impact on the musical life of St. òåëüíîå âëèÿíèå íà ìóçûêàëüíóþ Petersburg. Now his name is seldom æèçíü Ïåòåðáóðãà. Ñåé÷àñ åãî èìÿ mentioned in musical studies. èçðåäêà óïîìèíàåòñÿ â ìóçûêîâåä÷å- Tscherlitzkywas born in Kazan, ñêèõ òðóäàõ. but in 1818 he and his family moved to ×åðëèöêèé ðîäèëñÿ â Êàçàíè, St. Petersburg, a city that made his íî óæå â 1818 ãîäó ñ ñåìüåé ïåðååõàë development as a musician. â Ïåòåðáóðã — ãîðîä, êîòîðûé îïðå- äåëèë âåêòîð åãî ðàçâèòèÿ êàê ìó- His first teacher, as often hap- çûêàíòà. pens in musical families, was his father Åãî ïåðâûì ïåäàãîãîì, êàê ÷à- — a pianist and organist Karl T s c h e r - ñòî áûâàåò â ìóçûêàëüíûõ ñåìüÿõ, litzky, who served as a home music ñòàë îòåö — ïèàíèñò è îðãàíèñò teacher. Êàðë ×åðëèöêèé, ñëóæèâøèé äî- John Field, a composer and pia- ìàøíèì ó÷èòåëåì ìóçûêè. nist of Irish descent, who lived in Rus- Áîëüøîå âëèÿíèå íà ñòàíîâëå- sia for the most part, had a great influ- íèå åãî êàê èñïîëíèòåëÿ è ïåäàãîãà ence on his development as a performer îêàçàë Äæîí Ôèëä — êîìïîçèòîð è and teacher. T s c h e r l i t z k y , as an adherent ïèàíèñò èðëàíäñêîãî ïðîèñõîæäå- of Field pianism, actively introduced íèÿ, áîëüøóþ ÷àñòü æèçíü ïðîæèâ- his postulates into methodical litera- øèé â Ðîññèè. ×åðëèöêèé, êàê ïðè- ture1, and published a small musical âåðæåíåö ôèëäîâñêîãî ïèàíèçìà, àê- encyclopedia-reference book2. Teaching òèâíî âíåäðÿë åãî ïîñòóëàòû â ìåòî- in the Imperial Educational Society of äè÷åñêóþ ëèòåðàòóðó1, à òàêæå èç- Noble Maidens in the periods from äàë íåáîëüøóþ ìóçûêàëüíóþ ýíöèê- 1820 to 1829 and in 1845—1853 and lead- ëîïåäèþ-ñïðàâî÷íèê2. Ïðåïîäàâàÿ â ing active pedagogical activity for sev- Èìïåðàòîðñêîì âîñïèòàòåëüíîì îá- eral decades, T s c h e r l i t z k y has brought up ùåñòâå áëàãîðîäíûõ äåâèö â ïåðèîäû more than one generation of pianists, 1 14 ïåðâîíà÷àëüíûõ ìàëûõ óïðàæíå- íèé; Ïîëíàÿ ôîðòåïèàííàÿ øêîëà. Äî- 1 14 initial small exercises; complete piano ïîëíèòåëüíûé òåîðåòè÷åñêèé è ïðàêòè- school. An additional theoretical and prac- ÷åñêèé òðàêòàò êî âñåì ôîðòåïèàííûì tical treatise for all piano schools. øêîëàì. 2 Musical guide for artists and music lov- 2 Ìóçûêàëüíîå ðóêîâîäñòâî äëÿ àðòèñòîâ ers, which contains a short encyclopedia, è ëþáèòåëåé ìóçûêè, ñîäåðæàùåå â ñåáå i.e. the most important of the knowledge of êðàòêóþ ýíöèêëîïåäèþ, ò.å. íàèíóæ- music, the explanation of all foreign words íåéøåå èç ïîçíàíèÿ ìóçûêè, èçúÿñíåíèå and biographical essays about the most out- âñåõ èíîñòðàííûõ ñëîâ è áèîãðàôè÷å- standing artists of music, etc. Translation ñêèå î÷åðêè îá îòëè÷íåéøèõ àðòèñòàõ from German opuses with the addition of ìóçûêè è ïð. Ïåðåâîä ñ íåìåöêèõ òâî- many new articles by Ivan Tscherlitzky. — St. ðåíèé ñ ïðèáàâëåíèåì ìíîãèõ íîâûõ Petersburg, 1852. ñòàòåé Èâàíà ×åðëèöêîãî. — ÑÏá, 1852. 4 including his cousin Alexander Tscher- ñ 1820 ïî 1829 è 1845?1853 ãã. è âå- litzky. äÿ àêòèâíóþ ïåäàãîãè÷åñêóþ äåÿ- òåëüíîñòü íà ïðîòÿæåíèè íåñêîëüêèõ Tscherlitzky showed himself early äåñÿòèëåòèé, ×åðëèöêèé âîñïèòàë íå as an outstanding and bright organist. îäíî ïîêîëåíèå ïèàíèñòîâ, â ÷èñëå From 1819 to 1822 he gave several con- êîòîðûõ è åãî êóçåí Àëåêñàíäð ×åð- certs in the Peter and Paul Lutheran ëèöêèé. Church. The program, consisting of the ×åðëèöêèé ðàíî ïðîÿâèë ñåáÿ rarely performed organ music of J. S. êàê íåçàóðÿäíûé è ÿðêèé îðãàíèñò. Bach, was accepted by the audience Ñ 1819 ïî 1822 ãã. îí äàë íåñêîëüêî with enthusiasm. It was Tscherlitzky who êîíöåðòîâ â Ïåòðîïàâëîâñêîé ëþòå- became one of the first popularizers of ðàíñêîé öåðêâè. Ïðîãðàììà, ñîñòîÿ- the organ music of the German com- ùàÿ èç ðåäêî èñïîëíÿåìîé òîãäà îð- poser in Russia. The way of its distri- ãàííîé ìóçûêè È. Ñ. Áàõà, áûëà bution he saw in the transcriptions for ïðèíÿòà ïóáëèêîé ñ âîñòîðãîì. the piano, an instrument, for obvious Èìåííî ×åðëèöêèé ñòàë îäíèì èç reasons, more accessible than the or- ïåðâûõ ïîïóëÿðèçàòîðîâ îðãàííîãî gan. òâîð÷åñòâà íåìåöêîãî êîìïîçèòîðà â Ðîññèè. Ïóòü åãî ðàñïðîñòðàíåíèÿ îí It is possible that Franz Liszt âèäåë â ïåðåëîæåíèè äëÿ ôîðòåïèà- inspired these transcriptions. Coming íî — èíñòðóìåíòà, ïî ïîíÿòíûì with concert performances in St. Pe- ïðè÷èíàì áîëåå äîñòóïíîãî, íåæåëè tersburg in 1842@1843, Liszt probably îðãàí. performed his arrangements of Bach's Âîçìîæíî, ÷òî ê ñîçäàíèþ îá- music. ðàáîòîê ×åðëèöêîãî âîîäóøåâèë Ôå- ðåíö Ëèñò. Ïðèåçæàÿ ñ êîíöåðòíûìè Published in 1844@1845 in St. âûñòóïëåíèÿìè â Ïåòåðáóðã â 1842? Petersburg, eleven books of transcrip- 1843 ãã., Ëèñò, âåðîÿòíî, èñïîëíÿë tions were the first edition of piano ñâîè òðàíñêðèïöèè ìóçûêè Áàõà. transcriptions of Bach's organ works. Îïóáëèêîâàííûå â 1844?1845 â Ïåòåðáóðãå îäèííàäöàòü òåòðàäåé Later, many musicians actively ñòàëè ïåðâûì èçäàíèåì ôîðòåïèàí- picked up this trend. Among the most íûõ òðàíñêðèïöèé îðãàííûõ ñî÷è- famous are the works of F. Liszt, F. íåíèé Áàõà. Busoni, K. Tausig, A. Ziloti, and oth- Ïîçäíåå ýòà òåíäåíöèÿ áûëà àê- ers, which have become an integral part òèâíî ïîäõâà÷åíà ìíîãèìè ìóçûêàíòàìè. of the repertoire of concert pianists. Ê ÷èñëó ñàìûõ èçâåñòíûõ îòíîñÿòñÿ îáðàáîòêè Ô. Ëèñòà, Ô. Áóçîíè, Ê. Tscherlitzky is the author of trans- Òàóçèãà, À. Çèëîòè è äð., ñòàâøèå criptions of 50 chorale preludes and more íåîòúåìëåìîé ÷àñòüþ ðåïåðòóàðà than 30 polyphonic cycles of Bach, êîíöåðòèðóþùèõ ïèàíèñòîâ. which is quantitatively superior to all ×åðëèöêèé — àâòîð îáðàáîòîê the now famous authors of transcrip- 50 õîðàëüíûõ ïðåëþäèé è áîëåå ÷åì tions. Unfortunately, due to the lack of 30 ïîëèôîíè÷åñêèõ öèêëîâ Áàõà, 5 reprints, the editions have become a ÷åì êîëè÷åñòâåííî ïðåâçîøåë âñåõ bibliographic rarity: most of them have íûíå èçâåñòíûõ àâòîðîâ òðàíñêðèï- left the performing practice. öèé. Ê ñîæàëåíèþ, â ñâÿçè ñ îòñóò- ñòâèåì ïåðåèçäàíèé íîòû ñòàëè áèá- The collection of piano transcrip- ëèîãðàôè÷åñêîé ðåäêîñòüþ: áîëüøàÿ tions of chorale preludes will interest èõ ÷àñòü âûøëà èç èñïîëíèòåëüñêîé pianists of various levels of profes- ïðàêòèêè. sional training: from pupils of the up- Ñáîðíèê ôîðòåïèàííûõ ïåðå- per grades of children's music schools ëîæåíèé õîðàëüíûõ ïðåëþäèé çàèí- and art schools to concert pianists. òåðåñóåò ïèàíèñòîâ ðàçëè÷íîãî óðîâ- íÿ ïðîôåññèîíàëüíîé ïîäãîòîâêè: îò E. A. Ilyanova, sheet music editor, ó÷åíèêîâ ñòàðøèõ êëàññîâ äåòñêèõ Publishing house "The Planet of Music" ìóçûêàëüíûõ øêîë è øêîë èñêóññòâ äî êîíöåðòèðóþùèõ ïèàíèñòîâ. Е. А. Ильянова, музыкальныйредактор издательства «Планетамузыки» Note on the facsimile title (p. 3): Ïðèìå÷àíèå ê ôàêñèìèëüíîìó òèòó- ëó (c. 3): Facsimile of the title page of the origi- Ôàêñèìèëå òèòóëüíîãî ëèñòà îðèãè- nal edition with a dedication to Count íàëüíîãî èçäàíèÿ c ïîñâÿùåíèåì Michel Wielhorski - musician and com- ãðàôó Ìèõàèëó Þðüåâè÷ó Âèåëüãîð- poser. In the publication, in addition to ñêîìó — ìóçûêàëüíîìó äåÿòåëþ è chorale preludes, organ cycles of pre- êîìïîçèòîðó.  èçäàíèå, ïîìèìî õî- ludes and fugue were included. ðàëüíûõ ïðåëþäèé, âîøëè îðãàííûå öèêëû ïðåëþäèé è ôóã. 6 .. ALLEIN GOTT IN DER HOH' SEI EHR' №1 p aaaa 2222 vvvvoooocccciiii ben cantabile il canto fermo 7 rf rf 8 rf coll' ottavabassa a due mani ad lib. 9 DURCH ADAMS FALL FUGA №2 Sopra il canto fermo, a capella aaaa 4444 vvvvoooocccciiii m.d. 10
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