J. S. Bach: Brandenburg Concerto No. 6 Second movement: Adagio ma non tanto Third movement: Allegro (arr. Guido Umberto Sacco) by Guido Umberto Sacco Sheet Music for Performance Ensemble at Sheet Music Direct
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J. S. Bach: Brandenburg Concerto No. 6 Second movement: Adagio ma non tanto Third movement: Allegro (arr. Guido Umberto Sacco) Digital Sheet Music
Cover Art for "J. S. Bach: Brandenburg Concerto No. 6 Second movement: Adagio ma non tanto Third movement: Allegro (arr. Guido Umberto Sacco)" by Guido Umberto Sacco PASS

J. S. Bach: Brandenburg Concerto No. 6 Second movement: Adagio ma non tanto Third movement: Allegro (arr. Guido Umberto Sacco)
by Guido Umberto Sacco Performance Ensemble - Digital Sheet Music

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Purchase of J. S. Bach: Brandenburg Concerto No. 6 Second movement: Adagio ma non tanto Third movement: Allegro (arr. Guido Umberto Sacco) includes:
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This transcription of J. S. Bachs Brandenburg Concerto No. 6 for two alto saxophones, two clarinets, piano, and double bass stems, in the arrangers own words, from a somewhat piratical, irreverent incursion into the Baroque repertoire, driven by the desire not to exclude entire families of instruments from the opportunity to study and perform works from certain historical periods.
While preserving the greatest possible fidelity to the original score, the adaptation takes advantage of the natural affinity of the key of B with the chosen instruments, reassigning parts with careful attention to timbral balance and contrapuntal clarity. The piano combines the basso continuo with the cellos concertante line, while the double bass assumes the role of the violone.
The result is a version that retains Bachs musical integrity while opening up new performance opportunities in both educational and professional contexts.
Includes: full score, concert pitch score, and individual parts.

Questa trascrizione del Concerto Brandeburghese n. 6 di J. S. Bach per due sassofoni contralti, due clarinetti, pianoforte e contrabbasso nasce, come scrive larrangiatore, da una scelta un po piratesca, unincursione irriverente nel repertorio barocco, mossa dal desiderio di non precludere a intere famiglie strumentali la possibilità di studiare ed eseguire brani di determinati periodi storici.
Pur mantenendo la massima fedeltà possibile al testo originale, ladattamento valorizza la naturale affinità della tonalità di si con gli strumenti scelti, riassegnando le parti con attenzione a equilibrio timbrico e chiarezza contrappuntistica. Il pianoforte integra basso continuo e linea concertante del violoncello, mentre il contrabbasso assume il ruolo del violone.
Il risultato è una versione che conserva lintegrità musicale bachiana e apre nuove possibilità esecutive sia in ambito didattico che professionale.
Sono incluse: partitura, partitura in suoni reali, parti staccate.

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