 | Bach, Johann Sebastian - Concerto I in G Major for Harp Duet BWV 592 2 Harps (Duet) |
Vidéo :
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| Composer : | Bach, Johann Sebastian (1685 - 1750) | ||||
| Instrumentation : | 2 Harps (Duet) | ||||
| Style : | Baroque | ||||
| Arranger : | MAGATAGAN, MICHAEL (1960 - ) | ||||
| Publisher : | MAGATAGAN, MICHAEL | ||||
| Copyright : | Public Domain | ||||
| Added by magataganm, 15 Jul 2016 Johann Ernst of Saxe-Weimar (1696–1715) was a German prince, son by his second marriage of Johann Ernst III, Duke of Saxe-Weimar. Despite his early death he is remembered as a collector and commissioner of music and as a composer some of whose concertos were arranged for harpsichord or organ by Johann Sebastian Bach, who was court organist in Weimar at the time. During his life, Walther transcribed seventy-eight concertos for keyboard. Bach also produced a number of virtuoso organ (BWV 592–6) and harpsichord (BWV 972–987) arrangements. These included some of the prince's own works (BWV 592, 592a, 595, 982, 984 and 987) as well as works by German and Italian composers, including Georg Philipp Telemann (BWV 985) and Vivaldi (BWV 972, 973 etc.). The Bach transcriptions were created roughly during the period July 1713–July 1714 between Johann Ernst's return from Utrecht and the prince's final departure from Weimar. There is some scholarly debate on Johann Ernst's role in the creation of these arrangements, whether he commissioned some from one or both of the musicians or whether Bach, in particular, was studying some of the works collected by the prince for their own sake. There are suggestions that on a visit to Amsterdam in February 1713 the Prince may have heard the blind organist J. J. de Graff, who is known to have played keyboard arrangements of other composers' concertos. In any case, Bach's encounter with the prince's collection, and especially the Italian music it contained, had a profound influence on the development of the composer's musical style The Concerto in G major is one of a group of five concerto transcriptions made by Bach in Weimar around 1713. Compositions by Vivaldi served as examples for three of these transcriptions. The original on which this concerto is based was written by Prince Johann Ernst. This young nephew of Bach’s employer in Weimar, who was a promising violinist and composer, lived in the Netherlands for a while. When Vivaldi’s revolutionary volume of string concertos, L’estro armonico, was published in Amsterdam in 1711, Johann Ernst immediately set to work on writing concertos as well. Although Bach was also fascinated by this new Italian genre, he took a different approach. He started by making transcriptions, presumably to get to grips with the finer points first. Maybe it would have been better for the young prince to do likewise, as Bach made considerably more ‘corrections’ and improvements to his composition than he did to Vivaldi’s concertos. Nevertheless, it is a piece to be reckoned with. The first movement exudes such overwhelming joy that it brings tears to your eyes. The simple little motifs of the solo and tutti parts are played on various keyboards always a step higher, until they reach the highest regions. It is one-dimensional in the very best sense of the word. As a contemplative counterpart, the middle movement is dominated by a rather mysterious, legato rhythm. In the final movement, the same overwhelming youthful exuberance returns again. The prince died in 1715, when he was only eighteen years old. We can only guess at what he might have produced had he lived. But the fact that Bach recognised his talent and did not think himself above revealing the potential of this boy’s work speaks volumes. Source: Allofbach (http://allofbach.com/en/bwv/bwv-592/). Although originally written for Organ, I created this modern interpretation of the Concerto I in G Major (BWV 592) for Concert (Pedal) Harp Duet. Sheet central : | Concerto pour Orgue en Sol majeur, Grave-Presto (9 sheet music) | | |||
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