Johann Adam Reincken (also Jan Adams, Jean Adam,
Reinken, Reinkinck, Reincke, Reinicke, Reinike;
baptized 10 December 1643 – 24 November 1722) was a
Dutch/German organist and composer. He was one of the
most important German composers of the 17th century, a
friend of Dieterich Buxtehude and a major influence on
Johann Sebastian Bach; however, very few of his works
survive to this day.
The individual movements in the original print of
"Hortus Musicus" are grouped into six tonally close...(+)
Johann Adam Reincken (also Jan Adams, Jean Adam,
Reinken, Reinkinck, Reincke, Reinicke, Reinike;
baptized 10 December 1643 – 24 November 1722) was a
Dutch/German organist and composer. He was one of the
most important German composers of the 17th century, a
friend of Dieterich Buxtehude and a major influence on
Johann Sebastian Bach; however, very few of his works
survive to this day.
The individual movements in the original print of
"Hortus Musicus" are grouped into six tonally closed
trio sonatas with suite appendixes. While BWV 965
encompasses an entire sonata with suite, BWV 966
includes the Sonata in C Major and the ensuing
Allemande, and BWV 954 is limited to the imitative
Allegro section of the Sonata in Major. To all
appearances, this sequence corresponds to the course of
J. S. Bach's study through arranging: he begins with
the transcription of a complete sonata but then
concentrates increasingly on the contrapuntal
movements. Bach's arrangements of the noncontrapuntal
movements consist of richly figured but generally exact
clavier transcriptions of Reinken's in-strumental
originals. The gigues and allegro movements, by
contrast, are not simply expanded but are actually
newly composed.
Bach's own interest extends to the unfolding of the
imitative allegro movements in the sense of a formal
fugue. Hermann Keller" and Ulrich Siegele have analyzed
Bach's Reinken transcriptions from various points of
view, and they stress the structural similarity and
chronological proximity to the fugues of Well-Tempered
Clavier I. However, their discussions are based on
Spina's dating of the works in connection with Bach's
Hamburg trip of I720. New discoveries regarding the
manuscript sources of the arrangements force one to
abandon this dating and think through the style of the
pieces once again. The earliest source for BWV 965 and
966 is in the Deutsche Staats-bibliothek, Berlin, where
the arrangements are entered in the hand of Johann
Gottfried Walther (probably around 1712 at the
latest).
These arrangements by Bach were likely created before
1710, and probably even earlier. Speaking in favor of
this early date is the direct stylistic connection with
Bach's fugue compositions after Italian trio sonata
models: Fugue in B Minor BWV 579, after Corelli, op. 3,
no. 4 (Rome, 1689); Fugues in A Major, B Minor, and C
Major BWV 95o, 951/95 IR, and 946, after Albinoni, op.
I, nos. 3, 8, and 12 (Venice, 1694); and Fugue in C
Minor BWV 574/574a/5746, after Legrenzi, op. 2, no. Ix,
"La Mont Albane" (Venice, x655).68 The similarities of
genre (Reinken's sonatas represent a North German
variant of the Italian trio sonata, standing between
the Legrenzi type and the Corelli and Albinoni models)"
already point to a distinct link, implying that Bach
became occupied with the chamber music of the passing
seventeenth century, together with its performance
practices, when this repertoire was still current."
A bit of chronological evidence for the early dating of
Bach's Italian transcriptions can be gleaned from the
sources, for the early version of the Legrenzi Fugue
BWV 574b is handed down in the Andreas Bach Book." The
Andreas Bach Book also contains open scores of the
first two Trio Sonatas from Albinoni's op. 1. The
sister manuscript, the Moller Manuscript, contains an
arrangement of a Reinken fugue" made by Peter Heidorn,
which completes the chain of circumstances that appears
to confirm the North German origin of this sort of
keyboard transcription of instrumental sonatas. This
situation seems to be an early parallel to the
Netherlandish origin of the concerto transcriptions for
keyboard instruments." In this case, Reinken would seem
to be the logical connecting link. Thus Bach's
arrangements of Reinken's works must be grouped with
his arrangements of Italian trio sonatas, especially
with regard to the technical, formal, and stylistic
evolution of the Bach keyboard fugue as it unfolded
before 1710." In this context the following theoretical
considerations—in which the musical analysis must
necessarily remain cursory—can be set forth.
Source: AllMusic
(http://www.allmusic.com/album/js-bach-sonatas-for-harp
sichord).
Although originally written for Harpsichord. I created
this Arrangement of the Sonata in C Major (BWV 966) for
Woodwind Trio (Flute, Oboe & Bassoon).
