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Vidéo :
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| Composer : | Bach, Johann Sebastian (1685 - 1750) | ||||
| Instrumentation : | Violin, Harp | ||||
| Style : | Baroque | ||||
| Key : | G major | ||||
| Arranger : Publisher : | MAGATAGAN, MICHAEL (1960 - ) | ||||
| Copyright : | Public Domain | ||||
| Added by magataganm, 16 Jul 2017 In late spring 1713, the young prince Johann Ernst returned from his studies at the University of Utrecht to his home at the court at Weimar, where Johann Sebastian Bach was employed as organist. At this time, the prince is believed to have commissioned a series of keyboard works from Bach based on preexisting concertos by other composers. He had heard, during a recent visit to Amsterdam, organist Jan Jacob de Graaf realize solo works and several Italian concertos. Bach subsequently transcribed 16 concertos for various instruments as solo keyboard pieces, using as his source material compositions by Torelli, Marcello, and even Prince Johann Ernst himself -- and of course, the acknowledged master of the genre, Antonio Vivaldi. The latter composer's work provided the basis for the lion's share of the concerto transcriptions from this period, including the work under consideration here, Bach's Concerto No. 2 in G major (BWV 973). Bach based the BWV 973 solo concerto on Vivaldi's Concerto for violin and strings, Op. 7/2, from the second volume of the Concerti a 5 stromenti. (Johann Ernst appears to have gone to the trouble of acquiring a manuscript copy of the work, since the Op. 7 did not appear in print until 1720.) Bach retained the key of the original and left Vivaldi's structure more or less intact. The piece is cast in the three characteristic movements of modest length, two outer fast movements framing the central Largo. The opening movement is built of running sequences based on thirds and fourths, its linear drive idiomatic to the violin but certainly not foreign to the harpsichord; the tutti and solo sections of the original are observed through contrasting chordal and contrapuntal textures. The voice of the original violin can be detected most distinctly in the rapid rising and falling arpeggios of the third solo passage, the jagged melodic contour evoking nimble bowing motions. The non-sustained tone of the harpsichord compels Bach, in the slow E minor movement that follows, to substitute for the violin's inherent fluidity and lyricism the languorous ornamental effects afforded by the keyboard's action. The final movement, returning to the bright G minor key, has more energy and insistence. The solo line builds upon quick, repeat rising gestures and reiterated notes, weaving its way through the keyboard texture as the piece progresses toward its close. Source: AllMusic (http://www.allmusic.com/composition/concerto-for-solo- keyboard-no-2-in-g-major-after-vivaldi-op-7-2-rv-299-bw v-973-bc-l191-mc0002380038). Although originally written for Harpsichord. I created this Arrangement of the Concerto in G Major (BWV 973) for Violin & Concert (Pedal) Harp. Sheet central : | 16 concertos pour clavecin solo d'après divers compositeurs (85 sheet music) | | |||
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