 |
Vidéo :
![]()
![]()
| Composer : | Bach, Johann Sebastian (1685 - 1750) | ||||
| Instrumentation : | Quartet: oboe, violin, viola, cello | ||||
| Style : | Baroque | ||||
| Key : | D minor | ||||
| Arranger : Publisher : | MAGATAGAN, MICHAEL (1960 - ) | ||||
| Copyright : | Public Domain | ||||
| Added by magataganm, 25 Sep 2017 To say that J.S. Bach's Harpsichord Concerto No. 8 in D minor, BWV 1059, is incomplete doesn't really begin to explain the real state of affairs. Just nine bars of the piece -- the first nine bars -- have survived. Because of Bach's practice of re-using and reshaping his own material, however, it is possible to reconstruct at least the first movement of the concerto with reasonable accuracy, and several such reconstructions do exist. The situation is a complicated one and needs some explaining. We know that BWV 1059, like nearly all of Bach's harpsichord concertos, is (or perhaps was -- it very nearly qualifies as a "lost" work) an adaptation of a concerto written for another instrument, in this case oboe. That work is completely lost. Before he ever got around to making the harpsichord version (which probably dates from the mid- to late 1730s), however, Bach adapted the first movement of the oboe concerto for use as the opening sinfonia of Cantata No. 35, Geist und Seele wird verwirret, BWV 35, of 1726 -- we know this because the surviving nine bars of the harpsichord version are identical to the opening of BWV 35's opening sinfonia. As that sinfonia has an obbligato organ part, it is not an impossible task to fashion a rough cut of the first movement of the Harpsichord Concerto No. 8 in D minor. Furthermore, it may well be the case that the remaining two movements of the concerto, seemingly lost altogether, are to be found in that same cantata. The very first solo alto aria of the cantata also has an obbligato organ part and may be the slow movement "in disguise" (of course, we know from other examples of Bach adapting his concerto slow movements as arias that the music sometimes takes very different shapes to accommodate two soloists -- the singer and the obbligato -- and reconstruction by working backwards is a risky business), and the second half of the cantata begins with another sinfonia that some feel to be a new form of the oboe concerto finale. Because the work does not actually exist in a proper sense, performances and recordings of BWV 1059 are understandably few and far between. But there is value in a reconstruction such as Igor Kipnis' well-known one, enough to give us a taste, perhaps, of the lost ambrosia. Source: AllMusic (http://www.allmusic.com/composition/concerto-for-harps ichord-oboe-strings-continuo-no-8-in-d-minor-incomplete -bwv-1059-mc0002380030). Although originally written for Harpsichord, Oboe, Strings and Continuo, I created this Arrangement of the Concerto in D Minor (BWV 1059R) for Oboe & Strings (2 Violins, Viola & Cello). Sheet central : | Concerto pour clavecin No.8 en Ré mineur (6 sheet music) | | |||
 |
 |
 |
 |
© 2000 - 2024
Home - New realises - Composers
Legal notice - Full version