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Cascade Records. The Basic Library. The Philips Recordings: Szymon Goldberg. Bach Edition: Complete Works. Challenge Records. Best of Bach [Warner]. Boyd Neel String Orchestra. Dutton Vocalion. German Bach Soloists. Capriccio Records. Bach: Brandenburg Concertos Complete. Bach: Brandenburg Concertos, Nos. Jerzy Maksymiuk. EMI Music Distribution. It continues throughout the piece providing the foundations over which the solo harpsichord spins a florid and ornamented melodic line in four long episodes.
More generally Jones has pointed out that the predominant keys in the outer movements centre around the open strings of the violin. Several hand copies of the concerto—the standard method of transmission—survive from the 18th century; for instance there are hand copies by Johann Friedrich Agricola around , by Christoph Nichelmann and an unknown scribe in the early s. Its first publication in print was in by the Kistner Publishing House. The performance history in the nineteenth century can be traced back to the circle of Felix Mendelssohn.
Several prominent scholars, Siegbert Rampe and Dominik Sackmann, Ulrich Siegele, and Wilfried Fischer have argued that Bach transcribed this concerto from a lost original for oboe or oboe d'amore Rampe and Sackmann argued for a dating in Bach changed his method of arrangement with this work, significantly altering the ripieno parts from the original concerto for the first time, limited much more to the tutti sections.
The lower string parts were much reduced in scope, allowing the harpsichord bass to be more prominent, and the upper strings were likewise modified to allow the harpsichord to be at the forefront of the texture.
The surviving violin concerto in E major, BWV was the model for this work, which was transposed down a tone to allow the top note E 6 to be reached as D 6 , the common top limit on harpsichords of the time.
The opening movement is one of the rare Bach concerto first movements in da capo A—B—A form. In Ignaz Moscheles performed the concerto in London.
That it was an oboe d'amore was proposed in by Donald Francis Tovey , in by Ulrich Siegele,  in by Wilfried Fischer,  and in by Pieter Dirksen. Wollny notes that whatever the origins, the final work is the only Bach Harpsichord Concerto for which "a complete original set of parts has survived"; included is a "fully figured continuo part," which scholars agree was for a second harpsichord.
This middle movement closely resembles the opening Andante of a Flute Concerto in G major TWV G2 by Georg Philipp Telemann ; the soloists play essentially identical notes for the first two-and-a-half measures.
Although the chronology cannot be known for certain, Steven Zohn has presented evidence that the Telemann concerto came first, and that Bach intended his movement as an elaboration of his friend Telemann's original.
An arrangement of Brandenburg Concerto No. Besides transposing, recorder parts have few modifications, except in the second movement in which most of their melodic function is transferred to the soloist. Bach wrote the harpsichord part as a combination of the violin material from the original concerto and a written out continuo. Probably Bach's first attempt at writing out a full harpsichord concerto, this is a transcription of the violin concerto in A minor, BWV , one whole tone lower to fit the harpsichord's range.
It seems Bach was dissatisfied with this work, the most likely reason being that he did not alter the ripieno parts very much, so the harpsichord was swamped by the orchestra too much to be an effective solo instrument. Bach did not continue the intended set, which he had marked with 'J. He wrote only the short fragment BWV Scored for harpsichord, oboe and strings in the autograph manuscript, Bach abandoned this concerto after entering only nine bars.
As with the other harpsichord concertos that have corresponding cantata movements BWV , and , this fragment corresponds to the opening sinfonia of the cantata Geist und Seele wird verwirret, BWV 35 , for alto, obbligato organ, oboes, taille and strings. Rampe summarises the musicological literature discussing the possibility of a lost instrumental concerto on which the fragment and movements of the cantata might have been based.
A reconstruction of an oboe concerto was made in by Arnold Mehl with the two sinfonias from BWV 35 as outer movements and the opening sinfonia of BWV as slow movement.
While the existing score is in the form of a concerto for harpsichords and strings, Bach scholars believe it to be a transcription of a lost double concerto in D minor; a reconstructed arrangement of this concerto for two violins or violin and oboe is classified as BWV R. The middle movement is a cantabile for the solo instruments with orchestral accompaniment. Length: c. Of all Bach's harpsichord concertos, this is probably the only one that originated as a harpsichord work, though not in an orchestral guise.
It was transposed down a tone for the same reason as BWV , so that the top note would be D 6. Scholars have yet to settle on the probable scoring and tonality of the concerto on which this was based, though they do think it is, like the others, a transcription. Bach's sons may have been involved in the composition of this work. They may have also been involved in the performances of this particular concerto, as Friedrich Konrad Griepenkerl wrote in the foreword to the first edition that was published in that the work owed its existence "presumably to the fact that the father wanted to give his two eldest sons, W.
Friedemann and C. Emanuel Bach, an opportunity to exercise themselves in all kinds of playing. In the mid-nineteenth century the concerto, advertised as Bach's "triple concerto", became part of the concert repertoire of Felix Mendelssohn and his circle. Title, Name or Code. Website Release Date January February March April May June July August September October November December.
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Rachel Podger describes them as "old friends" — which is not to say that there is anything remotely routine about her new recording of the concertos with her six-member Brecon Baroque ensemble. This crack squad of first-rate period-instrument musicians gives lithe, polished and devoted performances that make a convincing case for a one-to-a-part "orchestra". Indeed, so full-bodied is the sound that you could be forgiven for not noticing the paucity of numbers — except the precision and freedom for manoeuvre is far greater than any chamber orchestra could achieve.
Podger has one of the sweetest tones of any period-instrument violinist — heard at its most beautiful in the singing Andante of BWV , wonderfully sustained but never cloying. The opening Allegro of the E major concerto is Bach at his most sunny and carefree. Podger and company exude joy, although they are occasionally a touch frantic: uplifting though their performance is, they never quite relax into the mellow composure this music needs.
Ton Koopman. Goode " Mugham Partita for Violin No. Williams has also speculated that it might not be mere coincidence that the timing matched the publication of the first ever collection of keyboard concertos, the widely acclaimed and well-selling Organ concertos, Op. Graham Rogers History New York. Fritz Reiner. Bach Edition, Vol. Scholars have seen in this work the origins of the solo keyboard concerto as it is the first example of a concerto with a solo keyboard part.
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