He was still developing his own styles while absorbing the influences of the other great schools of European music - in this case, of course, the Italian. This manuscript, shelf mark P 280 in the Berlin State Library, starts with the harpsichord transcriptions BWV 972–981, followed by the organ transcription BWV 592, and ends with BWV 982. The concertos Bach transcribed from Vivaldi’s Op. Most of these transcriptions of string concertos by the somewhat older composers Antonio Vivaldi and brothers Benedetto and Alessandro Marcello were made when Bach was in his twenties and represent the young composer stretching his wings by making over … During this time, Bach made about twenty keyboard transcriptions of concertos by other composers; five were written expressly for the organ. BWV 985 is a Concerto in G minor for unaccompanied harpsichord, after Georg Philipp Telemann's Violin Concerto in G minor, TWV 51:g1 [scores].. The first documented evidence of Bach's engagement with the concerto genre can be dated to around 1709, during his second period in Weimar, when he made a hand copy of the continuo part of Albinoni's Sinfonie e concerti a 5, Op. Wilhelm Ernst's Lutheran piety contrasted with his younger brother's alcoholism. Bach himself transcribed solo concertos by Italian composers (Vivaldi, Torelli a.o.) Bach: Transcriptions of Concertos by Vivaldi CHAN 0796. They are scored for two manual keyboards and pedal.. 2 (1700). 2, After Johann Ernst's Op. These works are the most elaborate of Bach’s transcriptions, and they were based on outstanding originals available to Bach in an authoritative published edition. In the often quoted passage from his biography, Forkel wrote:. A keen amateur violinist, he is likely to have brought or sent back concerto scores from Amsterdam, probably including the collection L'estro armonico, Op.3 of Vivaldi, published there in 1711. Bach's concerto transcriptions reflect not only his general interest in and assimilation of musical forms originating in Italy, in particular the concertos of his Venetian contemporary Antonio Vivaldi, but also the particular circumstances of his second period of employment 1708–1717 at the court in Weimar. The pleasure His Grace took in his playing fired him with the desire to try every possible artistry in his treatment of the organ.— Nekrolog, Carl Philipp Emanuel Bach and Johann Friedrich Agricola 8; Bach, J S: Couperin Aria in F major, BWV587; Bach, J S: Fasch Trio in C minor, BWV585; Bach, J S: Organ Concerto in A minor (after Vivaldi), BWV593 After Oboe Concerto in D minor by Alessandro Marcello.. "Le opere giovanili di Antonio Vivaldi", pp. , These transcriptions for organ have been dated to 1713–1714. Other circumstantial evidence concerning music-making in Weimar is provided by a letter written by Bach's pupil Philipp David Kräuter in April 1713. The autograph manuscript is remarkable for its detailed specifications of organ registration and use of the two manuals. 10 (RV 580) to a concerto for four harpsichords and strings (BWV 1065).. Bach's transcriptions for harpsichord of a number of Italian and other concertos date from his years in Weimar, probably 1713-1714. The precise dating and true authorship was later established from the manuscript: the handwriting and the watermarks in the manuscript paper conform to cantatas known to have been composed by Bach in Weimar in 1714–1715. , Jones (2007) traces the influences on Bach's early keyboard compositions—in particular his sonatas (BWV 963/1, BWV 967) and toccatas (BWV 912a/2, BWV 915/2)—not only to the works of his older compatriots Kuhnau, Böhm and Buxtehude, but also to the works of Italian composers from the end of the seventeenth century; in particular the chamber sonatas of Corelli and the concertos of Torelli and Albinoni. The following year, when Bach himself was appointed as organist in Weimar in the ducal chapel or Himmelsburg, he not only had at his disposal the recently renovated chapel organ but also the organ in the Stadtkirche. 3 No. His other Vivaldi transcriptions were made from manuscript sources of varying integrity.9 BWV Anh. Donald Satz wrote (June 10, 2001): Bach transcribed for the organ many works of other composers such as Vivaldi concertos. As well as music-making in the Wilhelmsburg, Bach was almost certainly involved in the parallel more secular musical events in the Rotes Schloss organised by August Ernst and Johann Ernst. - III, "Composition as arrangement and adaptation", "Emulation and Inspiration: J. S. Bach's Transcriptions from Vivaldi's, Universitäts- und Landesbibliothek Darmstadt, Violin Concerto in G major (Johann Ernst Prinz von Sachsen-Weimar), Organ Concerto in A minor, BWV 593 (Bach, Johann Sebastian), Concerto for 2 Violins in A minor, RV 522 (Vivaldi, Antonio), Organ Concerto in C major, BWV 594 (Bach, Johann Sebastian), Organ Concerto in C major, BWV 595 (Bach, Johann Sebastian), Violin Concerto in C major (Johann Ernst Prinz von Sachsen-Weimar), Organ Concerto in D minor, BWV 596 (Bach, Johann Sebastian), Concerto in D minor, RV 565 (Vivaldi, Antonio), 16 Konzerte nach verschiedenen Meistern, BWV 972–987 (Bach, Johann Sebastian), Violin Concerto in D major, RV 230 (Vivaldi, Antonio), Violin Concerto in G major, RV 299 (Vivaldi, Antonio), Oboe Concerto in D minor, S.Z799 (Marcello, Alessandro), Violin Concerto in G minor, RV 316a (Vivaldi, Antonio), Violin Concerto in E major, RV 265 (Vivaldi, Antonio), Violin Concerto in G major, RV 310 (Vivaldi, Antonio), Violin Concerto in B-flat major, RV 383a (Vivaldi, Antonio), Violin Concerto, TWV 51:g1 (Telemann, Georg Philipp), 12 Concerti Grossi, Op.1 (Marcello, Benedetto), L'estro armonico, Op.3 (Vivaldi, Antonio), Toccata and Fugue in D minor ("Dorian"), BWV 538, Fantasia and Fugue in G minor ("Great"), BWV 542, Prelude and Fugue in E minor ("Wedge"), BWV 548, Eight Short Preludes and Fugues, BWV 553–560, Toccata, Adagio and Fugue in C major, BWV 564, Prelude (Toccata) and Fugue in E major, BWV 566, Fantasia ("Pièce d'Orgue") in G major, BWV 572, Passacaglia and Fugue in C minor, BWV 582, Canonic Variations on "Vom Himmel hoch da komm' ich her", BWV 769, Capriccio on the departure of a beloved brother, Concerto transcriptions, BWV 592–596 and 972–987, List of compositions by Johann Sebastian Bach, List of fugal works by Johann Sebastian Bach, List of concertos by Johann Sebastian Bach, https://en.wikipedia.org/w/index.php?title=Weimar_concerto_transcriptions_(Bach)&oldid=985011729, Wikipedia articles incorporating the Cite Grove template, Wikipedia articles incorporating the Cite Grove template with a url parameter, Articles with Italian-language sources (it), Articles with German-language sources (de), Creative Commons Attribution-ShareAlike License. 6, RV 316a): Concerto in G minor, BWV 975 (harpsichord), After Vivaldi's Violin Concerto in G major (later version published as Op. Bach was considered an incomparable organist whose improvisations were celebrated beyond German borders. Bach, Johann Sebastian : Largo in d minor from Concerto BWV 975 - Organ transcription (after Concerto RV 316 by Antonio Vivaldi) Organ solo / Intermediate / 1 … Such composers can only be "finger composers" (or "keyboard cavaliers" as Bach called them later on in his life): that is, they let their fingers tell them what to write instead of instructing their fingers what to play. And I'm sure it's very meaningful -- the three styles involve different, prime facie incompatible, political ideas. Bach wrote these keyboard transcriptions, from orchestral concerti by Vivaldi and Marcello, while he was a young man. One interesting thing about JSB is that his music sometimes integrates French, German and Italian styles. , Although no precise dating of the concerto transcriptions is possible, combining a careful scientific analysis of surviving manuscripts—including their watermarks—with a knowledge of documented events in Bach's life has given a clearer idea of when they might have been written: it is generally thought that most were probably written in the period 1713–1714, but that some could have been written later. This concerto is a transcription of Antonio Vivaldi's double violin concerto, Op. Alexandro Marcello" in, Organ concerto (Bach) § Weimar concerto transcriptions, Concerto for unaccompanied harpsichord (Bach) § Weimar concerto transcriptions, Johann Sebastian Bach: Concerti nach Vivaldi u.a. 3 No. Johann Sebastian Bach was a court musician in Weimar from 1708 to 1717. The Organ Concerto No 5, in D minor, was written between 1713 and 1714, while Bach served as court organist in Weimar (1708--1717). After Violin Concerto in B-flat minor, RV 383 by Antonio Vivaldi. I know too that when the new organ in Weimar is ready, Herr Bach will play incomparable things on it, especially at first ... Kräuter's letter ties in with the organ repairs by Trebs made between June 1713 and May 1714. After Violin Concerto in B-flat major Op. 4 No. Chandos: CHAN0796. He was thus led to study their structure, the musical ideas on which they are built, the pattern of their modulations, and many other characteristics. After Violin Concerto in G major Op. In the Wilhelmsburg, Wilhelm Ernst had already revived the court orchestra, of which Bach eventually became Concertmaster in 1714. Bach would also have known Telemann well then since he was court musician at Eisenach, Bach's birthplace. In the same year Bach also copied out all the parts of the double violin concerto in G major, TWV 52:G2, of Georg Philipp Telemann, a work that he might have acquired through Pisendel. The publication of these transcriptions by C.F. Bach.org Bach.de (German) Extra Information Arrangement of the Concerto for 2 Violins and Cello in D minor, RV 565, by Antonio Vivaldi. At the same time, Bach's cousin Walther also made a series of organ transcriptions of Italian concertos: in his autobiography, Walther mentions 78 such transcriptions; but of these only 14 survive, of concertos by Albinoni, Giorgio Gentili, Giulio Taglietti, Telemann, Torelli and Vivaldi. There are, or have been, attribution issues regarding some of the models Bach used for his keyboard transcriptions: Bach transcribed seven concertos by Antonio Vivaldi for solo harpsichord (RV 230, 265, 299, 310, 316, 381 and 813), and three for solo organ (RV 208, 522 and 565). Moreover, in adapting ideas and figurations originally conceived for the violin to the keyboard, Bach was compelled to think in musical terms, so that his ideas no longer depended on his fingers, but were drawn from his imagination. Bach transcribed for organ and harpsichord a number of Italian and Italianate concertos, mainly by Antonio Vivaldi, but with others by Alessandro Marcello, Benedetto Marcello, Georg Philipp Telemann and the musically talented Prince Johann Ernst of Saxe-Weimar. In 1709 the virtuoso violinist Johann Georg Pisendel visited Weimar: he had studied with Torelli and is likely to have acquainted Bach with more of the Italian concerto repertoire. Although in early music the intended instrument was often not specified, but left to the performer, this was often not the case with Bach's music. 213 is a lost Concerto in F major for solo organ, after an unidentified concerto by Georg Philipp Telemann. Bach based his transcription of Marcello's oboe concerto on a lost manuscript that was circulating before the concerto was published in 1717. Vivaldi's violin concertos, which had just been published, gave him the guidance he needed. After Violin Concerto in E major Op. The Nekrolog contains the famous statement about the Duke, Wilhelm Ernst, encouraging Bach as an organist-composer, quoted at the start of this section. , Johann Ernst's enthusiasm for the concerto fitted well with Bach's own interests. Vivaldi*, Orchestre "Pro Arte" De Munich*, Kurt Redel, Pierre Cochereau - Vivaldi A Notre-Dame - Quatre Concertos Pour Orgue Et Orchestre - Transcriptions De J.S.Bach … The two most significant for dating purposes are the autograph manuscript of the organ transcription BWV 596; and the hand copies of the organ transcription BWV 592 and the harpsichord transcriptions BWV 972–982 made by Bach's second cousin Johann Bernhard Bach from Eisenach, who is known to have visited Weimar in May 1715. Harpsichords were available to Bach at both venues. 1: Concerto in B-flat major, BWV 982, After Johann Ernst's Op. After a concerto by Prince Johann Ernst of Saxe-Weimar, and Bach's earlier organ transcription, BWV 592. Most of these transcriptions were based on concertos by Antonio Vivaldi, but there are also works by Alessandro Marcello, Benedetto Marcello, Georg Philipp Telemann, and the musically talented Prince Johann Ernst of Saxe-Weimar. 1, containing twelve concerti à cinque, was published in 1708. During his first brief period in Weimar in 1703 Bach was employed as a court violinist for seven months by Johann Ernst III, Duke of Saxe-Weimar, who ruled jointly with his elder brother Wilhelm Ernst, Duke of Saxe-Weimar. 3 No. After Violin Concerto in G minor, RV 316, by Antonio Vivaldi. Bach’s organ and harpsichord transcriptions BWV 592–596 and 972–987 belong to the year July 1713 to July 1714, were made at the request of Prince Johann Ernst von Sachsen-Weimar, and imply a definite connection with the concert repertory played in Weimar and enlarged by the Prince’s recent purchases of music. The result was that up until 1911 the transcription was misattributed to Wilhelm Friedemann. , Early works like BWV 912a and BWV 967, probably composed before 1707, also display concerto-like elements. Later versions of some of these concertos by Vivaldi were published in his Op. Bach's transcriptions of Vivaldi. 8, RV 522. 8 (Concerto in A minor for two violins and strings, RV 522): Concerto in A minor, BWV 593, After Vivaldi's Op. In fact the new edition of the concerto transcriptions published by the Bach-Gesellschaft in the 1890s and the ensuing controversy in assessing their authorship and that of the original concertos in the 1910s sparked a reevaluation of Vivaldi and subsequently the rediscovery of his "lost" works. Bach and Walther arranged different sets of concertos: Bach favoured the more recent ritornello form, less prevalent in the earlier concertos transcribed by Walther. Lacking any instruction to point him towards his goal, he had to do what he could in his own way, like others who set out without a guide. These have customarily been divided into two distinct groups, his works for organ and his works for harpsichord or clavichord. BACH Transcriptions of Concertos by Vivaldi and the Marcellos: in D, BWV 972; in G, BWV 973; in d, BWV 974; in g, BWV 975; in C, BWV 976; in F, BWV 978; in G, BWV 980; in c, BWV 981 • Read more Sophie Yates (hpd) • CHACONNE 0796 (76: 28) Around 1714 Johann Sebastian Bach suddenly and apparently without provocation transcribed and adapted a number of Italian instrumental concertos, … Preview SONG TIME Keyboard Concerto in D major, BWV 972 (arr. Around 1715 Johann Bernhard Bach, Johann Sebastian's second cousin, copied 12 of the concerto transcriptions in a single manuscript. When Bach went to work on the “Vivaldi Transcriptions,” he fully respected the original compositions. Johann Sebastian Bach was a German composer, organist, harpsichordist, violist Although Bach served as Concertmaster in Weimar from 1714–1717, when he is presumed to have composed his own instrumental concertos, the only surviving works in Italian concerto-form from this period are his transcriptions of works by other composers. He realised that musical ideas need to be subordinated to a plan and that a young composer's first need is a model to guide his efforts. 45–78” in, This page was last edited on 23 October 2020, at 12:43. This concerto movement is a transcription of a composition by Prince Johann Ernst of Saxe-Weimar. Bach was Antonio Vivaldi. Prince Johann Ernst of Saxe-Weimar's Op. 6 in E flat major (after unknown source), BWV 597: Bach-G. Shaw: Transcription for piano Bach-Ch. 16 Konzerte nach verschiedenen Meistern, BWV 972–987 (Bach, Johann Sebastian) This page is only for complete editions and multiple selections from the collection here. After Violin Concerto in D minor, RV 813, by Antonio Vivaldi (formerly RV Anh. Bach’s first attempts at composition, like all such efforts, were unsatisfactory. Bach & Vivaldi - Transcriptions for Guitar by Marko Feri: Johann Sebastian Bach: French Suite No.1, BWV 812 Johann Sebastian Bach: French Suite No.2, BWV 813 Antonio Vivaldi – Sonata No.1, RV47 Antonio Vivaldi – Sonata No.4, RV 45 Format: Digital release (PDF), with fingerings. Despite the fact that Carl Friedrich Zelter, director of the Sing-Akademie zu Berlin where many Bach manuscripts were held, had suggested Johann Sebastian as the author, the transcription was first published as a work by Wilhelm Friedemann in 1844 in the edition prepared for C.F. 2 by Benedetto Marcello. 4 and 7: Apart from the concertos after models by Antonio Vivaldi (including one formerly attributed to Torelli), Bach also transcribed concertos by the Venetian brothers Alessandro and Benedetto Marcello. 9 (Violin Concerto in D major, RV 230): Concerto in D major, BWV 972, and earlier version BWV 972a, After Vivaldi's Op. By ComposerOfAvantGarde in forum Classical Music Discussion, By Op.123 in forum Classical Music Discussion, By Aggelos in forum Classical Music Discussion, By jeanmarc in forum Classical Music Discussion, All times are GMT +1. Bach Italian Transcriptions: Concerto for Four Harpsichords (Vivaldi)- Tilge, Höchster, meine Sünden (Pergolesi) 13 years old He wrote most, if not all, of his concerto transcriptions for organ (BWV 592–596) and for harpsichord (BWV 592a and 972–987) from July 1713 to July 1714. Largo (2:10)" ? Peters in the 1850s and by Breitkopf & Härtel in the 1890s played a decisive role in the Vivaldi revival of the twentieth century. Evidently he was fascinated with it, he wrote various pieces in which there's an explicit mention of the "italian style" in the titles (like the "Italian Concerto for harpsichord", for example; the original name is "Concerto after the Italian taste"). Commentators have found Schulze's arguments persuasive, but nevertheless point out that not all the transcriptions need have been made in the period from July 1713 to July 1714 when the Prince was back in Weimar. J.S. 3 No. 11; Bach, J S: Concerto in d BWV593, after Vivaldi Op. 3 No. 1 No. 1 No. And although Vivaldi was internationally known as a composer, his enduring fame came from being a violin virtuoso. It is thought that most of the transcriptions were probably made in 1713–1714. Bach: Italian Transcriptions TRACKS NOTES PERFORMERS CREDITS CD ITUNES SPOTIFY Concerto in A Minor for Four Harpsichords, BWV 1065 (9:50) transcription of Vivaldi: Concerto in B Minor for Four Violins, Op. Vivaldi? The organ concertos of Johann Sebastian Bach are solo works for organ, transcribed and reworked from instrumental concertos originally composed by Antonio Vivaldi and the musically talented Prince Johann Ernst of Saxe-Weimar. These include all the transcriptions of the Venetian concertos (those by Vivaldi and the Marcello brothers). Johann Sebastian Bach. 1 in D major (after A. Vivaldi), BWV 972; Concerto No. Buy Tickets. 1 was published posthumously, some time after Bach had provided solo harpsichord arrangements for two out of six concertos contained in that bundle: Concerto in G major, after Johann Ernst's Violin Concerto in G major [scores]: Concerto in C major after Johann Ernst's Violin Concerto in C major [scores]: There is no extant model for a few of Bach's concerto transcriptions for harpsichord: History, purpose, transmission and significance, Harpsichord transcriptions, BWV 592a and 972–987, harvtxt error: no target: CITEREFSchulze1972 (, harvnb error: no target: CITEREFSchulenberg2006 (, "Concerto II: del Sig. Other models for the transcriptions included concertos by Alessandro Marcello, Benedetto Marcello, Georg Philipp Telemann and Prince Johann Ernst of Saxe-Weimar.. Bach abandoned that method of composition when he observed that brilliant flourishes lead nowhere. 12 (Violin Concerto in E major, RV 265): Concerto in C major, BWV 976, After Vivaldi's Violin Concerto in B-flat major (later version published as Op. For more information and season tickets, call the Greensboro Symphony Box Office: 336-335-5456 x 224. This concerto is an transcription of Antonio Vivaldi's double violin concerto, Op. 3 No. 3, L'estro armonico for organ (BWV 593 and 596), and three concertos of that collection for unaccompanied harpsichord (BWV 972, 976 and 978):, Later Bach would arrange Vivaldi's Op. There 's always something new and different about them. Buy CD or download online. Bach realised his other transcriptions of concertos by Vivaldi after versions circulating as manuscript. "Vivaldi, Antonio -- Violin Concerto No. 6 in A minor: II. 7 No. The markings are also significant for what they show about performance practise at that time: during the course of a single piece, hands could switch manuals and organ stops could be changed.. original piano transcriptions of works by Antonio Vivaldi (1678 - 1741), listed by genre and ordered by opus and/or Ryom number. 13 The works are: Concerto in G major (after Duke J. Ernst), BWV 592a; Concerto No. The current date and time is, http://www.youtube.com/watch?v=Mp7F4y7FWLs, http://www.youtube.com/watch?v=86Aqf2GTmCs, http://www.youtube.com/watch?v=dl8Mpt8oJNA, http://www.youtube.com/watch?v=m1k_yexUE6s, http://www.youtube.com/watch?v=CnJhq7_Er8o, http://www.youtube.com/watch?v=vE2O_yfgtBU, http://www.youtube.com/watch?v=DHCoKWZLXKA, bach-vivaldi-concerti-praeludia-sempe-fortin-cd-cover-art.jpg, http://www.youtube.com/watch?v=cpgCkQXmz8g. Sponsored by: Cone Health. Based on known manualiter settings within Bach's works for organ, the possible audience for performances of virtuosic keyboard compositions and the circumstances of their composition, Marshall has suggested that the concerto transcriptions BWV 972–987 might originally have been intended as manualiter settings for the organ. Earlier compositions had been brought back to Weimar from Italy by the deputy Capellmeister, Johann Wilhelm Drese, during his stay there in 1702–1703. I think he's unique in that respect. For arrangements, new editions, etc. About Chandos. 3 No. Benedetto was a more prolific composer than his elder brother Alessandro. 11, RV 565. Vivaldi’s newly published Opus 3, L’estro armonico.1 The chart to the right shows the extant concerto transcriptions made by Bach; there are 23 transcriptions from 21 originals.2 Bach was not alone in mak-ing concerto transcriptions; from Johann Gottfried Walther, his colleague in Wei-mar, we have 14 surviving transcriptions.3 , The reception of the concerto transcriptions is reflected in their transmission: they were less widely disseminated than Bach's original organ or keyoard works and were only published in the 1850s during the mid-nineteenth century Bach revival. This concerto is a transcription of a concerto by Prince Johann Ernst of Saxe-Weimar. , Schulze (1972) harvtxt error: no target: CITEREFSchulze1972 (help) has given the following explanation for the transcriptions:. F. Magle - Contemporary Classical Composer, Organist and Pianist. In Great Britain, France and particularly his native Italy, musical taste turned against him and, when he was remembered, it was just through salacious anecdote. for organ solo. Asking for permission to stay longer in Weimar, he states that Prince Johann Ernst. Since the court concerts gave Bach an opportunity to know the works in their original form, the transcriptions are not so much study-works as practical versions and virtuoso 'commissioned' music. of Vivaldi's Violin Concerto in D major, RV 230) Keyboard Concerto in D Major, BWV 972 (arr. Johann Ernst studied the keyboard with Bach's distant cousin Johann Gottfried Walther, after he became organist at the Stadtkirche in Weimar in 1707. Harpsichordist Richard Egarr “Bach didn't just make 'simple' transcriptions, neither in this original solo concerto by Vivaldi. "Bach introduced numerous small changes into the solo parts, bass-lines, and often the inner parts as well, often adding voices to enrich the textures,: says Peter Watchorn in his recording of the harpsichord transcriptions. In July 1714, however, poor health forced him to leave Weimar to seek medical treatment in Bad Schwalbach: he died a year later at the age of nineteen. The demands of compositional quantity were great, and the transcription process shortened the length of time necessary to come up with new works or arrangements. Vivaldi is recognised as one of the greatest Baroque composers, and his influence during his lifetime was widespread over Europe. In 1713-1714, Bach transcribed at least nine concertos of Vivaldi, three for solo organ (BWV 593-4, 596), and six for solo harpsichord (BWV 972-3, 975-6, 978, 980). Most of these transcriptions were based on concertos by Antonio Vivaldi. Schulze has further suggested that during his two year period studying in the Netherlands, Prince Johann Ernst is likely to have attended the popular concerts in the Niewe Kerk in Amsterdam where the blind organist Jan Jakob de Graaf performed his own transcriptions of the most recent Italian concertos. A number of his concertos were published posthumously by Telemann. 1 No. Sophie Yates (harpsichord) Once back in Weimar, he studied composition with Walther, concentrating on the violin concerto. 3 No. It was under these circumstances that Bach, as composer and performer, made his virtuosic concerto transcriptions for organ (BWV 592–596) and for harpsichord (BWV 972–987 and BWV 592a).
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