ExclusiveBach: Concerto for Violin and Oboe in C minor, BWV 1060a 巴赫：C小調小提琴與雙簧管協奏曲，BWV 1060a

【Classical music and nature 古典音樂小站】Johann Sebastian Bach: Concerto for Violin and Oboe in C minor, BWV 1060a - Complete Performance. This beautiful piece was played by The Alsace Baroque Orchestra. It has Creative Commons license (PDM 1.0 DEED) and is provided through www.musopen.org.

Like many of the Bach concertos in the repertoire, the C minor concerto for violin and oboe, which was derived from a concerto for two harpsichords, is a very educated guess as to what Bach originally wrote.

Most of Bach's concertos are thought to have been written between 1717 and 1723, when he was Kapellmeister at the princely court of Anhalt-Cöthen, leading a small group of very accomplished musicians.

Eighteenth-century composers reused their music much more frequently than we would like today. In a time when little music was published and none was recorded, composers who changed situations often found their good music dozing away in cupboards because they had ended up in a place where there was no audience for the genre of composition. Just as Handel cannibalised his German Passion music and his Italian oratorios and cantatas when he came to England, where there was no market for the originals, Bach, who changed jobs half a dozen times, often reworked his music in different forms, providing many opportunities for déjà vu experiences for the avid Bach listener. His concertos are an ideal playing field for Bach's concordance playing.

If Bach's concertos for one, two, three or four harpsichords are transcriptions, how do we know what form they originally took? Bach left behind an enormous amount of evidence of his technique of arranging music. In some cases, the original versions have survived, even of works by composers other than Bach.

These sources show that in adapting a concerto for some other instrument Bach would typically give the solo part to the harpsichordist's right hand, leaving the range and key of the original solo part intact, and add a left-hand part. The result is that the range (and the key) of the right-hand almost always resembles the way Bach wrote for a particular instrument in his other works. To an experienced eye the identity of original instrument - usually violin, oboe, or oboe d'amore - is fairly obvious. Even among musicologists, who are a pretty contentious lot, there is widespread agreement about the original form of most of Bach's concerti.

Source: laphil.com

The video was captured by Simone Schlegel and edited by Wenjing Ma.

【古典音樂小站】約翰·塞巴斯蒂安·巴赫：C小調小提琴與雙簧管協奏曲，BWV 1060a - 完整演出。這首美麗的作品由阿爾薩斯巴洛克樂團演奏。它擁有創作共用授權（PDM 1.0 DEED），可通過www.musopen.org獲得。

就像許多巴赫的協奏曲一樣，C小調小提琴與雙簧管協奏曲源自一首為兩台大鍵琴所寫的協奏曲，這是對巴赫原創作品非常有教養的猜測。

大多數巴赫的協奏曲被認為是在1717年至1723年間創作的，當時他是安哈特-科滕親王宮廷的樂長，領導著一小群非常出色的音樂家。

十八世紀的作曲家比我們今天更頻繁地重用他們的音樂。在很少有音樂出版，且沒有錄音的時代，作曲家如果換了工作地點，常會發現他們的好音樂因為結果在一個對該類型作品沒有市場的地方而沉睡在櫥櫃裡。正如亨德爾在來到英格蘭時，將他的德國受難曲音樂和意大利神劇及康塔塔重新利用，因為原作在那裡沒有市場一樣，巴赫也經歷了半打次的工作變動，經常以不同形式重新處理他的音樂，為熱衷於巴赫的聽眾提供了許多似曾相識的經歷。他的協奏曲是巴赫和諧遊戲的理想場所。

如果巴赫為一、二、三或四台大鍵琴所做的協奏曲是改編作品，我們怎麼知道它們最初的形式是什麼？巴赫留下了大量關於他編曲技術的證據。在某些情況下，原始版本甚至包括巴赫以外的其他作曲家的作品也得以保存。

這些資料顯示，在將協奏曲改編為其他樂器時，巴赫通常會將獨奏部分交給大鍵琴手的右手，保留原始獨奏部分的音域和調性不變，並添加左手部分。結果是，右手的音域（和調性）幾乎總是與巴赫在他的其他作品中為特定樂器所寫的方式相似。對於有經驗的眼睛來說，原始樂器的身份——通常是小提琴、雙簧管或愛的雙簧管——相當明顯。即使在音樂學家中，他們是一群相當好爭論的人，對於大多數巴赫協奏曲的原始形式也有廣泛的一致認同。

來源：laphil.com

該視頻由Simone Schlegel拍攝，並由馬文璟編輯。





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