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

【Classical music and nature 古典音樂小站】Johann Sebastian Bach: Concerto for Violin and Oboe in C minor, BWV 1060R - 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.

Johann Sebastian Bach is still regarded as a master of counterpoint, he was a so-called counterpointist - a master of counterpoint. When I first read this, I wondered what a counterpointist was, so I looked it up:

"In musical terminology, a contrapuntist is a composer who uses only the grammatical combination of tones in his works. The development of this type of composition, encouraged by the art of organ playing, took place in the 16th century in the so-called Dutch school, which, while remaining faithful to the church keys and the scale without semitones that prevailed at the time, created works of art that are still admired today. No tone could be removed from the structure without rendering the work of art incomplete. This art of composition reached its zenith in the mid-18th century, when Johann Sebastian Bach was its most outstanding exponent. After him, few counterpoint composers produced anything of significance; indeed, it was almost believed that they should be consigned to history as an obsolete class of composers, since all new creations by counterpoint composers were merely dull imitations of earlier works, and it was generally believed that these grammarians were never capable of achieving a poetic tonal effect". Source: "Musikalisches Conversations-Lexikon. An encyclopaedia of all musical sciences. For educated people of all classes...". Volume 2, Berlin, 1872, page 610

First published in the New Bach Edition (VII/vii, 75). Although the manuscript of this concerto has been lost, its reconstruction has been made possible by the fact that Bach arranged it in 1736 as a concerto for two harpsichords and orchestra in C minor (BWV 1060), a work whose score has survived and which served as a model for the original. The same relationship exists between the Concerto in D major for three violins, strings and continuo (BWV 1064R) and the Concerto in C major for three harpsichords (BWV 1064). Although the (modern) reconstructions are not by Bach himself, they are probably as authentic a treatment of the music as the harpsichord transcriptions that the composer made later.

Here you can see how a fierce autumn storm strikes the edge of a forest. The video was shot by Simone Schlegel and edited by Wenjing Ma.

【古典音樂小站】巴赫：C小調小提琴與雙簧管協奏曲，BWV 1060R - 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。

約翰·塞巴斯蒂安·巴赫至今仍被視為對位法大師，他是所謂的對位法作曲家——一位對位法大師。當我第一次讀到這個詞時，我想知道什麼是對位法作曲家，所以我查了一下：

“在音樂術語中，對位法作曲家是指在其作品中僅使用音調的語法組合的作曲家。這種作曲類型的發展，受到風琴演奏藝術的鼓勵，始於16世紀的所謂荷蘭學派，該學派在忠於當時盛行的教會調式和無半音階的音階的同時，創造了至今仍受人們欽佩的藝術作品。從結構中移除任何音調都會使藝術作品不完整。這種作曲藝術在18世紀中期達到了頂峰，當時約翰·塞巴斯蒂安·巴赫是其最傑出的代表。在他之後，很少有對位法作曲家創作出有意義的作品；實際上，幾乎認為他們應該作為一個過時的作曲家群體被歸入歷史，因為所有對位法作曲家的新創作僅僅是對早期作品的乏味模仿，而且普遍認為這些語法學家從未能夠達到詩意的音調效果”。來源：“Musikalisches Conversations-Lexikon. Aller musikalischen Wissenschaften für gebildete Stände...”。第2卷，柏林，1872年，第610頁

首次發表於新巴赫全集（VII/vii, 75）。雖然這首協奏曲的手稿已經遺失，但由於巴赫於1736年將其改編為C小調的雙鍵琴與管弦樂協奏曲（BWV 1060），這部作品的樂譜保存了下來，並作為原作的模板，因此重建成為可能。D大調三小提琴、弦樂與持續低音協奏曲（BWV 1064R）與C大調三鍵琴協奏曲（BWV 1064）之間存在著相同的關係。雖然（現代的）重建作品不是巴赫本人所做，但它們可能是對音樂最為真實的處理，就像作曲家後來所做的鍵琴改編一樣。

在這裡，您可以看到一場猛烈的秋季風暴襲擊森林邊緣。這段視頻由Simone Schlegel拍攝，由馬文璟編輯。



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