In practical terms, the concerto transcriptions were suitable for performance in the different venues in Weimar; they would have served an educational purpose for the young prince as well as giving him pleasure. of Vivaldi's Violin Concerto in D major, RV 230) Keyboard Concerto in D Major, BWV 972 (arr. Harpsichordist Richard Egarr “Bach didn't just make 'simple' transcriptions, neither in this original solo concerto by Vivaldi. This concerto is a transcription of Antonio Vivaldi's Grosso Mogul violin concerto, RV 208. Other circumstantial evidence concerning music-making in Weimar is provided by a letter written by Bach's pupil Philipp David Kräuter in April 1713. And I'm sure it's very meaningful -- the three styles involve different, prime facie incompatible, political ideas. "Vivaldi, Antonio -- Violin Concerto No. Composed during Bach's second period at the … 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. Of these, the main body were by Vivaldi, with others by Telemann, Alessandro and Benedetto Marcello and Johann Ernst himself. 8, RV 299): Concerto in G major, BWV 973 (harpsichord), After Vivaldi's Violin Concerto in D minor, RV 813 (formerly RV Anh. After the Violin Concerto in G minor, TWV 51:g1, by Georg Philipp Telemann. JS Bach: The Transcriptions of Concertos by Vivaldi. 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. 3, RV 310, by Antonio Vivaldi. Only in Northern Germany, where his concertos had influenced a school of composers, was his legacy properly appreciated. 2 (1700). The autograph manuscript is remarkable for its detailed specifications of organ registration and use of the two manuals. Asking for permission to stay longer in Weimar, he states that Prince Johann Ernst. Preview SONG TIME Keyboard Concerto in D major, BWV 972 (arr. In this article, we shall analyze Bach’s transcription process in his three organ concertos after Vivaldi, and 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). J.S. 3 provide the best avenue for this study. On Johann Ernst's death in 1707, he was succeeded as coregent by his elder son Ernst August, who lived with his younger stepbrother, Prince Johann Ernst, outside the ducal Wilhelmsburg in the Rotes Schloss. Johann Sebastian Bach. 5 in D minor (after A. Vivaldi), BWV 596: Bach-Beard: Transcription for piano Bach-Lefébure: Gigue from Concerto for solo organ No. 2, After Johann Ernst's Op. It is possible that this could have led to Johann Ernst to suggest similar concerto transcriptions to Bach and Walther. Johann Sebastian Bach was a court musician in Weimar from 1708 to 1717. 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. 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 ‎ … More significantly perhaps, the concerto transcriptions played a decisive role in the Vivaldi revival which happened only in the following century. 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. 4 No. 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. "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. Bach.org Bach.de (German) Extra Information Arrangement of the Concerto for 2 Violins and Cello in D minor, RV 565, by Antonio Vivaldi. A talented amateur musician, from an early age Prince Johann Ernst had been taught the violin by the court violinist Gregor Christoph Eilenstein. 8 (Concerto in A minor for two violins and strings, RV 522): Concerto in A minor, BWV 593, After Vivaldi's Op. 8, RV 522. 213 is a lost Concerto in F major for solo organ, after an unidentified concerto by Georg Philipp Telemann. While this could be true for the simpler harpsichord transcriptions, some of the more virtuosic organ transcriptions could date from later, possible composed as a memorial to the prince, after his untimely death. 45–78” in, This page was last edited on 23 October 2020, at 12:43. Bach wrote these keyboard transcriptions, from orchestral concerti by Vivaldi and Marcello, while he was a young man. 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. 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. 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. After the Violin Concerto in C major by Prince Johann Ernst of Saxe–Weimar (like BWV 595). 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. 10, RV 580 J.S. Bach’s first attempts at composition, like all such efforts, were unsatisfactory. Around 1715 Johann Bernhard Bach, Johann Sebastian's second cousin, copied 12 of the concerto transcriptions in a single manuscript. Bach abandoned that method of composition when he observed that brilliant flourishes lead nowhere. This concerto is a transcription of a concerto by Prince Johann Ernst of Saxe-Weimar. 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. Vivaldi's violin concertos, which had just been published, gave him the guidance he needed. 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. The transcriptions themselves became known through a variety of sources. 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. 3 No. 3 No. 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. Vivaldi is recognised as one of the greatest Baroque composers, and his influence during his lifetime was widespread over Europe. Later versions of some of these concertos by Vivaldi were published in his Op. 3 No. 3 No. 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. 1 by Prince Johann Ernst of Saxe-Weimar. Bach would also have known Telemann well then since he was court musician at Eisenach, Bach's birthplace. Sophie Yates (harpsichord) After Violin Concerto in B-flat major Op. After Violin Concerto in E major Op. 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. For the organ transcriptions there is no known sequence that may go back to Bach's time. Consequently, the name of the COMPOSER should be Antonio VIVALDI, and JS Bach should be credited as the ARRANGER. These have customarily been divided into two distinct groups, his works for organ and his works for harpsichord or clavichord. 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. 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. 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].[36]. While there is no doubt about the authenticity of BWV 592–596, the sixth concerto BWV 597 is now probably considered to be spurious. 10 often attributed to, BWV 981 – Concerto in C minor, after Benedetto Marcello's Concerto Op. 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 Bach's transcriptions has been recognized by Vivaldi scholars as a decisive step in his revival. Please follow the links to the project pages to find scores and recordings. The result was that up until 1911 the transcription was misattributed to Wilhelm Friedemann. After Concerto Op. ... and virtuoso violinist. for organ solo. In the Wilhelmsburg, Wilhelm Ernst had already revived the court orchestra, of which Bach eventually became Concertmaster in 1714. A number of his concertos were published posthumously by Telemann. 4 No. BMC 36 - VIVALDI-BACH: Concerto Transcriptions for Harpsichord Antonio Vivaldi was born in Venice on March 4th, 1678. 3 No. 3 No. 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. For more information and season tickets, call the Greensboro Symphony Box Office: 336-335-5456 x 224. There is an early version of the transcription, BWV 972a. In the often quoted passage from his biography, Forkel wrote:[15]. "Le opere giovanili di Antonio Vivaldi", pp. 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. Peters by Friedrich Griepenkerl. After Violin Concerto in G major, RV 299, by Antonio Vivaldi. 2 by Benedetto Marcello. This concerto is an transcription of Antonio Vivaldi's double violin concerto, Op. I think he's unique in that respect. [34], Bach transcribed two concertos of Antonio Vivaldi's Op. Their publication by C.F. 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. The meteoric success of Vivaldi in the early eighteenth century was matched by his descent into almost complete oblivion soon after his death in 1741. 11 (Concerto in D minor for two violins, cello and strings, RV 565): Concerto in D minor, BWV 596, After Vivaldi's Op. This concerto movement is a transcription of a composition by Prince Johann Ernst of Saxe-Weimar. Although Forkel's account is generally acknowledged to be oversimplified and factually inaccurate, commentators agree that Bach's knowledge and assimilation of the Italian concerto form—which happened partly through his transcriptions—played a key role in the development of his mature style. It is thought that most of the transcriptions were probably made in 1713–1714. 3 No. After Violin Concerto in B-flat minor, RV 383 by Antonio Vivaldi. After Violin Concerto in D minor, RV 813, by Antonio Vivaldi (formerly RV Anh. 6 in A minor: II. Donald Satz wrote (June 10, 2001): Bach transcribed for the organ many works of other composers such as Vivaldi concertos. Telemann also had a documented social connection with Bach: in March 1714 he was godparent at the baptism in Weimar of Bach's second son Carl Phillip Emanuel. All these piano transcriptions are arranged for two hands (piano solo). Bach based his transcription of Marcello's oboe concerto on a lost manuscript that was circulating before the concerto was published in 1717. The other harpsichord transcriptions BWV 983–987 are contained in a collection of manuscripts of Kellner ("Kellner's Miscellany"), copied by himself and others. The second concerto in that collection, in E minor, had a violino principale in its first two movements. Earlier compositions had been brought back to Weimar from Italy by the deputy Capellmeister, Johann Wilhelm Drese, during his stay there in 1702–1703. 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 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.[22][23][24]. These include all the transcriptions of the Venetian concertos (those by Vivaldi and the Marcello brothers). 9 (Violin Concerto in D major, RV 230): Concerto in D major, BWV 972, and earlier version BWV 972a, After Vivaldi's Op. 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. Bach's transcriptions for harpsichord of a number of Italian and other concertos date from his years in Weimar, probably 1713-1714. Johann Ernst studied the keyboard with Bach's distant cousin Johann Gottfried Walther, after he became organist at the Stadtkirche in Weimar in 1707. 6, RV 316a): Concerto in G minor, BWV 975 (harpsichord), After Vivaldi's Violin Concerto in G major (later version published as Op. Bach's transcriptions, for solo organ or harpsichord, of concertos by Vivaldi and other masters were made during his period at the Court of Weimar between 1708 and 1717. Bach's transcriptions of Vivaldi. [14], Published records of Bach's life include his Nekrolog or obituary, written in 1754 by his son Carl Philipp Emanuel Bach and former pupil Johann Friedrich Agricola, and the 1802 biography of Johann Nikolaus Forkel. 13 The works are: Concerto in G major (after Duke J. Ernst), BWV 592a; Concerto No. After Oboe Concerto in D minor by Alessandro Marcello.[25]. 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 … Vivaldi? [8], 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. 3, L'estro armonico for organ (BWV 593 and 596), and three concertos of that collection for unaccompanied harpsichord (BWV 972, 976 and 978):[35], Later Bach would arrange Vivaldi's Op. - Italian organist Daniele Boccaccio wrote these transcriptions of Bach’s violin concertos out of deep love for the music, and a deep love and understanding of his own instrument, the result being a highly original, fresh, transparent and vibrant interpretation of these well known masterpieces. 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. About Us; Chandos Records is one of the world's premier classical music record companies, best known for its ground breaking search for neglected musical gems. [20], These transcriptions for organ have been dated to 1713–1714. Bach admired Vivaldi, and the "italian style" in general. Williams: Transcription for 2 pianos: Pedal-Exercitium, BWV 598: As explained in Williams (2003), their main purpose was to enable the concerto to be heard at Bach's desired pitch. Brothers ). [ 21 ] the autograph manuscript is remarkable for its specifications... Bwv 592–596, the sixth concerto BWV 597: Bach-G. Shaw: transcription for piano strings... 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