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Track Listing - Disc 3. Johannes Brahms. Carmen Suite Nr. Georges Bizet. Orchestre Radio-Symphonique. Filarmonica Scaligera. Prelude Nr. Pietro Mascagni. Orchestra Internazionale d'Italia Opera. Impromptu Nr. Antonio Vivaldi. Southwest German Chamber Orchestra. Vienna State Opera Orchestra. Streichquartett Nr. Franz Joseph Haydn. Caspar da Salo Quartett. Track Listing - Disc 4. Symphinie Nr. Rtv-Symphonierorchester Ljubljana. Streichquintett Nr. Luigi Boccherini. Stuttgart Chamber Orchestra.
Symphonie Nr. Wiener Konzerthaus Orchester. Gioachino Rossini. Philharmonia Slavonica. George Frederick Handel. The following concertos are presently found near the center of the mainstream Western repertoire.
For a more comprehensive list of violin concertos, see List of compositions for violin and orchestra. From Wikipedia, the free encyclopedia. For other uses, see Violin Concerto disambiguation. VIIa:1 ca. VIIa:3 "Melker Konzert" ca. 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.
Instead of performing the triple concerto on harpsichords, the performed it instead on three Erard grand pianofortes. The programme also included Schubert's "Great" C Major Symphony and some of his own orchestral and choral compositions; Robert Schumann described the concert as "three joyous hours of music such as one does not experience otherwise for years at a time. Charles Edward Horsely recalled Mendelssohn's "electrical" cadenza in a memoire of as "the most perfect inspiration, which neither before nor since that memorable Thursday afternoon has ever been approached.
After a performance in Dresden in with Clara Schumann and Hiller, Moscheles recorded in his diary, "My concert today was beyond all measure brilliant This concerto was probably based on an original in D major for three violins. A reconstructed arrangement of this concerto for three violins in D major is classified as BWV R. Bach made a number of transcriptions of Antonio Vivaldi 's concertos, especially from his Op. Bach adapted them for solo harpsichord and solo organ, but for the Concerto for 4 violins in B minor, Op.
This is thus the only orchestral harpsichord concerto by Bach which was not an adaptation of his own material.
That opus, published in , contains twelve concertos for strings, four of which Nos. The accompaniment in these four concertos consists of violins three parts , violas two parts , cellos and continuo figured bass part for violone and harpsichord. Most likely in the period from July to July , during his tenure as court organist in Weimar, Bach transcribed three of these violin concertos, Nos. Similarly, in the same period, he transcribed two Nos.
Vivaldi's Op. Some two decades after the over twenty Weimar concerto transcriptions for unaccompanied keyboard instruments, Bach returned to L'estro armonico , and transcribed its No. The differences in instrumentation between the individual concertos in Vivaldi's Op. In the middle movement, Bach has the four harpsichords playing differently-articulated arpeggios in a very unusual tonal blend, while providing some additional virtuosity and tension in the other movements.
Concertino : harpsichord , flute , violin. In this concerto for harpsichord, flute and violin, occasionally referred to as Bach's "triple concerto", the harpsichord has the most prominent role and greatest quantity of material. Except for an additional ripieno violin part, the instrumentation in all three movements is identical to that of Brandenburg Concerto No.
Wollny and Wolff harvtxt error: no target: CITEREFWolff help contain a comprehensive discussion of the concerto, including its history and questions of authenticity. Because one of the earliest surviving manuscripts comes from the library of Frederick the Great and because of post-baroque galant aspects of the instrumental writing—fine gradations in the dynamical markings pp, p, mp, mf, f , the wider range of the harpsichord part as well as frequent changes between pizzicato and arco in the strings—Wollny has suggested that the arrangement as a concerto might have been intended for Frederick, a keen flautist who employed Bach's son Carl Philipp Emanuel as court harpsichordist; this could imply a later date of composition.
Some commentators have questioned the authenticity of the work, although it is now generally accepted. The concerto is an example of the "parody technique"—the reworking in new forms of earlier compositions—that Bach practised increasingly in his later years.
The prelude and fugue have the structure of the first and last movements of an Italian concerto grosso , which has led to suggestions that they might be transcriptions of a lost instrumental work. In the concerto BWV , Bach reworked both the prelude and fugue around the harpsichord part by adding ripieno ritornello sections. This newly composed material, which recurs throughout the movement, creates a contrast with that of the soloists, much of which is directly drawn from the original prelude, especially the harpsichord part.
Like the first movement of Brandenburg Concerto No. In the solo episodes the flute and violin provide a "small ripieno" accompaniment to the harpsichord, contrasting with the "large ripieno" of the orchestral strings in the tutti sections.
The middle movement is a reworking and transposition of material from the slow movement of the sonata for organ in D minor, BWV ; both movements are thought to be based on a prior lost composition. Like the slow movement of the fifth Brandenburg Concerto, the slow movement of BWV is scored as a chamber work for the solo instruments. Bach created a complex texture in this movement by juxtaposing the detached melody in the harpsichord with a parallel sustained melody in thirds or sixths in the violin or flute; and in contrast a further layer is added by the delicate pizzicato accompaniment in the fourth voice, —first in the violin and then echoed by the flute—which comes close to imitating the timbre of the harpsichord.
Concertino : harpsichord , violin, flute . The harpsichord is both a concertino and a ripieno instrument: in the concertino passages the part is obbligato ; in the ripieno passages it has a figured bass part and plays continuo.Shop and Buy Vivaldi: Concerto For Two Violins, Strings And Basso Continuo In A Minor, Op. 3, No. 8, RV sheet music. Violin Duet sheet music book by Antonio Vivaldi (): Dowani International at Sheet Music Plus: The World .