American violinist Rachel Barton Pine talks us through the intricacies of the ‘Largo’ from Bach’s Solo Violin Sonata No. Sonnenkalb, recorded that house-concerts were frequent and involved Bach together with his two elder sons, two of his younger sons—Johann Christoph Friedrich and Johann Christian—as well as his son-in-law Johann Christoph Altnickol. Similarly, in the same period, he transcribed two (Nos. In addition, there is a nine-bar concerto fragment for harpsichord (BWV 1059) which adds an oboe to the strings and continuo. Some commentators have questioned the authenticity of the work, although it is now generally accepted. Among other evidence, they note that both concertos consist of movements that Bach had previously used as instrumental sinfonias in 1726 cantatas with obbligato organ providing the melody instrument (BWV 146, BWV 169 and BWV 188). [31][32] Johannes Brahms later composed a cadenza for the last movement of the concerto, which was published posthumously. Mendelssohn also played the concerto in 1844 in the Hanover Square Rooms in London with Moscheles and Sigismond Thalberg. [5] Peter Wollny, however, considers it unlikely that The Collegium Musicum would have required orchestral parts that were so neatly draughted; he considers it more plausible that the manuscript was prepared for a visit that Bach made to Dresden in 1738 when he would almost certainly have given private concerts in court (or to the nobility) and the ripieno parts would have been played by the resident orchestra. Solo part performed on harpsichord, unless otherwise indicated: Salvatore Carchiolo reconstruction (BWV 35, solo parts for harpsichord and oboe): Winifried Radeke reconstruction (BWV 35, solo part for flute): Keyboard Concerto No. Charles Edward Horsely recalled Mendelssohn's "electrical" cadenza in a memoire of 1872 as "the most perfect inspiration, which neither before nor since that memorable Thursday afternoon has ever been approached." Establishing the history or purpose of any of the harpsichord concertos, however, is not a straightforward task. In both movements the A sections are fairly closely tied to the ritornello material which is interspersed with brief episodes for the harpsichord. Some two decades after the over twenty Weimar concerto transcriptions for unaccompanied keyboard instruments, Bach returned to L'estro armonico, and transcribed its No. NEW MUSIC TUESDAY | "Songs of Isolation" for Solo Cello [WORLD PREMIERE], ON THIS DAY | Violinist & Pedagogue Jakob Dont Died On This Day in 1888, ON THIS DAY | Khachaturian Violin Concerto Premiered On This Day in 1940, OUT NOW | Trio Isimsiz' New CD: "Fauré, Schubert & Brahms", OUT NOW | Silkroad Ensemble's New CD: "Falling Out of Time", OUT NOW | Cellist Diana Golden New CD: "Tanbou Kache", OUT NOW | Cellist Julius Berger's New CD: "Beethoven - Complete Cello Works'', OUT NOW | VC Artist Calidore String Quartet's New CD: "Babel'', OUT NOW | VC Young Artist Nathan Meltzer's New CD: "To Roman Totenberg''. "[24][25], The highly rhythmic thematic material of the solo harpsichord part in the third movement has similarities with the opening of the third Brandenburg Concerto. They were almost certainly originally conceived for a small chamber group, with one instrument per desk, even if performed on one of the newly developed fortepianos, which only gradually acquired the potential for producing a louder dynamic. Most likely in the period from July 1713 to July 1714, during his tenure as court organist in Weimar, Bach transcribed three of these violin concertos, Nos. Listen to Bach, JS: Violin Sonata 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.[61]. It is also known that Wilhelm Friedemann visited his father for one month in 1739 with two distinguished lutenists (one of them was Sylvius Weiss), which would have provided further opportunities for domestic music-making. S. Fischer, Frankfurt am Main. [27] There were further performances at the Gewandhaus in 1837, 1843 and 1863. 2, 5, 8 and 11), for unaccompanied organ (BWV 593 and 596). [53], 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. S. D. It is believed that it was written in 1719, to show off a new harpsichord by Michael Mietke which Bach had brought back from Berlin for the Cöthen court. Rampe (2013) 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. 3 also contained four concertos for four violins (Nos. This concerto was probably based on an original in D major for three violins. In particular this makes it hard not only to determine the place, time and purpose of the original compositions but even to determine the original key and intended instrument. 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 1845 that the work owed its existence "presumably to the fact that the father wanted to give his two eldest sons, W. Friedemann and C.Ph. [3], The harpsichord part in the autograph manuscript is not a "fair copy" but a composing score with numerous corrections. In 1840, Mendelssohn performed it with Franz Liszt and Ferdinand Hiller at the Gewandhaus in Leipzig, where he was director. 15, ART OF ETUDE | VC Young Artist Kerson Leong – Rode Violin Caprice No. 1, both in C major, LIVE FROM COPENHAGEN – WITH VC YOUNG ARTISTS JOHAN DALENE AND JONATHAN SWENSEN, COPENHAGEN – SEPTEMBER 28, 2020 | We’re here in Copenhagen this week for a rehearsal and socially-distanced performance with VC Young Artists, Johan Dalene, Violinist and Jonathan Swensen - Cellist, conductor Lan Shui, and the Copenhagen Philharmonic | Program includes Brahms’ Double Concerto and Sibelius’ Symphony No. This concerto makes use of a popular chamber music ensemble of the time (flute, violin, and harpsichord), which Bach used on their own for the middle movement. There are seven complete concertos for a single harpsichord (BWV 1052–1058), three concertos for two harpsichords (BWV 1060–1062), two concertos for three harpsichords (BWV 1063 and 1064), and one concerto for four harpsichords (BWV 1065). 3 for Solo Violin in C Major BWV 1005-Largo-Performed by Freya Creech. 1 in D major and Beethoven’s Symphony No. Vivaldi's Op. RBP ON JSB | Rachel Barton Pine – ‘Sarabande’ from Bach’s D Minor Solo Violin Partita [SERIES], RBP ON JSB | Rachel Barton Pine – ‘Corrente’ from Bach’s D Minor Solo Violin Partita [SERIES], RBP ON JSB | Rachel Barton Pine – ‘Chaconne’ from Bach’s D Minor Solo Violin Partita [SERIES], RBP ON JSB | Rachel Barton Pine – ‘Adagio’ from Bach’s C Major Solo Violin Sonata [SERIES], RBP ON JSB | Rachel Barton Pine – ‘Fuga’ from Bach’s C Major Solo Violin Sonata [SERIES], LIVE FROM SEATTLE - WITH VC ARTIST SIMONE PORTER AND THE SEATTLE SYMPHONY, We’re coming to you from Seattle, for a live-streamed performance with violinist, VC Artist Simone Porter, conductor Shiyeon Sung, and the Seattle Symphony | The program includes Barber’s Violin Concerto, Tchaikovsky’s Serenade for Strings, and Korngold’s “Dance in the Old Style” | James Holt, LIVE FROM NEW YORK CITY - WITH CHARLOTTE WHITE'S SALON DE VIRTUOSI, We’re coming to you from Merkin Concert Hall, in New York City, this evening for Charlotte White's Salon De Virtuosi 2020 Virtual Gala celebration | Tonight’s LIVE concert, features performances by violinists VC Rising Stars Hina and Fiona Khuong-Huu, flutist Sooah Jeon, pianists Albert Cano Smit and Rémi Geniet, violinists VC Young Artist Nathan Meltzer and Mone Hattori, cellist Alexander Hersh and shakuhachi player Zac Zinger, LIVE FROM LONDON - WITH THE ROYAL BALLET AND THE ROYAL OPERA HOUSE ORCHESTRA, We’re coming to you from London this week for a virtual gala performance with the Royal Ballet and Royal Opera House Orchestra | After seven months of being off the stage, due to the pandemic, the company returning to perform a selection of standard works from the repertoire, Live from Lausanne, Switzerland - with Joshua Weilerstein and the Orchestre de Chambre de Lausanne, LAUSANNE - SEPTEMBER 20, 2020 | This week, we’re coming to you from Lausanne, Switzerland, with conductor Joshua Weilerstein, soprano Olesya Golovneva, mezzo-soprano Stella Grigorian, tenor Stephan Rugamer, baritone Daniel Schmutzhard, the Swiss Youth Choir, and the Orchestre de Chambre de Lausanne | The program features Beethoven’s 9th Symphony | The work, which includes text from Friedrich Schiller’s “Ode to Joy”, is widely recognized for celebrating the commonality and shared joy of all of mankind, Live from Elgin in the United States - with conductor Andrew Grams violinist Philippe Quint and the Elgin Symphony Orchestra, ELGIN, UNITED STATES - SEPTEMBER 17, 2020 | This week, we’re coming to you from Elgin, Illinois in the United States, with violinist Philippe Quint, conductor Andrew Grams, and the Elgin Symphony Orchestra • Program includes: Sarasate’s “Ziguenerweisen”, Massenet’s “Meditation” from Thais, Haydn’s Symphony No.