Bach’s Concerto for Oboe and Violin in C Minor: A Lost Score Reconstructed

No original manuscript exists for J.S. Bach’s Concerto for Oboe and Violin in C minor. The lost score was reconstructed from Bach’s Concerto for Two Harpsichords, BWV 1060. According to musicologists, that work was almost certainly an arrangement of an earlier concerto in the same key for oboe and violin, dating from Bach’s years in Köthen (1717–1723). Heard in its likely original form, the Concerto unleashes a vibrant musical conversation. The violin and …

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Bach’s Prelude and Fugue in G Major, BWV 541: Bright and Sunny

J.S. Bach’s Prelude and Fugue in G Major, BWV 541 springs to life with a leaping upward triad. This simple motivic cell unleashes a playful, dancing musical line which opens the door to torrents of sparkling and boldly-spirited virtuosity. Filled with an infectious sense of joy and exuberance, BWV 541 is a sunny companion to the music we heard in a post that I published earlier this year, J.S. Bach and the Joy of …

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Bach’s Concerto for Two Violins, The Netherlands Bach Society

In 1711, a collection of violin concertos by Antonio Vivaldi was published in Amsterdam under the title, L’estro armonico (“The Harmonic Inspiration”). It was a prime example of the Baroque concerto grosso form, in which a solo instrument, or small group of instruments, engage in continuous dialogue with a larger ensemble. The British musicologist Michael Talbot has called L’estro armonico “perhaps the most influential collection of instrumental music to appear during the whole of the …

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Bach’s St John Passion: A Divine Drama

J.S. Bach’s St John Passion is a haunting and dramatic musical depiction of the Passion of Christ, as told in the Gospel of John. The story of Jesus’ capture, judgment, and crucifixion, as outlined in biblical passages from John 18 and 19, are presented by the solo tenor (the Evangelist). A cast of other singers perform the roles of Jesus, Pilate, and the disciples, while the four-part choir represents the people at large. …

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Bach’s Orchestral Suite No. 1 in C Major: Embracing and Transcending Fashion

The Overture which opens J.S. Bach’s First Orchestral Suite was built on a well-established, preexisting model. You could even call it a formula. It was the stylish “French Overture,” dating back to the 1650s, which opened the ballets of Jean-Baptiste Lully (1632-1687), a composer who spent most of his life employed by the court of Louis XIV. The French Overture begins with a majestic slow section consisting of stately dotted rhythms fit for …

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A New Year’s Hymn: Music of Praetorius, Scheidt, and Bach

Das alte Jahr vergangen ist (“The old year now hath passed away”) is a New Year hymn dating back to 1568. The chorale melody has been attributed to Johannes Steurlein (1546-1613), the son of the first Lutheran pastor of the central German town of Schmalkalden. The text suggests a mix of quiet gratitude and apprehension: The old year now hath passed away; We thank Thee, O our God, today That Thou hast …

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Bach’s Chorale Prelude, “In dir ist Freude”: The Evolution of a Melody

Short-short-short-long… This is the motif which famously launches Beethoven’s Fifth Symphony. This brief, tightly wound kernel pervades the first movement, and then returns throughout the Symphony. Although Beethoven’s use of this motive may be the most memorable and persistent example, the “short-short-short-long” rhythm is a common building block throughout music. It’s infused with a natural sense of forward motion, moving “from here to there.” For example, listen to the majestic and expansive …

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