In this case, the 1978 discovery of an incipit from an organ trio in a catalogue suggests that there may be an earlier version (in B flat) of at least the first movement. The Trio Sonata BWV525 offers a similar scenario. The second movement of the Trio Sonata BWV528 has a previous version in E minor, while the third movment has similar features to the Allegro ma non presto of the Sinfonia from Cantata BWV152 and was likely first composed in Bach’s youth as a sonata for oboe, viola (da gamba?) and continuo. BWV1027 contains three movements that may originate from a lost sonata in G for two violins and continuo – the same material is used in the Sonata for two flutes and continuo BWV1039 and the Sonata for viola da gamba with obbligato harpsichord BWV1027. The first of these is the third movement of the Sonata for harpsichord and violin BWV1014 (originally in D), while the second is an arrangement of the Sinfonia for oboe, strings and continuo from the cantata Ich hatte viel Bekümmernis BWV21. His ‘entourage’ was definitely responsible for the three trios BWV1014, BWV21 and BWV1027. The Sinfonia from the Cantata BWV29 and the first movement of the Trio Sonata BWV528, meanwhile, were certainly his own work. This includes the artist’s own contribution to the genre in seven tracks on CD 1.īWV539 is taken by Bach (or one of his children or pupils) from his Sonata No.1 in G minor for solo violin. Bach that in one way or another were originally written for instruments other than the organ.
Bach transcriptions series#
The aim of these recordings is to offer listeners a series of works by J.S.
In his Weimar period Bach transcribed the works of others for both organ (three concertos by Vivaldi and two by Ernst) and harpsichord (an astonishing 14 pieces by various Italian composers), but he also adapted his own works for instrumental/vocal forces to the keyboard. The 18th century was a very fertile period for transcription, and the practice reached its pinnacle among members of Johann Sebastian Bach’s circle. Transcription has always been a widespread musical practice: the desire to arrange pieces requiring an ensemble of instruments and/or voices for a single instrument like the organ, harpsichord or, later, piano, influenced the musical world in previous centuries, expanding the repertoire and providing composers with new ideas for formal structures and performance techniques. ^ "The Hallé Concerts: Fifty Fourth Season, 1911–12: Eighteenth Concert Thursday Next ".Lost in the Stars: The Forgotten Musical Life of Alexander Siloti. ^ a b c d e Barber, Charles (2004), "The Transcriptions", The Alexander Siloti Collection: Editions, Transcriptions and Arrangements for Piano Solo, Carl Fischer, L.L.C., pp. 11–13, ISBN 0-8258-4730-3.^ BWV 855 The Well-Tempered Clavier Part I Fuga X at MuseScore website.^ BWV 855 The Well-Tempered Clavier Part I Praeludium X at MuseScore website.Das Wohltemperierte Klavier I (NBA V/6.1), Bärenreiter, 1989. Bach Werke Verzeichnis: Kleine Ausgabe, nach der von Wolfgang Schmieder vorgelegten 2. ^ (BWV 2a) Alfred Dürr, Yoshitake Kobayashi (eds.), Kirsten Beißwenger.Gutheil of Moscow, and was performed by Siloti in public for the "first time" (according to an announcement in the Manchester Guardian) in February 1912. The date of the arrangement is uncertain: it was first published by A. It has been performed by many pianists, most famously Emil Gilels. The chords in the left hand are arpeggiated however according to Siloti's daughter Kyriena (to whom the work was dedicated ), he would omit the arpeggiation on the first pass and restore it on the repeat in order to heighten the effect of the left-hand melody. Siloti also adds a repeat of the entire work, in order to allow for a change of voicing where the melody in the left hand is emphasized. It transposes Bach's original down from the original E minor into B minor, with the steady sixteenth note figuration that was originally given by Bach to the left hand being instead assigned to the right hand. This arrangement has been described as "perhaps Siloti's most tender and perfect" transcription.
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