J.S. Bach: Harpsichord Concerto No. 6 in F major, BWV 1057 - 1. Allegro (Synthesized) скачать в хорошем качестве

J.S. Bach: Harpsichord Concerto No. 6 in F major, BWV 1057 - 1. Allegro (Synthesized)

The use of headphones will enhance your listening experience. Like the musical talent of the Bach family, many of Johann Sebastian's compositions went through several generations. It was a common 18th-century practice for composers to rework their own music (and that of others, in those pre-copyright days) to fill a new need. Among the best-known of such pieces in the Bach canon are the concertos for harpsichord, all of which seem to be arrangements of some of his earlier music, much identified, some conjectured. The Third and Seventh Concertos, for example, are arrangements of the E major and A minor Violin Concertos; the Sixth corresponds to the Fourth Brandenburg. Bach needed these pieces in harpsichord/orchestra form for the programs of the Leipzig Collegium Musicum, a public concert-giving organization whose direction he assumed soon after arriving in Leipzig in 1723. Bach or one of his talented sons was soloist at the keyboard for many of those regular Friday concerts held at a local coffee house. By Bach's time, coffee was so well established as a popular vice that it had spawned coffeehouses all over Europe. Leipzig had several, but the proprietor of Zimmermann's Coffeehouse on the Catherinenstraße deserves our special gratitude for having had good taste not only in coffee but also in music. From 1720 until his death in 1741, he hosted concerts of the Collegium Musicum, an ensemble of professional and university musicians, in his coffeehouse on Friday evenings during the winter and in his coffee garden on Wednesday afternoons during the summer. Bach took over direction of the Collegium in 1729 and provided music for the ensemble and directed its concerts for over a decade. For his Collegium programs, which were the closest he ever came to giving public concerts, Bach created, among other works, nearly all of his harpsichord concertos. In doing so, he essentially invented the idea of the solo keyboard concerto, the harpsichord having traditionally been an accompanist when playing with other instruments. (Only in the fifth Brandenburg Concerto had he experimented with the harpsichord as a soloist). But the works themselves were not original compositions. All of Bach's solo and multiple harpsichord concertos, except for one double concerto in C major, are thought to be transcriptions of earlier works that were originally written for violin, oboe or other instruments. Of these earlier concertos, only three have survived, two concertos for violin and one for two violins, all of which have also come down to us in harpsichord transcriptions. But Bach undoubtedly wrote more concertos during that earlier time that are now lost. A good number of those are known only through their later transcriptions into harpsichord concertos. In a few cases, Bach would also use a concerto movement in a sinfonia or aria in a cantata, giving us what is presumably an intermediate version, as well. In making a harpsichord version of a concerto for violin or some other single-line instrument, Bach altered many details, some of them in order to fit the new solo instrument, but some of them may also reflect his later thoughts about an earlier work. Among other things, he needed to provide parts for the left hand, and for this, he sometimes doubled the continuo bass, but he also frequently added new material. In certain passages, he changed idiomatic violin writing into passage work that would fit better under the hands of a keyboard player. He also often added ornamentation in the harpsichord version. And typically, he would transpose a violin concerto down a whole step to bring the solo part into the compass of a keyboard. This Concerto in F Major is Bach's later reworking of his Brandenburg Concerto No. 4, BWV 1049. The original Brandenburg being a concerto in G major for violin and two recorders, Bach has here substituted a harpsichord for the violin soloist and transposed the piece down a step to F, a key that not only fits the range of the keyboard but that also is more comfortable for the recorders. In writing this harpsichord part, Bach combined the violin material from the original concerto and a written out continuo. He added interesting new material to the Brandenburg original, such as the long trill and waltz-like continuo chords at the beginning. Virtuosic violin passages from BWV 1049 are reworked into similarly challenging harpsichord material.