Demonstration: ii. Andante, from J.S. Bach's Italian Concerto, BWV 971 скачать в хорошем качестве

Demonstration: ii. Andante, from J.S. Bach's Italian Concerto, BWV 971

Iwona Kaminska performs the second movement (Andante) from Johann Sebastian Bach's Italian Concerto, BWV 971 i. [without indication] -    • Demonstration: i. [Allegro], from J.S. Bac...   ii. Andante -    • Demonstration: ii. Andante, from J.S. Bach...   iii. Presto -    • Demonstration: iii  Presto, from J.S. Bach...   Notes from the performer: The Italian Concerto, BWV 971, was published in Clavier-Übung II alongside the French Overture. Both works were intended for performance on a two-manual harpsichord. Bach’s fascination with the concerto and ritornello forms began with his discovery of Vivaldi’s Op. 3 Concerti. He immediately immersed himself in transcribing several concertos by Vivaldi and other Italian composers for the harpsichord, eventually composing his own original keyboard concertos. In the Brandenburg Concerto No. 5, he further elevated the harpsichord's role with extensive keyboard solos. The Italian Concerto, BWV 971, marks the culmination of Bach’s in-depth study of the ritornello form, written for a single harpsichord that represents both the orchestra (ritornelli) and the soloist in a typically Vivaldian style. One hallmark of Vivaldi's concerto form is the exact repetition of the opening and closing ritornelli—a technique Bach uses in both the first and last movements of this piece. For pianists, it's important to note that the Forte and Piano markings here do not represent mere volume changes. On an organ or two-manual harpsichord, these indications prompt a switch between keyboards to create contrasting tonal colors. Moving to the upper manual does not imply a softer sound, but rather a distinct change in timbre. Many pianists misinterpret these markings, accentuating the less melodic left-hand broken chords, rather than highlighting the charming right-hand melody. This work also contains some rare articulation markings. The slurs and staccato-like dots emphasize the orchestral inspiration behind the piece: slurs in Baroque music, originally intended for stringed instruments, indicate bowing rather than strict legato. On Baroque string instruments, the slur emphasized the first note more than today’s strings, due to differences in bow construction and string tension.