Concerto for oboe and violin in C minor
BWV 1060r performed by Emma Black, Shunske Sato
and the Netherlands Bach Society
Stadsgehoorzaal, Leiden
Behind the music
Story
Story
Extra videos
Extra videos
Credits
Credits
Each with their own voice
In search of the original behind a keyboard concerto
Around 1700, a new wind from the south blew through the music world. The ‘Vivaldian’ solo concerto had crossed the Alps and was causing a stir everywhere, including German-speaking Europe. Bach and his contemporaries looked at the model from all sides before adapting it to local customs and talents, especially for the ubiquitous violin. Of which, incidentally, there was no lack of virtuoso players. In Weimar and Köthen, Bach was able to compose for exceptional performers like Prince Johann Ernst of Saxe-Weimar and concertmaster Joseph Spieß, not to mention himself. So it is highly likely that there were once many more violin concertos by Bach.
In the ninteteenth century, when in contrast to the Baroque era ‘original’ was clearly more highly esteemed than ‘arrangement’, people started seeing Bach’s 14 keyboard concertos in a new light. The same applied to this work, which was handed down in a version for two harpsichords. Wilhelm Rust, who was involved with the Leipziger Bach-Gesellschaft from the start in 1850, suspected the existence of an original for two violins in 1874 already, while the physicist and amateur Bach buff Woldemar Voigt proposed this setting for violin and oboe in 1886.
In this version, each instrument makes full use of its own timbre and characteristics. And the imprint of the original is easy to see in the keyboard version, as Bach copied the solo lines almost exactly. In the finale, the violin clearly gets more scope than the oboe to show off its most virtuoso side, while in the second movement – a rocking Siciliano – both instruments become closely entangled.
- BWV
- 1060r
- Title
- Concerto for oboe and violin in C minor
- Instrument
- oboe, violin
- Genre
- orchestral works
- Year
- ca. 1719
- City
- Köthen?
- Special notes
- This is a reconstruction of the supposed original form of the concerto for two harpsichords in C minor, BWV 1060.
With support from
L.C.M. Gieles
Extra videos
Vocal texts
Original
Translation
Credits
-
- Release date
- 11 June 2020
-
- Recording date
- 6 December 2019
-
- Location
- Stadsgehoorzaal, Leiden
-
- Violin and direction
- Shunske Sato
-
- Oboe
- Emma Black
-
- Violin 1
- Pieter Affourtit
-
- Violin 2
- Anneke van Haaften
-
- Viola
- Manuel Visser
-
- Cello
- Lucia Swarts
-
- Double bass
- Hen Goldsobel
-
- Harpsichord
- Siebe Henstra
-
- Director
- Gerbrand van Oudenaarden
-
- Music recording
- Guido Tichelman, Bastiaan Kuijt, Pim van der Lee
-
- Music edit and mix
- Guido Tichelman
-
- Camera
- Alex de Waal, Dagmar Scheeres, Martin van den Brink
-
- Lights
- Zen Bloot
-
- Assistant director
- Ferenc Soeteman
-
- Video editing
- Bas Wielenga
-
- Shading
- Wouter van Teerling
-
- Technical assistance
- Mart van Bree
-
- Producer concert
- Imke Deters
-
- Producer film
- Jessie Verbrugh
-
- With support from
- L.C.M. Gieles
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