Johann Sebastian Bach (1685 – 1750) was a German
composer and musician of the Baroque period. He
enriched established German styles through his mastery
of counterpoint, harmonic and motivic organisation, and
his adaptation of rhythms, forms, and textures from
abroad, particularly from Italy and France. Bach's
compositions include the Brandenburg Concertos, the
Goldberg Variations, the Mass in B minor, two Passions,
and over three hundred cantatas of which approximately
two hundred survive. His...(+)
Johann Sebastian Bach (1685 – 1750) was a German
composer and musician of the Baroque period. He
enriched established German styles through his mastery
of counterpoint, harmonic and motivic organisation, and
his adaptation of rhythms, forms, and textures from
abroad, particularly from Italy and France. Bach's
compositions include the Brandenburg Concertos, the
Goldberg Variations, the Mass in B minor, two Passions,
and over three hundred cantatas of which approximately
two hundred survive. His music is revered for its
technical command, artistic beauty, and intellectual
depth
The Concerto no. 15 in G Major (BWV 986) is a charming
work, more compact than BWV 983 and thus more likely to
be based on a German original if not an early Venetian
one. The "speaking" repeated notes in the adagio recall
those in the grave of BWV 985, whose model is by Johann
Ernst. But this work is free of the occasional weak
modulations and sequences noted in the princes other
concertos, and it might be by a master composer such as
Telemann, as Schering suggested (1902-3, 242). Perhaps
this concerto even furnished the model for the longer
work by Johann Ernst that Bach arranged as BWV
592/592a, which also introduces triplets in the initial
episode of the first movement. The figuration of a
brilliant (tutti?) sequence in mm. 33ff. of the present
first movement also bears a resemblance, in Bach's
arrangement, to the opening of the last movement of BWV
592a. Other notable features include the imitation of
the ritornello theme at the dominant by the bass in the
first movement (m. 5); never repeated, the imitation
might have been Bach's embellishment of a simpler
original texture. Also "Bachian" but probably part of
the original composition is the progression involving
the Neapolitan in the middle of the same movement (mm.
26-7); the progression recurs in intensified form as
the climax of the brief adagio (m. 91 The finale,
although the shortest of all the binary final movements
in these concertos, is nevertheless a complete sonata
form, analogous in meter, key, design, and general
character to the concluding movement of Bach's Third
Brandenburg Concerto. Its opening on the second quarter
of a measure of 12/8 allows the final chord to fall on
a downbeat, reflecting a concern for correct musical
prosody (cf. Mattheson 1739, 147).
Source: Wikipedia
(https://en.wikipedia.org/wiki/Concerto_transcriptions_
for_organ_and_harpsichord_(Bach)).
Although originally written for Harpsichord, I created
this Interpretation of the Concerto in G Major (BWV
986) for Flute & Classical Guitar.
PARTITION