Johann Sebastian Bach was better known as a virtuoso
organist than as a composer in his day. His sacred
music, organ and choral works, and other instrumental
music had an enthusiasm and seeming freedom that
concealed immense rigor. Bach's use of counterpoint was
brilliant and innovative, and the immense complexities
of his compositional style -- which often included
religious and numerological symbols that seem to fit
perfectly together in a profound puzzle of special
codes -- still amaze musici...(+)
Johann Sebastian Bach was better known as a virtuoso
organist than as a composer in his day. His sacred
music, organ and choral works, and other instrumental
music had an enthusiasm and seeming freedom that
concealed immense rigor. Bach's use of counterpoint was
brilliant and innovative, and the immense complexities
of his compositional style -- which often included
religious and numerological symbols that seem to fit
perfectly together in a profound puzzle of special
codes -- still amaze musicians today. Many consider him
the greatest composer of all time.
This is a most interesting work, a short but quite
attractive piece reconstructed by musicologist Wilfried
Fischer. While it can be described as a concerto
movement, it is also called a sinfonia in certain
performances and on recordings. It is a fragmentary
work, originally intended to serve as an introductory
piece to a cantata, the title of which is not known and
which may never have been realized. In any event, the
work, almost certainly dating to the composer's last
years, has garnered some attention since the late
twentieth century. It opens in a lively, festive mood
and generally maintains that celebratory air
throughout. Musicologists have surmised that the
cantata it was intended to introduce must also have
been of a festive nature. The main theme is rhythmic
and playful and Bach's instrumentation is colorful,
even though the ensemble is made up of only a handful
of instruments, including trumpet, harpsichord, and
oboe. The music is bouncy, often graceful and elegant,
making no pretenses toward profundity. This concerto
movement must be assessed as a quite delightful work
that will provide much delight to the listener.
Typically, it has a duration of five or six
minutes.
Although originally written for Baroque orchestra
(Violin, 3 Trumpets, Timpani, 2 Oboes, Strings &
Continuo), I created this Arrangement of the Sinfonia
in D Major (BWV 1045) for Winds (2 flutes, Oboe, Bb
Clarinet, French Horn & Bassoon) & Strings (2 Violins,
Viola & Cello).
PARTITION