J.S. Bach - Violin Concerto in d minor, BWV 1052R / Fabio Biondi (baroque violin) & Europa Galante

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Johann Sebastian Bach (1685-1750)
Konzert in d-moll, BWV 1052R [ca.1730-34]
(für violine, streicher und basso continuo)
I. Allegro - 00:00
II. Adagio - 07:21
III. Allegro - 13:33
Fabio Biondi (baroque violin)
Europa Galante
Fabio Biondi (conductor)
The original score of the concerto has been lost, but it was subsequently arranged by Bach as the Harpsichord Concerto No.1 in D minor, BWV 1052. On the basis of the latter, it has been reconstructed by Ferdinand David (1873), Ferruccio Busoni (1899) and Robert Reitz (1917), among others.
Like the other harpsichord concertos, BWV 1052 has been widely believed to be a transcription of a lost concerto for another instrument. Beginning with Wilhelm Rust and Philipp Spitta, many scholars suggested that the original melody instrument was the violin, because of the many violinistic figurations in the solo part-string-crossing, open string techniques-all highly virtuosic. Williams (2016) has speculated that the copies of the orchestral parts made in 1734 (BWV 1052A) might have been used for a performance of the concerto with Carl Philipp Emanuel as soloist. There have been several reconstructions of the putative violin concerto; Ferdinand David made one in 1873; Robert Reitz in 1917; and Wilfried Fischer prepared one for Volume VII/7 of the Neue Bach Ausgabe in 1970 based on BWV 1052. In 1976, in order to resolve playability problems in Fischer's reconstruction, Werner Breig suggested amendments based on the obbligato organ part in the cantatas and BWV 1052A
Since the 19th century, a violin concerto model has been suggested for Bach's first Harpsichord Concerto, BWV 1052: the violin concertos resulting from various reconstruction attempts seem to indicate, at least according to Peter Wollny, that for this harpsichord concerto there was likely no violin concerto model. In the 1980s Peter Williams suggested that the well-known Toccata and Fugue in D minor, BWV 565, for organ, may have been based on piece for violin: in this case the violin version reconstruction appeared to be more convincing. In the introduction of the 1990 second edition of the Bach-Werke-Verzeichnis (BWV), Wolfgang Schmieder suggested to indicate reconstructions by the addition of a "R" to the BWV number of the extant version of the composition on which the reconstruction was based, thus, e.g. the violin and oboe version of the BWV 1060 concerto would be numbered BWV 1060R
In the twenty-first century, however, Bach scholarship has moved away from any consensus regarding a violin original. In 2016, for example, two leading Bach scholars, Christoph Wolff and Gregory Butler, published independently conducted research that led each to conclude that the original form of BWV 1052 was an organ concerto composed within the first few years of Bach's tenure in Leipzig. (Previous scholarship often held that Bach composed the original in Weimar or Cöthen.) Both relate the work to performances by Bach of concerted movements for organ and orchestra in Dresden and Leipzig. Wolff also details why the violinistic figuration in the harpsichord part does not demonstrate that it is a transcription from a previous violin part; for one thing, the "extended and extreme passagework" in the solo part "cannot be found in any of Bach's violin concertos"; for another, he points to other relevant Bach keyboard works that "display direct translations of characteristic violin figuration into idiomatic passagework for the keyboard." Peter Wollny also disagrees with the hypothesis that the works might have originally been a violin concerto.
#Baroque_Music
Related search keywords: Johann Sebastian Bach, J.S. Bach Concerto for violin, strings and basso continuo in D minor BWV 1052R, BWV1052R, Gaman Italian Baroque Music, Baroque Music, baroque violin

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