Simply enter the code REPEAT in the Promo Code field on the shopping cart page and click Apply to receive your discount. More and more often, he joined up the solid German style with the Italian musical architecture, thus enriching solidity with sophistication and straightforwardness with passion.Get 20% off orders of $20 or more and receive a $5 coupon via email to use on orders of $35 or more on a future order! It stands to reason that Bach’s experiences with transcriptions like this one gave an important boost to the development of his own musical style. The tutti sections are played on the great organ (the largest part of the organ) and the solo sections on the choir organ (the smaller part behind the organist’s back). He did so mainly by adding ornaments, complementing the middle voice and completing chords to reinforce the harmony. Yet Bach did manage to put his own mark on the transcription, besides taking necessary measures like shifting notes where the organ’s register was inadequate or in passages where the two violins double one another. Even passages that were written specifically with the violin in mind – such as big intervals and rapidly repeated notes – were transferred to the organ unabridged. As an arranger, Bach remained surprisingly true to the original. The first section of the Concerto in A minor has an energetic drive, the second is dreamy and enchanting, and the third is shrill and infectious.
Driving rhythms and catchy melodic lines are underpinned by a tight structure, while displaying a striking contrast between tutti and solo sections.
Vivaldi’s concertos excel at blending clever short-term and long-term strategies. Bach, who was employed by the duke as an organist and chamber musician, transcribed six of the twelve concertos from L’estro armonico for different instruments, arranging the three-part Concerto in A minor for two violins, strings and basso continuo for solo organ.įor Bach, making such a transcription was an ideal way of getting to the essence of what he regarded (according to his biographer Forkel) as a new manner of ‘musical thinking’. Between 17, he studied at Utrecht University, and took home a considerable amount of new music on his return to Weimar. The prince was Bach’s pupil and a promising musician and composer. He was probably introduced to the volume by Prince Johann Ernst, the young nephew of his employer Duke Wilhelm Ernst of Weimar. When Vivaldi’s volume of revolutionary new concertos L’estro armonico was published in Amsterdam in 1711, it was not long before Bach got a look at it. Although Bach never lived outside Germany, he was still well aware of what was happening in the music world abroad.
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