Something for a Friday: All of Bach
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Orchestral Suite #3 in D, BWV 1068
An earlier version, before Bach decided to add woodwinds and brass - the result from this Dodectet of strings and harpsichord is fascinating: and a little unsetting in the way the Music is both familiar and yet ... not. Brecht would have loved this!
Lars Ulrik Mortensen directs from the keyboard, recorded at the Muziekgebouw aan 't IJ, Amsterdam 18 months ago, and newly published today.
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Concerto in G for solo Organ BWV 592
An arrangement of a Concerto for Violin, strings, and Continuo by Johann Ernst von Saksen-Weimar, a minor noble and the nephew of Bach's employer in Weimar. JEvS-W was a fan of Vivaldi's Music - and Bach's "arrangement" of his work brings out the zest he himself felt by the Italian's work. Everything by Bach with the word "Concerto" in the title is an unalloyed joy - and this, written in his twenties, is no exception.
A repeat video, recorded five years ago, and first published in 2015; Leo van Doeselaar plays the Muller organ in Amsterdam's Walloon Church (an instrument built a little later than when Bach wrote the piece).
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Prelude & Fugue in g# minor, "W-TC" Bk 1, #18, BWV 863
A new video, recorded a year ago, and played at his Belgian home by Korneel Bernolet.
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Excellent notes for this programme. The interviews said it all - a big production. Nothing left but a hearty Bravo! for Benny Aghassi.
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"Auf, schmetternde Töne der muntern Trompeten" BWV 207a
"On with the smashing sounds of the cheerful trumpets" (-ish). An outdoor performance (with birdsong ornamentation), recorded nearly three years ago, but newly published. One of Bach's "secular Cantatas" (although the notes have some interesting comments about this term, which may have some bearing on Pulcie's comment about Bach's use of the term "Oratorio").
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It is peculiar, Pulcie - the Easter and Ascension Oratorios sort of refer back to the mid-17th Century Italian "Oratorio Vulgare", a choral work lasting between 30-60 minutes in the vernacular language, in two parts separated by a sermon. I think it's just the length of the piece that led to the different title - but the Ascension Oratorio has a BWV number that puts it firmly amongst the Church Cantatas, whereas both the Christmas and Easter Oratorio's BWV 248 & 249 are post-Secular Cantatas (so the compilers of the Catalogue weren't sure themselves). And the six individual Cantatas of the Christmas, intended to be performed on separate days ... is an individual use of the Oratorio concept. Perhaps it was just a phase he was going through - he didn't use the term before 1734 or after 1735.
And IIRC, all three Oratorios recycle material from earlier works, which may be relevant ....
... or not?
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Idiot question, perhaps (and maybe better suited to the Musical questions and answers thread):
Why is the Easter Oratorio not considered simply as one of the sacred cantatas?
The Christmas Oratorio is an assemblage of six 'cantatas' for specific days, albeit outside the sacred cantata canon; was there an original broader conception for a Paschal equivalent?
PS:Wiki is a bit of a help (but not much); I'm sure that some erudite forumites will provide some rationale!
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Originally posted by Edgy 2 View PostEaster Oratorio available on Sunday ferney
https://mailchi.mp/allofbach/bwv1045...1?e=23e79c7061(
of a performance, too!)
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Originally posted by ferneyhoughgeliebte View PostErm - nothing new for this week yet, it seems.
I played the Matthew Passion today, so I haven't been deprived personally, but ...
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