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bwv 1055 oboe pdf download
Complete score and oboe part of the "Oboe Concerto in A major BWV 1055" for Oboe and Piano by Johann Sebastian Bach. Transcribed by Santino Cara.Movements: Allegro spiccato, 2. Larghetto, 3. Allegro ma non tanto
These references are now properly cited in the preface and editorial note. (3 Jan 2020, Jun_T)The famous "Largo" (also known as "Arioso"), an arrangement of BWV 1056/2 and/or BWV 156/1, a piece often performed as the second movement of the concerto, is included as "Appendix" in this edition, since this "Largo" is known NOT to belong to the original violin (or oboe) concerto. Please refer the editorial note included in the scores for details. (10 June 2021, Jun_T)
In the second half of the 1720s, Bach had already written versions of all three movements of the concerto for two of his cantatas with obbligato organ as solo instrument: the first two movements for the sinfonia and first choral movement of Wir müssen durch viel Trübsal in das Reich Gottes eingehen, BWV 146 (1726); and the last movement for the opening sinfonia of Ich habe meine Zuversicht, BWV 188 (1728). In these cantata versions the orchestra was expanded by the addition of oboes.[17]
Several prominent scholars, Siegbert Rampe and Dominik Sackmann, Ulrich Siegele, and Wilfried Fischer have argued that Bach transcribed this concerto from a lost original for oboe or oboe d'amore (Rampe and Sackmann argued for a dating in 1718-19).[34][35][36] Alternatively, Christoph Wolff has suggested that it might have been a 1725 concerto for organ.[37] An organ version exists, like BWV 1052, in a later transcription in his cantatas Gott soll allein mein Herze haben, BWV 169 and Ich geh und suche mit Verlangen, BWV 49.[21]
While scholars agree that the concerto BWV 1055 is based on a lost original, different theories have been proposed for the instrument Bach used in that original. That it was an oboe d'amore was proposed in 1936 by Donald Tovey,[39] in 1957 by Ulrich Siegele,[35] in 1975 by Wilfried Fischer,[40] and in 2008 by Pieter Dirksen.[36] Alternatively, Wilhelm Mohr argued in 1972 that the original was a concerto for viola d'amore.[41] Most recently, however, in 2015 musicologist Peter Wollny (the director of the Bach Archive in Leipzig) argued that the "entire first movement" may instead "originate as a composition for unaccompanied keyboard instrument," since the movement "is conceived on the basis of the harpsichord as solo instrument, to such an extent that the strings are not even permitted to deploy a ritornello theme of their own, but from the first bar onwards assume their role as accompanists and thus step into the background to enable the solo part to develop unhindered; in the case of a melody instrument like the oboe such a design would be unthinkable."[42]
The middle movement is probably from an oboe concerto in F major; is also the sinfonia to the cantata Ich steh mit einem Fuß im Grabe, BWV 156; and closely resembles the opening Andante of a Flute Concerto in G major (TWV 51:G2) by Georg Philipp Telemann in that the soloists play essentially identical notes for the first two-and-a-half measures. Although the chronology cannot be known for certain, Steven Zohn has presented evidence that the Telemann concerto came first, and that Bach intended his movement as an elaboration of his friend Telemann's original.[43]
Scored for harpsichord, oboe and strings in the autograph manuscript, Bach abandoned this concerto after entering only nine bars. As with the other harpsichord concertos that have corresponding cantata movements (BWV 1052, 1053 and 1056), this fragment corresponds to the opening sinfonia of the cantata Geist und Seele wird verwirret, BWV 35, for alto, obbligato organ, oboes, taille and strings. Rampe (2013) summarises the musicological literature discussing the possibility of a lost instrumental concerto on which the fragment and movements of the cantata might have been based. A reconstruction of an oboe concerto was made in 1983 by Arnold Mehl with the two sinfonias from BWV 35 as outer movements and the opening sinfonia of BWV 156 as slow movement.[45]
While the existing score is in the form of a concerto for harpsichords and strings, Bach scholars believe it to be a transcription of a lost double concerto in D minor; a reconstructed arrangement of this concerto for two violins or violin and oboe is classified as BWV 1060R.[46] The subtle and masterful way in which the solo instruments blend with the orchestra marks this out as one of the most mature works of Bach's years at Köthen. The middle movement is a cantabile for the solo instruments with orchestral accompaniment.
Important notice regarding copyrighted material:Most but not all of my arrangements are in the public domain in all countries.If you find that an arrangement you want to look at is not in the publicdomain in your country you must ensure that you obtain a licensefrom the rights holder in order to perform the composition in public.Studying a composition may fall under fair use for educational purposesbut a performance does not! The rules vary from country to country.If you are not sure whether your use of one of my arrangements(of music still under copyright) is permitted, do not download,study and/or perform it in public.
Total number of downloads is currently already over 50.000. (This excludes downloads by myself and it does not count both score and parts of the same piece, nor repeated requests. But some "robots" may be hard to detect so some downloads may not be by real people.)
I arrange music for different accordion orchestras and make sheet music of arrangements freely available for download (as pdf) as a service to the accordion community.Occasionally I also compose something myself, mostly inspired by some "old masters".Many of my arrangements were initially created for Avanti,a small accordion orchestra in Antwerp (Belgium) I have led for about 30 years and thathas (unfortunately) stopped its activities in 2014. Some arrangements are for larger orchestraand were made for Accordeana in Helmond or for the Nederlands Symfonisch Accordeon Orkest.Some of the arrangements for quintet have been made for ARTE,an accordion quintet started in 2013 in the Eindhoven region,or for Kwintissimo, an accordion quintet started in 2016 with players from all over the Netherlands.For some pieces there is a recording by the virtual quintetProfessor P.
If you are going to study and perform one of my arrangements (or download it for any other purpose)please send me an email (to debra at win.tue.nl). When I have your email I can let you know aboutpossible small errors I find in an arrangement and when you find an error please also let me knowso I can notify everyone else who uses the arrangement.(An invitation to a concert would be appreciated even more,especially if it's not too far away.)Better still is that when you finally master a new piece, post it onYouTube (and don't forget to mention me as arranger so that when Isimply search for my name I can find all these performances)!
Tomaso Albinoni composed a series of "Concerti a Cinque",of which it isn't all that clear what "Cinque" meansbecause all these concertos have more than five parts.The concerto opus. 9 nr. 2 is for at least 2 violins, oboe, viola, celloand continuo (6 in total). The arrangement is for accordion quintet or sextet.The arrangements are identical but the third voice is split in the sextetarrangement. The combined third voice can only be played on a button accordion(or else by a player with enormously big hands).From this concerto the second movement has been arranged, a famous Adagio.(It's not "the" famous "Adagio by Albinoni" which is not composed by Albinoni.)Professor P has made arecordingto illustrate this arrangement.Download:complete parts,score for quintet,score for sextet,quintet Musescore 3 source,sextet Musescore 3 source.
Tomaso Albinoni composed a series of "Concerti a Cinque",of which it isn't all that clear what "Cinque" meansbecause all these concertos have more than five parts.The concerto opus. 7 nr. 3 is for at least 2 violins, oboe, viola, celloand continuo (6 in total). The arrangement is for accordion quintet(the continuo appears sometimes in the 3rd voice which is mostly oboeand sometimes in the 4rd voice which is mostly viola.The arrangement files for download are of each of the 3 movements separately,but as they are rather short the whole piece is just 7 minutes,so the audience may still appreciate hearing all of this compositionand not just one movement.Professor P has made arecording(of all three movements together).Download:complete parts,mov. 1, parts,mov. 1, score,mov. 1, Musescore 3 source,mov. 2, parts,mov. 2, score,mov. 2, Musescore 3 source,mov. 3, parts,mov. 3, score,mov. 3, Musescore 3 source.
The Cantate "Am Abend aber desselbigen Sabbats" has 7 movements and startswith an instrumental piece: Sinfonia.This written for strings, 2 oboes, 1 bassoon, double base, organ and continuo.There are two arrangements: one for accordion sextet, in which some of the "instruments" jump between parts so as to fit everything in, and another version for accordion orchestra, which is a straightforward transcription of the original parts, with just the continuo part made up from scratch. This piece is not very difficult (especially not the orchestra version).Professor P recorded thesextet version.Download:sextet parts,sextet score,sextet Musescore 3 source,orchestra parts,orchestra score,orchestra Musescore 3 source. 2ff7e9595c
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