Concertos after various composers
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The 16 concertos, arrangements of various instrumental concertos by Vivaldi, Marcello, Telemann, Duke Joh. Ernst of Saxe-Weimar and others, were first published in print at 1850-1860. The cause and purpose of the transcriptions are not, as originally assumed, Bach's exercises in the then new Italian concerto style, but rather to be found in the practice of the time, which could not enjoy the new concerto style enough and sought to create the pleasurable interplay of solo and tutti itself on the harpsichord, especially as the registration possibilities here allowed the two bodies of sound to be...
The 16 concertos, arrangements of various instrumental concertos by Vivaldi, Marcello, Telemann, Duke Joh. Ernst of Saxe-Weimar and others, were first published in print at 1850-1860. The cause and purpose of the transcriptions are not, as originally assumed, Bach's exercises in the then new Italian concerto style, but rather to be found in the practice of the time, which could not enjoy the new concerto style enough and sought to create the pleasurable interplay of solo and tutti itself on the harpsichord, especially as the registration possibilities here allowed the two bodies of sound to be emphasised sharply. Diese 16 Konzerte sind Bearbeitungen verschiedener Instrumental-Konzerte von Vivaldi, Marcello, Telemann, Herzog Joh. Ernst v. Sachsen-Weimar u. a. und sind erstmals 1850-1860 im Druck erschienen. Ursache und Zweck der Übertragungen sind nicht, wie ursprünglich angenommen, Übungen Bachs zum damals neuen italienischen Konzertstil, sondern vielmehr in der Praxis der Zeit zu suchen, die sich am neuen Konzertstil nicht genug ergötzen konnte und das vergnügliche Wechselspiel von Solo und Tutti sich selbst am Cembalo zu schaffen suchte, zumal hier die Registrierungsmöglichkeiten eine scharfe Heraushebung der beiden Klangkörper gestatteten.
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