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Bach Concerto in D-Major for Viola, Strings and Basso ContinuoEdited by Yizhak SchottenTitle: Concerto in D-Major for Viola, Strings and Basso Continuo Composer: Johann Sebastian Bach Instrument: Viola Edited By: Yizhak Schotten Instrumentation: Solo with Orchestra Pages: 51 for the score, 12 for the viola solo, 51 for the orchestral parts (violin I, violin II, viola, violoncello, bass and harpsichord) "It seemed natural to keep the key of D because it is beautifully resonant for the viola and very compelling." -Yizhak Schotten This arrangement of the Concerto in D for Viola, Strings and Continuo by J.S. Bach (1685-1750) draws on three works by the composer: two cantatas (BWV 169 and BWV 49) and the Harpsichord Concerto No. 2 in E-Major, BWV 1053. Many scholars agree that the above compositions seem to stem from an earlier Bach solo concerto, presumably lost in its original form. The assumption is that the composer used the material of this concerto and reworked it, first for the two cantatas, then later also for the harpsichord concerto. Opinions differ, however, as to the question of the original solo instrument and the original key. I owe a debt of gratitude to the renowned Bach scholar, Dr. Gerhard Hertz, who drew my attention to Wilfried Fischer's version of the Viola Concerto in E-flat Major, Bärenreiter BA 5149a. In his edition, Fischer explains very convincingly why he believes that the "lost" concerto was scored for the viola. He also provides reasons why, in his opinion, the key might have been E-flat major. While I wholeheartedly admire the scholarly logic of these reasons, the practical performer in me has his doubts about Fischer's choice of key. I found that E-flat and his use of the low register to be awkward and lacking in brilliance. Since Bach chose D and E-Major for the two cantatas, it seemed natural to keep D because it is beautifully resonant for the viola and very compelling. The viola part in my version has been arranged primarily from the organ obbligato lines of the cantata movements; however, the middle movement includes a few of the vocal lines as well. Certain passages allowed me to enrich the solo line with embellishments from the harpsichord concerto. The obbligato organ part corresponds with the middles and high registers of the viola and as a result, some passages occasionally reach a major third above what Bach himself probably would have written for this instrument. However, I chose not to tamper with details of the melodic contour, and a transposition of the entire solo part to the lower octave did not sound persuasive either. As the score now stands, only single passages are taken an octave lower, in cases where I felt that Bach would have explored the full range of the viola. The cheerful first movement, corresponding with the opening Sinfonia from the Cantata Gott soll allein mein Herze haben (God Alone Shall Have My Heart), BWV 169, is in three-part da capo form. The joyous surrender to God expressed in it is complemented with a more elegiac renunciation of the world in the central movement, a woeful siciliano, derived from the beautiful alto aria Stirb in mir, Welt (Die in Me, World) in the same cantata. The concerto closes with the music from the instrumental opening movement of the cantata Ich geh und suche mit Verlangen (I Go and Search With Longing), BWV 49. In ternery ABA form, it dances in graceful triple time. Its return to the light-hearted mood of the initial movement closes the emotional and spiritual circle. -Yizhak Schotten Please note: This edition of Bach's Viola Concerto in D-Major is for viola, strings and harpsichord. A piano reduction of the orchestral score is also available from Ovation Press by clicking here.
Click on the movement titles below to listen to excerpts from Schotten's recording of this piece. Playback requires the use of RealPlayer. To purchase a CD from Crystal Records click here. |
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