The other four concertos show fewer differences between their respective
Coethen and Brandenburg versions, mainly in minor details of melodic
figuration, rhythm, bowing and articulation. Bach's continual process of
reshaping and recycling his own music makes it impossible to locate
definitive versions for many of his works, and difficult even to
establish which represent his earliest thoughts.
There are reasons, for instance, for thinking that Concertos Nos.1, 3 and
6 have origins in Bach's previous period of employment from 1708 to 1717
with the Duke of Weimar. But what is certain is that in the forms
recorded here, these six concertos show almost as much variety as in their
more familiar versions, and no less of the vitality and brilliance that
have caused them to become numbered among their composer's best-loved
works. And played, as here, with one instrument to a part, they surely
also take us closer to the atmosphere of Bach's happy days in Coethen.
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