(24) Köthener BachCollektiv
Foto-Copyright:
Henner Fritzsche, Köthen (Anhalt)
Veranstaltungsdetails
Artists Clara Blessing oboe d’amoreMarcello Gatti traverso Köthener BachCollektiv Waleska Sieczkowska, Martin Schneider, Iris Kengen, Ekaterina Perlina,
Veranstaltungsdetails
Artists
Clara Blessing oboe d’amore
Marcello Gatti traverso
Köthener BachCollektiv
Waleska Sieczkowska, Martin Schneider, Iris Kengen, Ekaterina Perlina, Cécile Dorchêne violin
Elisabeth Sordia, Christian Goosses viola
Mercedez Ruiz violoncello
Sophia Scheiflerdouble bass
Andreas Gilger harpsichord
Mayumi Hirasaki & Midori Seiler violin & conductors
Programme
Johann Sebastian Bach
Concerto for Oboe d’amore (BWV 1055)
Allegro – Larghetto – Allegro ma non tanto
Suite No. 2 in B minor (BWV 1067)
Ouverture – Rondeau – Sarabande – Bourrée I & II – Polonaise & Double – Menuett – Badinerie
Description
It is hard to imagine that, alongside his many duties as Thomaskantor in Leipzig, Johann Sebastian Bach also found the opportunity to devote himself to purely instrumental music. Yet in 1729 he took over the direction of the local “Collegium musicum”. His friend and colleague Georg Philipp Telemann had founded this predominantly student ensemble in 1704, and since then the musicians had been in demand for numerous civic and church occasions. From around 1720, the ensemble established a regular weekly concert at Gottfried Zimmermann’s “Caffeé-Hauß”. During the summer months, Leipzig’s citizens could even listen to the music outdoors, in a garden just outside the city gates. Johann Sebastian Bach directed the Collegium musicum for around fifteen years, and it may be assumed that the concerts featured both his own works and those of well-known contemporaries.
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Bach’s seven harpsichord concertos are closely connected with the activities of the Leipzig Collegium musicum; in 1738/39, he compiled them in a single volume. The works follow the model of the modern Italian concerto, developed above all by Antonio Vivaldi, with two fast outer movements framing a slow central movement. Nevertheless, this cycle of concertos consists of arrangements of earlier works for other solo instruments.
The Harpsichord Concerto in A major (BWV 1055) very probably originated as a concerto for oboe d’amore, which Bach presumably composed while serving as Kapellmeister at the Köthen court. The exceptionally cantabile solo part supports this assumption, as it lends itself even more impressively to a wind instrument than to the harpsichord. The slow central movement creates a surprisingly Christmas-like atmosphere, with Bach writing it in the characteristic 12/8 metre of a Siciliana.
The orchestral suite was a highly popular genre of instrumental music in the early eighteenth century. With a substantial French-style overture at the beginning and a varied series of short dance or character pieces, these suites lent a festive splendour to large and small courts as well as urban settings. Georg Philipp Telemann virtually specialised in the genre, composing well over 100 works, while Johann Friedrich Fasch and Christoph Graupner also turned their attention to this fashionable form.
Four orchestral suites by Johann Sebastian Bach have survived, enriching the repertoire of his Leipzig Collegium musicum in the 1730s. Nevertheless, some of the movements are based on earlier versions that Bach composed in Köthen or Weimar.
The Orchestral Suite in B minor (BWV 1067) for transverse flute, strings and basso continuo differs significantly from its three companion works. Although this suite, too, consists of an overture followed by several dance movements, Bach gives the solo flute such a prominent role that it could almost be described as a concerto in suite form. Even in the main section of the opening movement, rather than the strict concerto-style fugue customary in overtures, Bach develops a varied dialogue between the flute and the tutti ensemble. In the dance movements as well, right through to the concluding Badinerie, the flute remains the brilliant and carefree centre of the composition.
Please note: The venue is not wheelchair accessible.
Zeit
Tickets kaufen
€ 20 | conc. € 10
ticketsVeranstalter
Spiegelsaal im Schloss Köthen
Schloßplatz 4, 06366 Köthen (Anhalt)nicht barrierefreiSpiegelsaal im Schloss Köthen
Informationen
Concessions
are available to school pupils, trainees and students, people who are
unemployed, and people with severe disabilities. Children up to the age of 6
are admitted free of charge. Holders of a disability pass marked with a “B” are
entitled to a concessionary ticket; their accompanying person is admitted free
of charge with a companion ticket. Free companion and children’s tickets can be
booked by email at tickets@bachfesttage.de or at the Köthen Information Centre.
Please note that the venues are only partially accessible. Concessionary
tickets are only valid upon presentation of the relevant proof of eligibility.
