Concerto For Oboe And Strings

Concerto In C Minor for Oboe Strings and Basso Continuo composed by Matthäus Nikolaus Stulick [or Georg Friedrich Händel or Johann David Heinichen]. Piano reduction. There are three versions of this concerto with different assignments: Source A: In the library Schwerin [D-SWl] as „de Sing. Stulick' [Mus.5337]. Source B: In the collection Rheda [D-RH] as „Del Sing. Heinichen' [Ms 389]. Source C: In the univesity library Upsala [S-Uu]als „Dell Sing. Hendell' [i hs. 19:28]. The distribution of a baroque composition under various composers names was not uncommon and usually meant that it was aworthy work of high compositional quality. This Concerto for Oboe Strings and Basso continuo can serve in any case as evidence for this thesis. The question which of the three composers mentioned was the creator of the concert can not be answered conclusively. Two arguments suggest however that Matthäus Nikolaus Stulick (c.1700-1732) is the most likely of the three candidates: - The Schwerin manuscript [Source A] that names Stulick as the composer is the best by far; it contains far fewer errors and inconsistencies than the other two. - The designation of a work by a foreign composer name makes only sense if an unknown composer publishes under a name of a much more prominent composer not vice versa. Why should a work of Handel or at his time well-known Heinichen be played under the name of someone less known? We do not know much about the life of Matthäus Nikolaus Stulick. He was born around 1700 in Bohemia and worked in the 1730s as concertmaster at the court in Mainz where he died in 1732. Besides two Oboe concertos he composed a concerti à 4 for three wind instruments and BC.

Ces livres solos pour hautbois de 3 volumes qui contiennent plusieurs Concertos importants, devrait aider le jeune hautboïste encore inexpérimentés, à ses études. / Hautbois

Joseph Robinson of The Double Reed says of Elaine Douvas in this recording: Eschewing overt expression in favor of implication and subtlety she offers performances that are stylish and full of passion and conviction to be sure but which like all great art withstand and reward the most careful scrutiny...Expert phrasing and articulation by Elaine Douvas in this album demonstrate persuasively that the pieces she has chosen are sufficient to challenge the finest player's imagination discipline and instrumental skill. This album is a delight for any oboist and again contains a rich collection of music from many periods from Telemann to Hindemith. Includes a complete solo partprinted on high-quality ivory paper annotated with performance suggestions and a compact disc with complete versions (with soloist) followed by piano accompaniments to each piece minus the soloist. Performed by Elaine Douvas oboe Accompaniment: Erik Nielsen piano

D minor BWV 1052-In early 1729 Bach became director of the so-called »Scottish Collegium Musician« a music organization of students and local citizens. The remarkable results of this undertaking are the concertos for harpsichord. Today it is almost certain that practically all of these concertos were transcribed from concertos for melody instruments (mostly violin or oboe).The D-minor Concerto BWV 1052 forms the opening item in Bach’s autograph score of his six harpsichord concertos BWV 1051 to BWV 1057 (Berlin Staatsbibliothek Mus. ms. Bach P 234). Bach scholars are unanimously in agreement that the piece was transcribed from a violin concerto in the same key. The originalconcerto although no longer extant today can be reconstructed with some degree of certainty from its various transcriptions.Urtext of the New Bach EditionFull score & parts (BA5224) two-keyboard reduction (BA5224-90) and study score (TP410) format 22.5 x 16.5cm (all 6 concertos) available for sale

A major BWV 1055-In early 1729 Bach became director of the so-called »Scottish Collegium Musician« a music organization of students and local citizens. The remarkable results of this undertaking are the concertos for Harpsichord. Today it is almost certain that practically all of these concertos were transcribed from concertos for melody instruments (mostly Violin or Oboe).- Urtext of the New Bach Edition- Full scores and performing material to the five concertos for Harpsichord and Strings BWV 1052-1056 (BA5224-BA5228) the concerto for Harpsichord two Recorders and Strings BWV 1057 (BA5229) as well as the concerto BWV 1058 (BA5230) also for Harpsichordand Strings based on the Violin concerto in A minor are available for sale.- Study score of the Complete Concertos for Keyboard format 22.5 x 16.5cm (TP410)

INTRODUCTION The Four Seasons: Sonnet Texts Bibliography Il Cimento dell'armonia e dell'inventione (The Contest of Harmony and Invention) Twelve Concertos for violin, strings, and continuo (Opus 8) THE FOUR SEASONS (OPUS 8, NOS. 1-4) Concerto No. 1 in E Major: La Primavera (Spring) (Op. 8, No. 1 / RV 269) I. Allegro II. Largo III. Allegro Concerto No. 2 in G Minor: L'Estate (Summer) (Op. 8, No. 2 / RV 315) I. Allegro non molto II. Adagio III. Presto Concerto No. 3 in F Major: L'Autunno (Autumn) (Op. 8, No. 3 / RV 293) I. Allegro II. Adagio molto III. Allegro Concerto No. 4 in F Minor: L'Inverno (Winter) (Op. 8, No. 4 / RV 297) I. Allegro non molto II. Largo III. Allegro OTHER VIOLIN CONCERTOS (OPUS 8, NOS. 5-12) Concerto No. 5 in E-flat Major: La Tempesta di Mare (The Storm at Sea) (Op. 8, No. 5 / RV 253) I. Presto II. Largo III. Presto Concerto No. 6 in C Major: Il Piacere (Pleasure) (Op. 8, No. 6 / RV 180) I. Allegro II. Largo e cantabile III. Allegro Concerto No. 7 in D Minor (Op. 8, No. 7 / RV 242) I. Allegro II. Largo III. Allegro Concerto No. 8 in G Minor (Op. 8, No, 8 / RV 332) I. Allegro II. Largo III. Allegro Concerto No. 9 in D Minor (Op. 8, No. 9 / RV 236) I. Allegro II. Largo III. Allegro Concerto No. 10 in B-flat Major: La Caccia (The Hunt) (Op. 8, No. 10 / RV 362) I. Allegro II. Adagio III. Allegro Conceto No. 11 in D Major (Op. 8, No. 11 / RV 210) I. Allegro II. Largo III. Allegro Concerto No. 12 in C Major (Op. 8, No. 12 / RV 178) I. Allegro II. Largo III. Allegro IMPORTANT VARIANTS How to Use the Variants Concerto No. 7 in D Minor (RV 242) Allegro (Movement I) a. Substitute for Bars 50-76 Concerto No. 9 in D Minor (RV (Version for Oboe, Strings and Continuo, RV 454) Allegro (Movement I) a. Substitute for Bars 91-102 Concerto No. 11 in D Major (RV 210) Allegro (Movement I) a. Substitute for Bars 100-112 b. Substitute for Bars 122-132 Allegro (Movement II) c. Substitute for Bars 38-67 d. Substitute for Bars 113-154 e. Substitute for Bars 171-214 f. Substitute for Bars 171-208 CRITICAL NOTES The Sources The Amsterdam Print The Dresden Manuscripts The Manchester Partbooks The Turin Autograph Scores The Dover Edition Text Fonts Used in The Four Seasons

E major BWV 1053-In early 1729 Bach became director of the so-called »Scottish Collegium Musician« a music organization of students and local citizens. The remarkable results of this undertaking are the concertos for harpsichord. Today it is almost certain that practically all of these concertos were transcribed from concertos for melody instruments (mostly violin or oboe).BWV 1053 is the second piece in the autograph score of harpsichord concertos that Bach prepared in or around 1738 (Berlin Staatsbibliothek Mus. ms. Bach P 234). It was probably transcribed from a concerto for a solo woodwind instrument although opinions differ on the original key and instrument. Bach had alreadyreworked the original concerto in two church cantatas in the autumn of 1726 (BWV 49 and BWV 169) at which time he assigned the solo part to the organ. Perhaps the original concerto is not much older than these cantatas for the siciliano slow movement is closely related in expression to many numbers from his great Passion settings.Urtext of the New Bach EditionFull score & parts (BA5225) two-keyboard reduction (BA5225-90) and study score (TP410) format 22.5 x 16.5cm (all 6 concertos) available for sale