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string almost entirely," and that the supposed violin solo would at times be lower in pitch than the first violin part, something that is almost unheard of in dedicated violin concertos. By contrast, "the range is exactly the range of Bach's oboes"; scoring the solo oboe occasionally lower than the first violin was typical
Baroque practice, as the oboe still comes through to the ear; and the "figurations are very similar to those found in many oboe works of the period."
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803:). Rifkin argues that the violin was the most likely option, noting that in writing the word "Traversiere" in the solo part, Bach seems to have fashioned the letter T out of an earlier "V", suggesting that he originally intended to write the word "violin" (the page in question can be viewed here, p. 6) Further, Rifkin notes passages that would have used the violinistic technique of
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has argued, based on in-depth analysis of the partially autograph primary sources, that this work is based on an earlier version in A minor in which the solo flute part was scored instead for solo violin. Rifkin demonstrates that notational errors in the surviving parts can best be explained by their
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has argued in detail that the solo instrument in the lost original A minor version was the oboe, and he has recorded it in his own reconstruction of that putative original on a baroque oboe. His case against the violin is that: the range is "curiously limited" for that instrument, "avoiding the G
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arranged portions of BWV 1067 and 1068 for orchestra, harpsichord, and organ. They were played several times during Mahler's first tour of the New York
Philharmonic, with Mahler on harpsichord and
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775:) has become a showpiece for solo flautists because of its quick pace and difficulty. For many years in the 1980s and early 1990s the movement was the incidental music for
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section, then rounded off with a short recapitulation of the opening music. More broadly, the term was used in
Baroque Germany for a suite of dance-pieces in French
96:
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Flautist Steven Zohn accepts the argument of an earlier version in A minor, but suggests that the original part may have been playable on flute as well as violin.
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The source is lost, but the existing parts date from circa 1730. Rifkin has argued that the lost original version was written during Bach's tenure at
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having been copied from a model a whole tone lower, and that this solo part would venture below the lowest pitches on the flutes Bach wrote for (the
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wrote out the second violin and viola parts. Rifkin has argued that the original was a version for strings and continuo alone.
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The oldest source is a partially autograph set of parts from around 1730. Bach wrote out the first violin and continuo parts,
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The source is a partially autograph set of parts (Bach wrote out those for flute and viola) from
Leipzig in 1738–39.
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Scholars believe that Bach did not conceive of the four orchestral suites as a set (in the way he conceived of the
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suite for a "Monsieur
Schouster," presumably for a fee, so all three may attest to the form's popularity.
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Instrumentation: Trumpet I/II/III, timpani, oboe I/II/III, bassoon, violin I/II, viola, basso continuo.
807:. Rifkin also suggests that Bach was inspired to write the suite by a similar work by his second cousin
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during Bach's day, and he showed far less interest in it than was usual: Robin
Stowell writes that "
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left almost 100. Bach did write several other ouverture (suites) for solo instruments, notably the
771:(literally "jesting" in French – in other works Bach used the Italian word with the same meaning,
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1492:
710:); the flute part is marked "Moderato e staccato" and the first violin part "lentement" (slowly)
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fugal section, in which the autograph first violin part is marked "vite" (fast); metrical sign
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Joshua Rifkin, "Besetzung – Entstehung – Uberlieferung: Bemerkungen zur
Ouverture BWV 1068",
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for keyboard. The two keyboard works are among the few Bach published, and he prepared the
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95:'s 135 surviving examples only a fraction of those he is known to have written";
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Bach
Perspectives, nr 6: J. S. Bach's Concerted Ensemble Music, The Ouverture
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Bach
Perspectives, nr 6: J. S. Bach's Concerted Ensemble Music, The Ouverture
141:. However, this work is highly unlikely to have been composed by J. S. Bach.
804:
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Steven Zohn, "Bach and the
Concert en Ouverture" in Gregory Butler (ed.),
30:
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wrote out the trumpet, oboe, and timpani parts, and J. S. Bach's student
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style preceded by such an ouverture. This genre was extremely popular in
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Bach: Overture-Suite in B minor, BWV 1067: Informed Performance Edition
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An arrangement of the second movement of the suite by German violinist
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1581:, notes to the CD "Orchestral Suites for a Young Prince," Avie AV2171
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Overture of Orchestral Suite No. 1, BWV 1066, performed by
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I/II (Bourrée I in D major & Bourrée II, the middle section, in
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I/II (Bourrée I in C major & Bourrée II, the middle section, in
1518:, "The B-Minor Flute Suite Deconstructed" in Gregory Butler (ed.),
1387:
Gustav Mahler and the New York Philharmonic orchestra tour America
1100:
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80:
29:
1389:. Lanham (Md.) Toronto Oxford: the Scarecrow press. p. 208.
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120:
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refers only in part to the opening movement in the style of the
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at the 12th between the flute (plus first violins) and the bass
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From Orchestral Suite No. 4, BWV 1069, performed by
491:
From Orchestral Suite No. 2, BWV 1067, performed by
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832:
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Sonatas for viola da gamba and harpsichord, BWV 1027–1029
842:
Orchestral Suite No. 3, BWV 1068, performed by
752:). Bach, in the autograph part, spells this "Battinerie".
71:, in which a majestic opening section in relatively slow
617:; metrical sign of ending section, marked Lentement, is
767:"WezmÄ™ ja kontusz" (I'll take my nobleman's robe). The
1880:
Canonic Sonata for oboe, violin and continuo, BWV 1040
1819:
Six Sonatas for Violin and Harpsichord, BWV 1014–1019
1019:
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130:), since the sources are various, as detailed below.
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no. 5, BWV 1011, which also exists in the autograph
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1997:
1973:
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Sonatas and Partitas for Solo Violin, BWV 1001–1006
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part of the second orchestral suite (BWV 1067)
1562:2007: University of Illinois Press», pp. 137–156,
1469:Arts, Sciences, and Economics: A Historical Safari
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695:/ Double (In B minor. Metrical sign for both is
1522:2007: University of Illinois Press, pp. 1–98,
2182:List of compositions by Johann Sebastian Bach
1732:
8:
1875:Sonata for two flutes and continuo, BWV 1039
508:Movements 4 (Bourrée I/II) and 5 (Polonaise)
1923:Sinfonia for violin and orchestra, BWV 1045
1300:RĂ©jouissance (In D major. Metrical sign is
1739:
1725:
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1013:for the opening section; metrical sign is
610:{\displaystyle {\boldsymbol {2}}\!\!\!|\;}
606:
578:. Metrical sign of the opening section is
420:{\displaystyle {\boldsymbol {2}}\!\!\!|\;}
416:
337:{\displaystyle {\boldsymbol {2}}\!\!\!|\;}
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279:{\displaystyle {\boldsymbol {2}}\!\!\!|\;}
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1963:For two harpsichords in C minor, BWV 1060
1692:International Music Score Library Project
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1364:. Faber & Faber. 2011. p. 352.
1471:(2nd ed.). Springer. p. 126.
1351:, Oxford University Press, 1999, p. 336
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760:), violin I/II, viola, basso continuo.
527:Movements 6 (Minuet) and 7 (Badinerie)
1417:, Oxford University Press, 1999, p. 58
1343:Robin Stowell, "Orchestral suites" in
964:"Air" of Bach's third Orchestral Suite
763:The Polonaise is a stylization of the
756:Instrumentation: Solo " traversière" (
642:by Bach (In B minor. Metrical sign is
222:
1988:Orchestral Suite in G minor, BWV 1070
1538:Betty Bang Mather and Dean M. Karns,
1411:Oxford Composer Companions: J.S. Bach
1345:Oxford Composer Companions: J.S. Bach
236:in 1724–45 copied by C. G. Meissner.
117:Overture in the French style, BWV 831
7:
1905:Violin Concerto in E major, BWV 1042
1900:Violin Concerto in A minor, BWV 1041
1591:D-B Mus. ms. Bach St 153, Fascicle 1
1210:("Our mouths be full of laughter").
1207:Unser Mund sei voll Lachens, BWV 110
586:; metrical sign of fugal section is
255:; metrical sign of fugal section is
27:Four suites by Johann Sebastian Bach
1493:"Under siege: Educating the Nation"
1282:I/II (In D major. Metrical sign is
681:I/II (In B minor. Metrical sign is
433:I/II (In C major. Metrical sign is
371:I/II (In C major. Metrical sign is
313:I/II (In C major. Metrical sign is
247:. Metrical sign of opening section
63:from the years 1724–1731. The name
1910:Concerto for Two Violins, BWV 1043
1672:(video and background information)
232:The source is a set of parts from
223:Problems playing these files? See
137:catalogue includes a fifth suite,
25:
1943:Keyboard concertos, BWV 1052–1065
1432:The Cambridge Companion to Chopin
1028:{\displaystyle {\boldsymbol {2}}}
1983:Orchestral Suites, BWV 1066–1069
1803:Partita for Solo Flute, BWV 1013
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1223:
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1149:Suite No. 4 in D major, BWV 1069
1091:
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826:Suite No. 3 in D major, BWV 1068
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475:Suite No. 2 in B minor, BWV 1067
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155:Suite No. 1 in C major, BWV 1066
18:Suite No. 3 in D major, BWV 1068
2203:Suites by Johann Sebastian Bach
1167:The Adolf Busch Chamber Players
844:The Adolf Busch Chamber Players
497:The Adolf Busch Chamber Players
173:The Adolf Busch Chamber Players
1362:The Faber Pocket Guide to Bach
1268:(In D major. Metrical sign is
779:morning programmes in the UK.
737:(In B minor. Metrical sign is
716:(In B minor. Metrical sign is
656:(In B minor. Metrical sign is
602:
412:
350:(In C major. Metrical sign is
329:
292:(In C major. Metrical sign of
271:
109:Lute Suite in G minor, BWV 995
1:
2068:Everything's Gonna Be Alright
1439:No. 3, edited by Jim Samson.
1437:Cambridge Companions to Music
1409:Jeanne Swack, "Badinerie" in
1141:(1845–1908) became known as "
115:no. 4 in D, BWV 828, and the
980:United States Air Force Band
55:by their composer) are four
2082:Jesu, Joy of Man's Desiring
1798:Cello Suites, BWV 1007–1012
1712:Werner Icking Music Archive
1244:for the fast fugal section)
2224:
1958:No. 4 in A major, BWV 1055
1953:No. 2 in E major, BWV 1053
1948:No. 1 in D minor, BWV 1052
1441:Cambridge University Press
1178:First part of the Overture
1173:(1930s monaural recording)
931:4. Bourrée – 5. Gigue
850:(1930s monaural recording)
783:Earlier version in A minor
503:(1930s monaural recording)
179:(1930s monaural recording)
97:Christoph Graupner left 85
2177:
1229:for the opening section,
1670:Netherlands Bach Society
1618:, 83 (1997), pp. 169–76.
1429:. "Beyond the Dance" in
1385:Wagner, Mary H. (2006).
34:Bach's autograph of the
1413:, ed. Malcolm Boyd and
1347:, ed. Malcolm Boyd and
2122:A Whiter Shade of Pale
2103:Sheep may safely graze
1697:Orchestral Suite No. 1
1676:Orchestral Suite No. 1
1668:: performances by the
1666:Orchestral Suite No. 4
1662:Orchestral Suite No. 3
1658:Orchestral Suite No. 2
1654:Orchestral Suite No. 1
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874:Overture (part 2 of 2)
855:Overture (part 1 of 2)
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203:Overture (part 2 of 2)
184:Overture (part 1 of 2)
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135:Bach-Werke-Verzeichnis
101:Johann Friedrich Fasch
79:is followed by a fast
39:
2116:Trio Sonata, BWV 525a
1929:Brandenburg Concertos
1761:Johann Sebastian Bach
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128:Brandenburg Concertos
61:Johann Sebastian Bach
33:
2140:Bach's Greatest Hits
2062:Bach-Busoni Editions
2008:The Musical Offering
1865:in E major, BWV 1035
1860:in E minor, BWV 1034
1854:in C major, BWV 1033
1849:in A major, BWV 1032
1832:in B minor, BWV 1030
1017:
809:Johann Bernhard Bach
795:, which Bach called
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2168:Switched-On Bach II
2154:Jazz Sebastian Bach
2042:Air on the G String
1254:. Metrical sign is
1221:. Metrical sign is
1143:Air on the G String
1107:. Metrical sign is
1089:. Metrical sign is
1071:. Metrical sign is
1053:. Metrical sign is
1005:. Metrical sign is
995:Johann Ludwig Krebs
396:. Metrical sign is
139:BWV 1070 in G minor
1627:Bach Digital Work
1546:2014-03-14 at the
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1043:for final section)
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49:1066–1069 (called
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2208:Orchestral suites
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1568:978-0-252-03042-0
1528:978-0-252-03042-0
1396:978-0-8108-5720-9
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1126:Instrumentation:
978:performed by the
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44:orchestral suites
16:(Redirected from
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2161:Switched-On Bach
2016:The Art of Fugue
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1931:, BWV 1046–1051
1916:Triple Concerto
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1843:major, BWV 1031
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1781:Partita No. 1
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1756:transcriptions
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2147:Back to Bach
2145:
2138:
2015:
2007:
1982:
1928:
1915:
1636:.bachdigital
1623:
1613:
1608:
1598:.bachdigital
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1500:. Retrieved
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451:
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378:
357:
299:
231:
149:Harry Jepson
143:
132:
125:
64:
51:
50:
43:
41:
2034:Adaptations
2023:discography
1171:Adolf Busch
848:Adolf Busch
777:ITV Schools
501:Adolf Busch
177:Adolf Busch
105:Cello Suite
77:duple meter
73:dotted-note
36:traversière
2197:Categories
2096:Lady Lynda
2018:, BWV 1080
2010:, BWV 1079
1990:(doubtful)
1918:, BWV 1044
1856:(doubtful)
1845:(doubtful)
1542:(partial)
1502:2021-06-08
1323:References
1130:I/II/III,
671:), with a
638:– written
225:media help
151:on organ.
75:rhythm in
52:ouvertures
2056:Ave Maria
1892:Concertos
1465:Puu, Tönu
1415:John Butt
1349:John Butt
1215:Ouverture
1067:I/II (In
805:bariolage
769:Badinerie
735:Badinerie
693:Polonaise
654:Sarabande
431:Passepied
241:Ouverture
65:ouverture
42:The four
2049:Alphabet
1840:♭
1812:Ensemble
1754:by, and
1544:Archived
1467:(2014).
1443:, 1994.
640:Rondeaux
290:Courante
93:Telemann
1758:after,
1497:bbc.com
1266:Gavotte
1252:B minor
1248:Bourrée
1219:D major
1203:cantata
1132:timpani
1128:Trumpet
1105:D major
1087:D major
1083:Bourrée
1069:D major
1065:Gavotte
1051:D major
1003:D major
982:Strings
817:Oboist
773:scherzo
679:Bourrée
636:Rondeau
576:B minor
562:Musopen
458:bassoon
394:C minor
390:Bourrée
348:Forlane
311:Gavotte
245:C major
234:Leipzig
89:Germany
85:Baroque
2132:Albums
1975:Suites
1566:
1526:
1475:
1453:p. 146
1447:
1393:
1368:
1280:Menuet
1199:Köthen
893:2. Air
714:Menuet
464:I/II,
462:violin
456:I/II,
369:Menuet
111:, the
99:; and
57:suites
1999:Fugal
1936:No. 5
1791:No. 3
1786:No. 2
1709:No. 4
1705:No. 3
1701:No. 2
1688:No. 4
1684:No. 3
1680:No. 2
1629:01254
1101:Gigue
673:canon
560:From
466:viola
81:fugal
2110:They
1837:in E
1769:Solo
1750:and
1664:and
1564:ISBN
1524:ISBN
1473:ISBN
1445:ISBN
1391:ISBN
1366:ISBN
1217:(In
1103:(In
1085:(In
1049:(In
454:Oboe
243:(In
133:The
121:lute
2089:Joy
1638:.de
1634:www
1631:at
1600:.de
1596:www
1593:at
1145:".
1047:Air
799:or
59:by
47:BWV
2199::
1707:,
1703:,
1699:,
1686:,
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1678:,
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1495:.
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1330:^
811:.
468:,
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1740:e
1733:t
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1315:)
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272:|
264:2
227:.
20:)
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