Analysis Of J. S. Bach Concerto Bach 593 No 3 No 2

1336 WordsJul 4, 20176 Pages
J. S. Bach Concerto BWV 593 A. Vivaldi Concerto op. 3 no 8, RV 522 Mov I (No description) Allegro Mov II Adagio Larghetto e spiritoso Mov III Allegro Allegro J. S. Bach Concerto BWV 978 A. Vivaldi Concerto op. 3 no 3, RV 565 Mov I Allegro Allegro Mov II Largo Largo Mov III Allegro Allegro J. S. Bach Concerto BWV 106 A. Vivaldi Concerto op. 3 no 10, RV 580 Mov I (No description) Allegro Mov II Largo Largo – Larghetto – Adagio – Largo Mov III Allegro Allegro No 2. the internal structure of the individual movements. We have a ritornello construction in the outer parts and a section of improvisation in the middle. No. 3 harmonic structure of the piece even when he transposes the piece to a new key. No. 4 the melody of the subjects. It…show more content…
Concerto RV 522 and BWV 593/III/137–141 Passages with big interval jumps that in the organ transcription become more linear. EXAMPLE 2 Concerto RV 522 and BWV 593/III/105–107 Bach also changes the passages consisting of fast repeated notes that are impossible to perform on the organ. EXAMPLE 3 Concerto RV 522 and BWV 593/I/72–75 We can also see Bach changing the way of notating to make it easier for the performer to play the particular section of the piece. EXAMPLE 4 Concerto RV 522 and BWV 593/III/76–79 In a harpsichord concerto in F major BWV 978 there is only one section in which Bach modified the violin figure based on the repeated notes and changed it to a more harpsichord-like figuration with the repeated note at the top. The short and airy tone of the harpsichord allows, unlike the organ, to easily assimilate the violin parts. EXAMPLE 5 (BWV 978 / III / 56-71) Let’s now talk about the most important changes – changes in the texture. Bach made the texture more dense by using the motives more often. When it comes to the organ concerto, it meant adding extra voice in the middle EXAMPLE 6 Concerto RV 522 and BWV 593/I/6–8 As we can see, Bach added a semiquaver motive that works as an imitation to the middle voice (marked with a) and also added a broken chord motive in the middle voice that is followed by the original motive in the top voice (marked with b). Thanks to

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