{"product_id":"bach-concerto-in-a-minor-for-violin-1","title":"Bach, J.S., Concerto in A Minor BWV 1041 for Violin and Piano (Henle)","description":"\u003cp\u003eFor the editor of an Urtext edition, Bach’s A minor violin concerto BWV 1041 presents few problems; cleanly-written original parts exist from Bach’s Köthen (or early Leipzig) period. But beyond the guarantee of a reliable musical text, the Henle edition scores points in terms of text layout; thanks to a foldout solo part, turning pages is made comfortable, something that was previously a challenge because of the literally non-stop, continuous sixteenth notes in the opening movement. Other publishers have since copied this idea. Only the piano reduction from Henle – in all three of Bach’s violin concertos – can be effortlessly performed off the page, even by the lay musician.\u003cbr\u003e\u003cbr\u003eHans Eppstein \u003cspan class=\"role\"\u003e(Editor)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eJohannes Umbreit \u003cspan class=\"role\"\u003e(Piano reduction)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eKurt Guntner \u003cspan class=\"role\"\u003e(Fingering and bowing for Violin)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eUrtext Edition, Piano reduction, paperbound\u003c\/p\u003e\n\u003cp\u003ewith marked and unmarked string parts\u003c\/p\u003e\n\u003cp\u003ePages 42 (III+19+10+10), Size 23,5 x 31,0 cm\u003c\/p\u003e\n\u003cp\u003eWeight 208 g\u003c\/p\u003e\n\u003cp\u003eHN671 \u003cspan class=\"delimiter\"\u003e·\u003c\/span\u003e ISMN 9790201806716\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003ch3\u003eJohann Sebastian Bach\u003c\/h3\u003e\n\u003cp\u003eFor many musicians he is “the Alpha and Omega of all music” (Max Reger). Except for operas, Bach composed masterpieces for every ensemble and genre of his age. His catalogue of works contains almost 1,100 entries, including the great Passions of St. Matthew and St. Johan, the Goldberg Variations, the Brandenburg Concerti, or hundreds of singular cantatas. As organist in Mühlhausen and Weimar he creates primarily organ compositions, concerti, and works of chamber music. Later, as music director in Köthen and for the decades he serves as cantor in Leipzig, he composes chiefly sacred vocal compositions and keyboard works. His later, contrapuntally complex compositions exert an enormous influence on the compositional styles and practices of later generations.\u003c\/p\u003e\n\u003ctable class=\"table table-piped\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003e1685\u003c\/td\u003e\n\u003ctd\u003eBorn in Eisenach on March 21, the son of conductor and court musician Johann Ambrosius Bach.\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e1693–95\u003c\/td\u003e\n\u003ctd\u003eHe attends the Latin school in Eisenach.\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e1695–1700\u003c\/td\u003e\n\u003ctd\u003eEnrolls at the lyceum in Ohrdruf, where he will live with his eldest brother, Johann Christoph, after the death of his parents; among other things, organist, and pupil of Pachelbel.\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003efrom 1700\u003c\/td\u003e\n\u003ctd\u003eMember of the Lüneburg matins choir. Travels to Hamburg to hear Reincken at the organ.\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e1703\u003c\/td\u003e\n\u003ctd\u003eAppointment in Weimar for two quarters of a year (at the home of Duke Johann Ernst the elder).\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e1703–07\u003c\/td\u003e\n\u003ctd\u003eOrganist in Arnstadt. Composition of organ works, possibly early preludes and fugues BWV 531, 549a, 575; chorales from the Neumeister Collection BWV 1090–95, 1097–1120; chorale partitas BWV 766–68, 770.\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e1705\u003c\/td\u003e\n\u003ctd\u003eJourney to Buxtehude in Lübeck.\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e1707–08\u003c\/td\u003e\n\u003ctd\u003eAppointment as organist at St. Blasius in Mühlhausen. Composition of his first cantatas (BWV 71 and 131, likely also BWV 4, 106, 150, 196).\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e1708–17\u003c\/td\u003e\n\u003ctd\u003eAppointment in Weimar as organist to Duke Wilhelm Ernst of Saxe-Weimar; composition of the Little Organ Book, BWV 599–644; of preludes (toccatas, fantasias) and fugues (probably BWV 894, 903, 944, 910–916); the Passacaglia in C minor, BWV 582; the Pièce d’Orgue in G major, BWV 572; organ transcriptions of instrumental concerti including Vivaldi’s “L’Estro Armonico.” From 1714 concertmaster, composer of cantatas.\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e1710\u003c\/td\u003e\n\u003ctd\u003eBirth of Wilhelm Friedemann Bach.\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e1714\u003c\/td\u003e\n\u003ctd\u003eBirth of Carl Philipp Emanuel Bach.\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003earound 1713\u003c\/td\u003e\n\u003ctd\u003ePremiere in Weissenfels of the cantata “Was mir behagt, ist nur die muntre Jagd!”, BWV 208.\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e1717–23\u003c\/td\u003e\n\u003ctd\u003eAppointed “Court Kapellmeister and Director of the royal chamber music” in Köthen to Prince Leopold von Anhalt-Köthen. He mainly composes keyboard music (completes the English Suites, BWV 806–811; begins the French Suites, BWV 812–817 around 1722; the “Clavier-Büchlein vor Wilhelm Friedemann Bach” from 1720; the “The Well-Tempered Clavier,” Book 1, in 1722; the first notebook for Anna Magdalena Bach from 1722; Inventions and Sinfonias for keyboard, BWV 772–801, in 1723), chamber music (Sonatas and Partitas for solo violin, BWV 1001–1006, in 1720), concerti (Brandenburg Concerti, BWV 1046–1051, dedicated to the Margrave of Brandenburg, in 1721); a few secular cantatas (including BWV 134a, 173a).\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e1723–50\u003c\/td\u003e\n\u003ctd\u003eCantor at St. Thomas Church in Leipzig.\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e1723–29\u003c\/td\u003e\n\u003ctd\u003eFirst Leipzig period, primarily defined by liturgical compositions.\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e1723\/24\u003c\/td\u003e\n\u003ctd\u003eFirst year’s cycle of cantatas: integration of existing cantatas from his time in Weimar and Köthen; parody techniques, that is, replacing the texts of the cantatas for new purposes.\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e1724\u003c\/td\u003e\n\u003ctd\u003ePerformance of the St. John Passion, BWV 245, and the Magnificat, BWV 243a.\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e1724\/25\u003c\/td\u003e\n\u003ctd\u003eSecond year’s cycle of cantatas, with new compositions.\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e1726\u003c\/td\u003e\n\u003ctd\u003ePublication of the first Partita from the later Clavier-Übung (Keyboard Practice), BWV 825–830.\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e1727\u003c\/td\u003e\n\u003ctd\u003ePerformance of the St. Matthew Passion, BWV 244.\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e1729–39\u003c\/td\u003e\n\u003ctd\u003eSecond Leipzig period, informed by his direction of the Collegium Musicum, which Telemann had founded (1729–37 and 1739 until at least 1741), and thus by the composition of instrumental works as well as of large-scale vocal works.\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003earound 1730\u003c\/td\u003e\n\u003ctd\u003eSix Trio Sonatas for Organ (BWV 525–530), important preludes and fugues (B minor, BWV 544; C major, BWV 547; E minor, BWV 548).\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003efrom\/around 1730\u003c\/td\u003e\n\u003ctd\u003eEstablishment of a new type of concerto with his concertos for 1–4 harpsichords (which are almost all transcriptions of concerti with solo melodic instruments). Further compositions for instrumental ensembles.\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e1731\u003c\/td\u003e\n\u003ctd\u003ePerformance of the St. Mark Passion, BWV 247 (lost). Journey to Dresden for the performance of an opera by Hasse. Clavier-Übung I, BWV 825–830.\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e1733\u003c\/td\u003e\n\u003ctd\u003eComposition of a Lutheran mass (Kyrie and Gloria), whose movements are later included in the Mass in B minor, BWV 232; with it he requests a court position from Elector Frederick Augustus II in Dresden.\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e1734\/35\u003c\/td\u003e\n\u003ctd\u003ePremiere of the Christmas Oratorio, BWV 248.\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e1735\u003c\/td\u003e\n\u003ctd\u003eAscension Oratorio, BWV 11. Birth of Johann Christian Bach. Clavier-Übung II, BWV 971, 831.\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e1736\u003c\/td\u003e\n\u003ctd\u003eTitle of Electoral Saxon Court Composer from Frederick Augustus II.\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003earound 1738\/39\u003c\/td\u003e\n\u003ctd\u003eFour Lutheran masses, BWV 233–236.\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e1739–50\u003c\/td\u003e\n\u003ctd\u003eThird Leipzig period, characterized by compositions of his late phase featuring stile antico and complicated contrapuntal techniques. Climax of Bach’s keyboard output.\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e1739\u003c\/td\u003e\n\u003ctd\u003eClavier-Übung III, BWV 802–805.\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e1741\u003c\/td\u003e\n\u003ctd\u003eClavier-Übung IV, BWV 988 (Goldberg Variations).\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e1739\/42\u003c\/td\u003e\n\u003ctd\u003e“The Well-Tempered Clavier,” Book Two, BWV 870–893.\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e1747\u003c\/td\u003e\n\u003ctd\u003eJourney to Potsdam, where he improvises a fugue on a theme by the king, from which emerges “The Musical Offering,” BWV 1079. Member of the Correspondence Society of Musical Sciences; submission of the Canonic Variations on “Vom Himmel hoch, da komm ich her,” BWV 988, for membership. Schübler Chorales, BWV 645–650.\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e1749\u003c\/td\u003e\n\u003ctd\u003eCompletion of the Mass in B minor, which is largely based on earlier compositions that were revised and amended.\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e1750\u003c\/td\u003e\n\u003ctd\u003e“The Art of the Fugue,” which remains unfinished. Death in Leipzig on July 28.\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e","brand":"Henle","offers":[{"title":"Default Title","offer_id":29405531668574,"sku":"HN671","price":57.95,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0014\/2521\/1486\/products\/Bach-J_S_-Concerto-in-A-Minor-BWV-1041-for-Violin-and-Piano-Henle.jpg?v=1650547777","url":"https:\/\/www.simplyforstrings.com.au\/products\/bach-concerto-in-a-minor-for-violin-1","provider":"Simply for Strings","version":"1.0","type":"link"}