Sonate D-dur BWV 1035 Oboe-Bc - Johann Sebastian Bach

transcr. Kurt Meier
Bach Sonate D-dur BWV 1035 Oboe-Bc (transcr. Kurt Meier)
910106, 9790015278204
Amadeus Verlag
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Johann Sebastian Bach 1685-1750
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Sonate D-dur BWV 1035 Oboe-Bc - Johann Sebastian Bach

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Is it conceivable that Johann Sebastian Bach, who in his passions and cantatas gave various oboe instruments the most satisfying, expressive and emotional solos, wrote no chamber music works for this instrument? Despite the parody process usual at the time and ubiquitous among many baroque composers? Consider for instance the Brandenburg Concerti and the secular cantatas, from which many movements were later used in cantatas and oratorios, or the introductory Sinfonia to the 2nd part of the cantata Die Himmel erzählen die Ehre Gottes, BWV 76, for oboe d’amore, viola da gamba and continuo, which in 1727 (4 years later) Bach turned into the first movement of his 4th organ trio sonata (BWV 528). In contrast to the flute sonatas in b minor (respectively g minor, earlier autograph presumably for oboe) and A major (edition in G major for oboe), there are no direct indications of other possible scorings by Bach for the sonata in E major for flute and basso continuo. The autographs of sonatas in b minor and A major were not written until 1736, and several features suggest they are arrangements of earlier works. Recent Bach research supposes the E major sonata dates from 1741, being possibly linked to a visit to Berlin of his son Carl Philipp Emanuel, as implied by a dedication to the Berlin court on the first page. This was a time when Bach was writing mainly church music. Did pressure of work once again lead him to pull out an earlier draft? Be that as it may: transposition to D major, without any alterations, adds a richly harmonic and rhythmically exquisite work to the slim oboist repertoire! Range and register are perfect for the oboe, unlike for instance the flute sonata in e minor, which reaches up to g’’’. The source for this sonata consists of three probably connected manuscripts, none of them written in Bach’s lifetime. We follow the text of recent Bach research. Our realization of the lavishly figured bass is intended as both a suggestion and inspiration for personal solutions.

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