Sonate in G-dur BWV 1032 Oboe mit obligates Cembalo - Johann Sebastian Bach

transcr. Kurt Meier
Bach Sonate in G-dur BWV 1032 Oboe mit obligates Cembalo (transcr. Kurt Meier) (Fragmentergänzung: Oskar Peter)
Fragmentergänzung: Oskar Peter
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Amadeus Verlag
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Sonate in G-dur BWV 1032 Oboe mit obligates Cembalo - 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 Concertos 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). The two flute sonatas in A major (BWV 1032) and b minor (BWV 1030) may have had a similar destiny, as Bach returned to them in 1736, possibly reworking them – both may have originated in Cöthen. For the b minor sonata this hypothesis is supported by an autograph of the harpsichord part in g minor, which sadly lacks the concertante instrument’s part. For the A major sonata we are dependent on suppositions. At least Bach research agrees that it was preceded by a simpler instrumental trio (Wolfgang Schmieder, Bach-Werk-Verrzeichnis, 2nd edition, 1990). The numerous corrections in the autograph are interesting, possibly suggesting attempts at improving the part-writing. The sonata in A major has a relatively modest range for the flute (d’ to e’’’), and many passages lie uncomfortably low. Might this be the transcription of an original version for oboe? The range, the structure with its suitable pauses for breath, and the lack of wide leaps and chord sequences would suit the oboe, and transposition to G major provides a tonality favourable to its technique, without altering a single note. Sadly, the first movement of this sonata exists only as a fragment. According to page numbers, some 46 measures are missing after the first 62, before reaching the last two surviving measures. We are grateful to Oskar Peter for permission to reuse his reconstruction of the missing measures in the edition of the flute sonatas. For the rest, we follow the text based on recent Bach research.

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