From the end of the 16th century, musicians and theoreticians
perfected a system of codes for expression and composition
that contributed to the spread of a shared language. It was common practice to
adapt musical scores to the players and instruments available
on any given occasion.
Bach’s music lends itself particularly well to such adaptation: his works are so structurally and conceptually
perfect that they transcend sound and timbre. Many can be played on any instrument without
altering their intrinsic value. Bach was famously wont to reuse
his own music in different instrumental or indeed vocal
combinations.
Viktoria and I agreed that it would be interesting to focus on
the practice of transcription, accompanying two original
concertos, BWV 1041 and BWV 1042, with two newly transcribed
compositions. We opted for the Concerto BWV 1053, written for
harpsichord in E major, but reused by Bach himself in two cantatas, and probably originally intended for oboe
d’amore. I immediately thought of transcribing it in D major, not
only because the brighter key suits the violin, but also because
its astounding central Siciliano features a glorious melody that
suits the violin perfectly.
Viktoria and I, having often performed the sonatas for violin
and harpsichord, were keen to find a piece we could play with
orchestra. One concerto is particularly well suited to this idea,
BWV 1060. The original version is for two harpsichords and
strings, though Bach first drafted it for two violins, or for violin
and oboe. I feel this unprecedented version works very well,
enriching the composition with a range of new nuances.
Key here is not only the reality of performance, but also the
underlying aesthetic concept: rigour of form and musical
language, together with inventive brilliance in performance, were
features of the 18th century. Once we understand exactly how
and why these expressive forms came about and interacted,
the entire period comes magically to life. (Ottavio Dantone)
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