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Bach, Johann Sebastian : Concerto  Adagio

Work Overview

Music ID : 54321
Instrumentation:Piano Solo 
Genre:Reduction/Arrangement
Total Playing Time:2 min 30 sec
Copyright:Public Domain

Commentary (1)

Author : Ooi, Kazurou

Last Updated: October 6, 2023
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Note: This article is automatically translated from the original Japanese text. The author of the original work did not supervise this translation.

This piece is characterized by frequent modulations, which can easily lead to a loss of tonal center for both performers and listeners, thus requiring some interpretive ingenuity. A key element for this ingenuity is the unit found in measure 3, between beats 3 and 4. An identical unit appears in measure 4, between beats 1 and 2. This is not a sequence, but the unit appears twice consecutively. The issue lies with the note that follows. For instance, the D-flat in the right hand on beat 3 of measure 4, which appears after playing from beat 3 of measure 3 to beat 2 of measure 4, is a highly shocking note.

The question is whether to build a crescendo from beat 3 of measure 3 to reach the D-flat on beat 3 of measure 4, or to play the D-flat subito forte. In any case, a shocking note awaits after these two consecutive units.

The same principle applies from beat 3 of measure 11, reaching A-flat on beat 3 of measure 12; and similarly, starting from beat 1 of measure 13, reaching F-sharp on beat 1 of measure 14. In each instance, emphasize the note that follows the two units.

In fact, I would like this F-sharp on beat 1 of measure 14 to descend a semitone to F somewhere. This would allow for a natural progression back to C minor, but since there is no F, the return to C minor in measure 15 does not feel natural. As a method, consider the following:

  • Apply a ritenuto between beats 3 and 4 of measure 14.
  • Add ornaments.
  • Play it in a cadenza-like manner.

This will smooth out the unnatural modulation.

Writer: Ooi, Kazurou
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