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Alfred Schnittke Alfred Schnittke

Cello Sonata No. 1
Art poses the objective of creating a time that I would call the continual present. In the dimension of temporality as we usually experience it, the present is always elusive, suspended between a past that is no longer and a future that is not yet. From the perspective of art the present acquires a superior force of concentration on objects and concepts—it escapes from temporality. Sofia Gubaidulina

Bach, Keyboard Concerto No. 1 in D-minor, BWV 1052

March 1st, 2013

Johann Sebastian Bach, 1685-1750

Keyboard Concerto No. 1 in D-minor, BWV 1052, c. 1737-1739

Johann Sebastian BachThe history of the keyboard concerto begins several decades before the wide adoption of the piano. While the “fortepiano” begin to significantly displace the harpsichord only in the 1780’s, keyboard concerti intended for organ or harpsichord date back to the early 1720’s, primarily from two celebrated German Baroque composers, Georg Frideric Handel and Johann Sebastian Bach. Where Handel wrote for organ, Bach wrote for the harpsichord, proving the first pioneer in the genre with the Fifth Brandenburg Concerto written no later than 1721.

Probably during a two-year period from 1737–39, Bach hand-copied an album of keyboard concerti he most likely intended to use for performances at the Leipzig Collegium Musicum, a university and community based orchestra and performance society for which he was director for a decade. « more »

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