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Bach Transcribed for Oboe: History and Interpretation
Harley, Marissa
Harley, Marissa
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Date
2022
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Music Studies
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http://dx.doi.org/10.34944/dspace/7485
Abstract
Johann Sebastian Bach’s solo oboe music, though regarded today as a treasure, does not really exist as such. Instead, these pieces come down to us as harpsichord concertos (and in some cases church cantata movements) that have been later reconstructed for solo oboe. For example, Bach’s Concerto in C Minor for violin, oboe, and strings (BWV 1060R), was reconstructed from a work for two harpsichords and strings when nineteenth-century scholars realized the high probability of the solo parts originally having been conceived for oboe and violin (which are more soloistic instruments than the harpsichord). In this paper, I focus on performance approaches and styles to the first movement of BWV 1060R. After explaining how Bach’s solo oboe repertoire was derived from his keyboard concertos and church cantatas, I investigate the performance traditions of this movement from the mid-twentieth century to the present using a variety of recordings. This evaluation is based in part on my own experiences of playing oboe and listening to professional oboists. My goal is to clarify not only the history of J.S. Bach’s solo oboe repertoire, but also to reveal how the history of performing the opening Allegro of BWV 1060R on the oboe has unfolded, and how it is still developing today.
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Livingstone Undergraduate Research Awards website: https://sites.temple.edu/livingstone/2022-livingstone-undergraduate-research-award-in-creative-works-and-media-production/
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