Christoph Graupner
Konzert B-Dur GWV 340
für Fagott, Streicher und Basso continuo (Stimmen)
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Christoph Graupner
Konzert B-Dur GWV 340
für Fagott, Streicher und Basso continuo (Stimmen)
- Formación Fagot, orquesta de cuerda y bajo continuo
- Compositor Christoph Graupner
- Adaptador Ursula Kramer Florian Heyerick
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Dificultad
- Edición Set de partichelas
- Editorial Christoph Graupner Gesellschaft
- Nº de pedido GRM-CB-GE-340-02
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Parts , Stimmen of Concerto in Bb Major GWV 340 for Bassoon, Strings and Basso continuo
Among his solo concertos, the four works for solo bassoon are particularly significant: he did not assign more soloistic tasks to any other instrument.
The main focal point of the Concerto in Bb major GWV 340 is its final movement. Significant not only in terms of quantity but also quality, it is designed as a Da capo aria in which the solo instrument dominates with a clearly contoured theme – and, depending on the performer’s tempo choice, can shine accordingly. This movement is preceded by two different movements in two different moods, with the bassoon proving itself to be "first among equals”. Specifically, the opening movement, a swaying Siciliano at a moderate tempo, is dominated by the solo instrument’s permanently changing roles, that is, supporting the Basso continuo group on the one hand and taking on soloistic tasks, mostly in the form of arpeggios, on the other.
Among his solo concertos, the four works for solo bassoon are particularly significant: he did not assign more soloistic tasks to any other instrument.
The main focal point of the Concerto in Bb major GWV 340 is its final movement. Significant not only in terms of quantity but also quality, it is designed as a Da capo aria in which the solo instrument dominates with a clearly contoured theme – and, depending on the performer’s tempo choice, can shine accordingly. This movement is preceded by two different movements in two different moods, with the bassoon proving itself to be "first among equals”. Specifically, the opening movement, a swaying Siciliano at a moderate tempo, is dominated by the solo instrument’s permanently changing roles, that is, supporting the Basso continuo group on the one hand and taking on soloistic tasks, mostly in the form of arpeggios, on the other.