A Fictional Historical Account & Analysis: Harpsichord Concerto V in F Minor for Violin, Viola, and Continuo, by J. S. Bach 1738

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BWV 1056
Harpsichord Concerto V in F Minor
For Violin, Viola, and Continuo
composed by J. S. Bach (1738)

Fictional History and Analysis by
Jim Meyer
MUS 343-01
Dr. Harbold
12/10/2012

The link for the score: http://erato.uvt.nl/files/imglnks/usimg/4/4b/IMSLP02260-Bach_-_BGA_-_BWV_1056.pdf The Link for a Baroque performance of the BWV 1056: http://elmhurst.naxosmusiclibrary.com.proxy.elmhurst.edu/streamw.asp?ver=2.0&s=10727%2Felmhurst08%2F242152

I’ve been in love with the BWV 1056 for a number of years now. Being able to break it down theoretically through music analysis and then looking at the piece in its historical context has truly deepened my appreciation for this piece and, consequently, for keyboard concertos on a larger scale, along with a stronger desire to touch a harpsichord. I hope this paper portrays my love of this piece and how it has enriched my growing relationship with Bach and his repertoire (especially keyboard pieces) together with an understanding of Baroque performance practice so that I may come closer to the kind of proper technique Bach’s pieces insist on using.

Zimmerman’s Café.
As the spread of the popularity of coffee spread through Europe, the coffeehouse was quick to follow and rocketed throughout Europe, fueling the intellectual life of metropolitan cities and giving fire to the sharing of musical styles and artistic interests and philosophies. Part One

Dear Father,
We didn’t have a chance to converse before I left for my journey to Berlin. As you know I decided to leave behind my education as a lawyer and pursue that of our family and my passion: music. I’ve accepted a position with this dude. I also wanted to

I wanted to tell you about my visit there.

AS you have taught me to be inquisitive and to ask questions regardless of class,

Part Two
Through Bach’s “superhuman technical craftsmanship” (Bukofzer), he achieved a very refined realization of the Baroque style of music. Baroque music has a certain kind of character and quality that can be broken down into an analysis of terms and techniques of which there are many. Perhaps the best way to look at the BWV 1056 from this view is to look at both Baroque qualities within the composition and in performance. First a general analysis and then a segway into Baroque qualities. “Behind the traits that mark music as baroque, then, are their reason for being: the passions, or as they were more often called then, the affections” (Palisca). It is important to establish that the very first thing to ask when listening to or analyzing the BWV 1056 or any Baroque music is “how are my affections being moved by this piece?” Although it isn’t entirely correct to assume the “affections” being referred to are also the emotions, for sake of simplicity, we will refer to the affections as emotions in the context of this paper, and briefly discuss how each of the Baroque qualities of this piece moves the emotions. The genre of the piece is solo concerto, specifically for keyboard. Thus it has three movements with the varied tempos of fast, slow, fast; or Allegro, Largo, and then a fabulous Presto. This is especially important when understanding the piece for performance, as, according to Donington’s book on performance practice: ‘The most important element in performing baroque music is tempo.” Why is this? It creates contrast, of course, and through contrast a general evolution of moving the affections via something kinda fast, something kinda slow, and then something fast again; and maybe one or a few of those with a nice dancelike triple meter. Next to key, tempo truly sets up a piece, or a section of a piece, in terms of performance, genre, style and what general affections will be moved: the basic binary of joy and melancholy. Yet, in the scope of Baroque performance, we have a striking need to play all the ornamentation and detailed style of Baroque with correct nuance and articulation, and to be able to...
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