Hall: Concert Hall (ground floor)
Price: 30-70 zł
To this day, neither the completion date nor the date of the first performance of Johann Sebastian Bach’s Concerto in C Minor have been established. Initially, the work was written for oboe and violin with string orchestra and basso continuo. However, the only surviving score is the author’s original arrangement for two harpsichords. Rearranging one’s own and other composers’ music for harpsichord or other instruments was standard practice at the time, thanks to which music could be performed in much wider circles. Such was the case with the popular Violin Concerto in A Minor, which, transposed in G minor, later became known as Harpsichord Concerto in G Minor. In terms of its structure, both works in the programme follow the tradition of the “Italian concerto”, that is they consist of a fast movement, a slow one, and then another fast one in a clear dance rhythm.
Religious cantatas constitute a significant part of Johann Sebastian Bach’s vocal-instrumental music. Intended as a piece to be performed every Sunday and religious holiday, they add up to five cycles. The catalogue of the composer’s oeuvre includes around two hundred surviving examples of this genre. Both Cantatas No. 56 and No. 82 show some similarities to the cantatas of Italian composers. They are solo cantatas that do not involve a choir. By entrusting a solo singer with executing all the movements, Bach accentuated the intimate and personal character of the pieces. It is worth adding that both works were most probably composed for the same bass – Johann Christoph Samuel Lipsius – and that the librettos to both cantatas (a recent discovery) were penned by Christoph Birkman – Bach’s pupil and the author of texts to many of his other vocal-instrumental pieces.