Konzert C-Moll GWV 307
für Fagott, Streicher und Basso continuo (Stimmen)
IVA incluido.,
Más gastos de envío
disponible en 3-4 semanas
Christoph Graupner
Konzert C-Moll GWV 307
für Fagott, Streicher und Basso continuo (Stimmen)
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Christoph Graupner
Konzert C-Moll GWV 307
für Fagott, Streicher und Basso continuo (Stimmen)
- Compositor Christoph Graupner
- Adaptador Ursula Kramer Florian Heyerick
-
Dificultad
- Editorial Christoph Graupner Gesellschaft
- Nº de pedido GRM-CB-GE-307-02
disponible en 3-4 semanas
IVA incluido.,
Más gastos de envío
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Descripción de la:
Parts , Stimmen of Concerto in C minor Bb GWV 307 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 Concerto in C minor GWV 307 holds a special place in Graupner’s concerto output for bassoon. Besides being the only one in a minor key - in general, a rare occurence in concertos from that period - it also dispenses with the three-movement pattern that Vivaldi developed in his concertos and was generally adopted by German composers as well. Given its tempo indications slow - fast - slow - fast and overall harmonic scheme (the third movement is in the relative major or minor key), Graupner's C minor concerto is much more reminiscent of the comparatively strict church sonata of the time. It also comprised four movements and, like the concerto form, was also an "invention" from Italy. Once again, Graupner turns away from standard procedures to experiment: in this case, he makes a basic chamber music pattern the backbone of a concerto.
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 Concerto in C minor GWV 307 holds a special place in Graupner’s concerto output for bassoon. Besides being the only one in a minor key - in general, a rare occurence in concertos from that period - it also dispenses with the three-movement pattern that Vivaldi developed in his concertos and was generally adopted by German composers as well. Given its tempo indications slow - fast - slow - fast and overall harmonic scheme (the third movement is in the relative major or minor key), Graupner's C minor concerto is much more reminiscent of the comparatively strict church sonata of the time. It also comprised four movements and, like the concerto form, was also an "invention" from Italy. Once again, Graupner turns away from standard procedures to experiment: in this case, he makes a basic chamber music pattern the backbone of a concerto.