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The oboe d'amore was invented in the eighteenth century and was first used by Christoph Graupner in his cantata Wie wunderbar ist Gottes Güt (1717). Johann Sebastian Bach wrote many pieces—a concerto, many of his cantatas, and the Et in Spiritum sanctum movement of his Mass in B minor—for the instrument.
Unlike Bach's other harpsichord concertos, BWV 1055 has no known precursors, either as an instrumental concerto or as a movement with obbligato organ in a cantata. It has generally been accepted that it is a reworking of a lost instrumental concerto, since Donald Francis Tovey first made the suggestion in 1935, when he proposed the oboe d'amore as the melody instrument.
That it was an oboe d'amore was proposed in 1936 by Donald Tovey, [39] in 1957 by Ulrich Siegele, [35] in 1975 by Wilfried Fischer, [40] and in 2008 by Pieter Dirksen. [36] Alternatively, Wilhelm Mohr argued in 1972 that the original was a concerto for viola d'amore. [ 41 ]
A number of concertos and concertante works have been written for cor anglais (English horn) and string, wind, chamber, or full orchestra.. English horn concertos appeared about a century later than oboe solo pieces, mostly because until halfway through the 18th century different instruments (the taille de hautbois, vox humana and the oboe da caccia) had the role of the tenor or alto ...
Butler has made a detailed study of Albinoni's two sets of twelve concerti a cinque, Op.7 (1715) and Op.9 (1722), each set having four violin concertos, four oboe concertos and four double oboe concertos, and has proposed the last movement of the double oboe concerto op.9, No.3 as a possible precursor of BWV 1053/3.
Webern later recalled that Mahler had said that "After Des Knaben Wunderhorn I could only compose more Rückert – which is lyricism at first hand, all the rest is lyricism at second hand." [ 24 ] More importantly for Mahler, these two triumphant performances had made him become aware that he had entered a new period in his career as a ...
A transposing instrument; it is pitched in F, a perfect fifth lower than the oboe. The oboe d'amore, the alto (or mezzo-soprano) member of the family, is pitched in A, a minor third lower than the oboe. J.S. Bach made extensive use of both the oboe d'amore as well as the taille and oboe da caccia, Baroque antecedents of the cor anglais.
The cantata in six movements is scored for soprano, alto and tenor soloists, a four-part choir , two oboes, oboe d'amore, two violins, viola, and basso continuo. [3] Chorus: Nimm, was dein ist, und gehe hin; Aria (alto): Murre nicht, lieber Christ; Chorale: Was Gott tut, das ist wohlgetan; Recitative (tenor): Wo die Genügsamkeit regiert