Bach Oboe Concerto in F major BWV 1053r

Описание: Allegro - 00:01
Siciliano - 08:27
Allegro - 13:49

Johann Sebastian Bach’s Oboe Concerto in F major, BWV 1053R, is a reconstructed piece, as the original manuscript is lost. The "R" in the catalog number stands for "Reconstructed," reflecting its basis on Bach’s Harpsichord Concerto in E major, BWV 1053, which scholars believe was itself an arrangement of an earlier concerto, likely for oboe or oboe d’amore. This reconstruction stems from the understanding that many of Bach’s keyboard concertos from his Leipzig period (1720s-1740s) were transcriptions of prior works for other instruments, a common practice for him.

The concerto has three movements:

I. Allegro (00:01): A lively, dance-like opening in F major, blending the da capo structure of an aria with a concerto’s ritornello form. The oboe takes the lead with intricate solo passages, balanced by the strings’ lighter scoring to avoid overpowering the soloist.

II. Siciliano (8:27): A slow, lyrical movement in D minor, marked by a gentle, rocking rhythm typical of the Siciliano style. This movement, often praised for its emotional depth, showcases the oboe’s expressive capabilities, weaving a melancholic melody over a sparse continuo.

III. Allegro (13:49): A brisk finale in F major, featuring semiquaver triplets that challenge the oboist’s technique. The movement’s sprightly character draws comparisons to the concertos of Tomaso Albinoni, with frequent interplay between the soloist and ensemble.

The piece originates from Bach’s time in Leipzig, where he composed for the Collegium Musicum. The movements are believed to have been adapted from two cantatas of 1726: the first and second movements from Gott soll allein mein Herze haben, BWV 169 (Sinfonia and alto aria "Stirb in mir, Welt"), and the third from Ich geh und suche mit Verlangen, BWV 49 (Sinfonia). These cantatas, performed in Leipzig’s Thomaskirche, originally featured obbligato organ, which Bach later reworked into the harpsichord concerto, and now musicologists have reversed the process to reconstruct the oboe version.

Some debate exists about the original solo instrument. While the F major key suits the oboe, others suggest it might have been for oboe d’amore in D major, given the range and technical demands. The third movement’s long, uninterrupted passages can pose breathing challenges for woodwind players, leading to speculation that the piece might have originally been for a keyboard instrument, possibly played by Bach himself during a 1725 recital on the Silbermann organ in Dresden’s Sophienkirche.

The concerto’s style reflects Bach’s mature compositional approach, with intricate counterpoint between the oboe and strings, and a focus on balance—upper strings are emphasized while lower strings are minimized to complement the soloist. Its historical significance lies in offering oboists a rare chance to perform a full Bach concerto, despite its reconstructed nature, capturing the elegance and emotional range of Baroque music.

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