Professional Documents
Culture Documents
Journal
on
Bach
Concerto
for
Harpsichord
in
D
Minor
(after
Marcello)
BWV
974
II.
Adagio
as
class
assignment
for
module
MUT1201
Zhang
Heyang
A0115959R
13
September
2017
Historical
Background
This
harpsichord
concerto
was
transcribed
from
Alessandro
Marcello’s
famous
oboe
concerto
by
J.S.
Bach
in
early
18th
century.
Along
with
Tomaso
Albinoni
and
Antonio
Vivaldi,
Marcello
was
considered
a
competent
composer
of
the
Venetian
School
and
one
of
the
pivotal
figures
defining
the
end
of
musical
Renaissance
and
the
beginning
of
musical
Baroque.
It
is
believed
that
when
Bach
came
across
this
oboe
concerto
in
Weimar,
he
was
so
taken
with
Marcello’s
music
that
he
made
a
transcription
for
solo
harpsichord
(BWV
974).
The
Bach
transcription
has
been
very
popular
nowadays
that
there
are
several
renditions
performed
by
various
artistes
on
different
instruments.
Notable
performances
include
original
harpsichord
performance
by
Sophie
Yates,
a
pianoforte
equivalent
played
by
Glenn
Gould
and
a
transcription
for
cello
performed
by
Mstislav
Rostropovich.
The
rendition
I
listened
to
was
performed
by
Gould
on
a
solo
piano,
and
I
shall
zoom
into
the
second
movement
to
explain
my
feelings
and
findings
from
within
the
music.
My
overall
feeling
for
this
movement
is
tranquillity
in
loneliness,
with
a
little
touch
of
sadness.
While
such
comments
can
readily
associate
to
any
slow
movement
in
a
minor
key,
Gould’s
playing
was
especially
expressive
and
touching
partially
because
of
his
instrument
–
the
rounder
timbre
of
a
pianoforte
as
compared
to
that
of
a
harpsichord,
and
the
solitude
of
an
unaccompanied
solo
performance
as
compared
to
a
cello
being
accompanied
by
an
organ
-‐
and
partially
because
of
his
soft
and
low-‐registered
humming
deep
understanding
of
Bach’s
music.
As
for
the
music
itself,
I
shall
explore
the
inner
charm
by
analyzing
three
primary
musical
elements
namely
the
texture,
the
harmonic
progression
and
the
melody.
Texture
The
musical
texture
takes
a
gradual
build
up
from
the
beginning
to
bar
4
-‐
it
starts
with
a
repetitive
monophonic
bar
followed
by
another
repetitive
biphonic
bar
and
eventually
builds
up
to
homophony
in
bar
3.
Throughout
bar
1
to
bar
4,
the
texture
was
almost
homorhythmic.
From
bar
4
onwards,
the
texture
remained
homophonic
throughout
the
piece
except
for
bar
30
-‐
which
displayed
a
heterophonic
variation
on
the
left
hand
-‐
and
the
second
last
bar
which
demonstrated
an
obvious
polyphonic
or
contrapuntal
technique.
Six
bars
before
ending
goes
into
homorhythmic
heavy
chords
again
and
lasts
for
four
bars
before
going
into
the
polyphonic
ornament
that
leads
into
the
ending
-‐
just
like
a
response
to
the
textual
build
up
in
the
beginning.
Harmonic
Progression
I
performed
the
harmony
analysis
by
first
writing
down
the
Roman
numerals,
and
I
was
totally
mind-‐blown
by
how
elegant
the
structure
is
after
examining
them.
The
entire
concerto
was
composed
in
D
minor,
however,
due
to
my
limited
knowledge
on
chromatic
harmony,
my
analysis
stops
at
bar
15
when
the
harmony
goes
into
its
parallel
D
major
and
followed
by
numerous
modulations.
For
my
harmony
analysis
worksheet
please
refer
to
the
score
attached
behind.
The
beginning
four
bars
serve
as
an
intriguing
introduction,
with
harmonic
progression
i
-‐
ii°2-‐
V7
-‐
i
displaying
a
strong
t
-‐
s
-‐
D
-‐
t
tonality
function.
The
7th
degree
is
raised
to
strengthen
the
tonal
function
of
V
dominant
7th
chord
(making
into
a
harmonic
minor)
and
smoothen
the
voice
leading
to
the
tonic
solution.
Harmonic
progression
from
bar
4
to
bar
11
observes
a
more
complicated
but
very
elegant
structure.
The
eight
bars
harmonic
progression
goes:
i
-‐
iv7
-‐
(VII
-‐
VII7)
-‐
IIImaj7
-‐
(VI
-‐
VImaj7)
-‐
iiø7
-‐
(V
-‐
V7)
-‐
i
The
progression
can
be
seen
in
two
layers.
If
we
connect
bar
4,
bar
6,
bar
8
and
bar
10,
it
is
a
natural
D
minor
scale
descending
from
tonic
to
dominant,
which
I
label
it
as
the
first
layer.
The
second
layer
is
found
in
the
connections
between
odd
and
even
number
bars.
When
looking
into
the
score,
connection
between
bars
4-‐5,
6-‐7,
8-‐9
was
done
by
sustaining
the
root
and
third
in
the
previous
bar
and
making
them
the
fifth
and
seventh
in
the
next
bar
by
simply
adding
a
fifth
below.
Thus,
each
of
the
connection
makes
a
very
smooth
temporary
T
-‐
S
transition
in
terms
of
tonal
function.
I
label
it
as
the
second
layer
(a),
and
the
second
layer
(b)
was
found
in
connection
between
bars
5-‐6,
7-‐8,
9-‐10.
Each
of
the
temporary
S
chord
in
odd
number
bars
now
acts
as
a
V7
chord
connects
to
the
descending
scale
in
the
first
layer
(even
number
bars),
making
a
smooth
D
-‐
T
transition
in
each
connection.
The
chain
connection
eventually
coincides
with
the
dominant
of
the
original
D
minor
in
bar
10,
a
seventh
is
added
by
the
melody
line
on
the
last
beat,
making
it
a
dominant
7th
chord
which
then
perfectly
leads
to
the
tonic
solution
in
bar
11.
The
structure
is
also
illustrated
in
Figure.
1.
Figure.
1
Tonal
function
in
bars
4
-‐
11.
An
upward
sixth
leap
is
seen
within
bar
11,
and
the
same
technique
follows
until
bar
14
with
a
half
cadence.
Direct
modulation
is
applied
in
bar
15,
going
into
its
parallel
D
major,
followed
by
numerous
modulations
which
I
have
skipped.
The
harmony
eventually
goes
back
to
D
minor
and
ends
with
a
Picardy
third
like
many
of
its
contemporary
works
of
Baroque
period.
Melody
In
overview,
the
music
in
this
slow
movement
is
rather
harmony
oriented
than
melody
oriented
-‐
very
few
large
intervals
are
spotted
and
the
melody
is
nested
within
the
harmonic
progression,
instead
of
an
accompaniment
harmonizing
the
melody.
In
contrast
to
the
descending
scale
in
the
baseline,
the
melody
contour
generally
goes
upward
within
a
bar
or
a
chord.
Passing
tones
are
widely
used
to
connect
in-‐chord
tones
from
root
to
the
third
and
the
fifth.
It
is
also
interesting
to
notice
that
often
the
melody
provides
the
seventh
to
smoothen
the
D
-‐
T
transition
from
even
to
odd
number
bars.
Therefore,
the
voice
leading
sounds
very
smooth
with
contribution
from
both
the
chord
inversions
and
the
melody
contour.
Conclusion
Truth
be
told,
the
piece
of
music
was
chosen
completely
by
chance
as
it
happens
to
be
one
of
my
practicing
pieces
on
piano
recently
and
it
sounds
nice
to
me.
However,
I
was
absolutely
amazed
by
its
elegant
structure
after
examining
the
harmonic
progression.
It
feels
like
seeing
through
the
pencil
sketches
underneath
a
wonderful
oil
painting,
and
it
even
more
fires
up
my
passion
to
continue
studying
music
theory.