滿399 超商/宅配 即可免運

In 1735 Bach published the Italian Concerto, presented here in a revised separate edition, together with the French Overture in the second part of his “Clavier Übung”. The two works were intended to respectively exemplify the Italian and French styles. Thus, the “Concerto” unmistakably imitates an Italian solo concerto, using only the means of the harpsichord. Tutti and solo passages can be heard as well as the dynamic gradations of the sound layers, which Bach explicitly marked with piano and forte. Energetic outer movements frame an Andante, in which a melancholy cantilena unfolds over unadorned chords. For the revision of this Bach classic, editor Ullrich Scheideler also evaluated, in addition to the prints, early manuscript copies which allowed interesting conclusions about the lost autograph.

1735年，巴赫出版了《義大利協奏曲》（此處以修訂後的獨立版本呈現），以及收錄於其《鍵盤練習曲》第二部的《法國序曲》。這兩部作品分別旨在展現義大利和法國的音樂風格。因此，《義大利協奏曲》無疑模仿了義大利獨奏協奏曲的風格，只使用羽管鍵琴演奏。樂曲中既有全奏（Tutti）也有獨奏（Solid）段落，以及巴赫用弱奏（Piano）和強奏（Forte）明確標記的音響層次的強弱變化。充滿活力的外樂章為行板（Andante）樂章奠定了基礎，其中憂鬱的歌唱性旋律在樸素的和弦上緩緩展開。為了修訂這部巴赫經典之作，編輯烏爾里希·沙伊德勒（Ullrich Scheideler）除了研究印刷版本外，還評估了早期的手稿副本，這些副本為研究已佚失的巴赫親筆手稿提供了重要的線索。