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Bach | Triple Concerto in A minor, BWV 1044 | Oklahoma Baroque Orchestra

Bach's Triple Concerto in A minor, BWV 1044 from Oklahoma Baroque Orchestra's "Back to Back Bach". Performed at St. Paul's Episcopal Cathedral OKC 9/7/2024. Allegro - 0:17 Adagio, ma non tanto, e dolce - 9:30 Allabreve - 14:28 Tonight, in Back to Back Bach, we celebrate the virtuosic instrumental music of a composer who has come to define the Baroque soundworld for many listeners—Johann Sebestian Bach (1685-1750). Over the course of his life, Bach held a number of posts in both aristocratic courts and churches, allowing him to develop considerable compositional skills across a wide variety of genres both secular and sacred. Historically, scholars assumed that he composed the majority of his instrumental chamber music in Cöthen, where he served as Kapellmeister and Director of Chamber Music in Prince Leopold’s court from 1717 to 1723. Now, however, they tend to argue that much of that repertoire—including the three works on tonight’s concert—was actually composed after 1723, when he moved to Leipzig to serve as Kantor at the Thomasschule. While his first few years there were dedicated to composing sacred music, including most of his sacred cantatas, he began to carve out considerably more time for secular instrumental works when he became director of Leipzig’s Collegium Musicum in 1729. Collegia musica were popular music societies in Germany. Ensemble members included both professional and amateurs musicians, and they were known for putting on regular, often weekly, performances. Collegia musica began to appear just after the Reformation in the sixteenth century, and by the eighteenth century, they were flourishing. Indeed, such societies became a defining feature of bourgeois music making, occupying a position between the musical institutions of the church and the court. Collegia musica were most common in urban centers, particularly those with universities, which had relatively high numbers of young, enthusiastic musically educated amateurs. For many members, collegia musica were an amusing pastime that allowed them to socialize and play music in public. For others, however, such societies served as valuable training spaces, ones that could launch them into a successful professional career in music. This was certainly the case for a host of notable German musicians, including Pisendel, Böhm, and Graupner. Leipzig had two collegia musica. The society that Bach ultimately directed was founded by a young Telemann in 1702, who was then studying law at the University of Leipzig. It was largely made up of university students, attracting as many as forty young players. For Bach, directing the Collegium Musicum afforded him an opportunity to compose and perform something other than the sacred music that had dominated his life for the previous six years. It also provided him with a venue to showcase the musical talents of his acquaintance from other towns, including Hasse, Graun, and Zelenka. Like many similar societies, the Collegium Musicum performed weekly at a local coffee house. Specifically, they played at the Café Zimmermann from 4:00-6:00pm on Wednesdays during the summer and from 8:00-10:00pm on Fridays for the rest of the year. Performances, which were open to the public, were not carefully rehearsed, but rather tended to involve playing new material at sight in front of an audience. While much of the specific programming is unknown, there is evidence that Bach’s Collegium Musicum performed all three works featured on tonight’s (considerably more rehearsed) concert. We end with the Triple Concerto for Flute, Violin, and Harpsichord in A (BWV 1044), likely composed around 1740 with a scoring reminiscent of his earlier Brandenburg Concerto no. 5 (BWV 1050). Bach modelled this concerto on two of his own keyboard works: the Prelude and Fugue in A minor for harpsichord and the Sonata for Organ in D minor. While each of the three soloist has ample opportunities to shine—particularly in the second movement, scored entirely for the soloists—the work’s genesis in keyboard material ultimately makes this a real showstopper for the harpsichord. Program notes written by Dr. Nathan Dougherty Ensemble Personnel: Violin I Dr. Francis Liu+ Edmond Chan~ Violin II Chazlen Rook* Viola Dr. Ralph Morris* Cello Dr. Kevin Flynn* Viola da gamba Cheyenne McCoy* Bass Landon Honolka* Theorbo Carey Morrow* Harpsichord Dongsok Shin Baroque Flute John L. Edwards* Under the Artistic Direction of Dylan Madoux Audio recorded by Andriotis Productions and Video recorded by Galen Culver