Bach's Psalm 51, BWV 1083, is a German paraphrase of Giovanni Battista Pergolesi's Stabat Mater, a widely popular work in 18th-century Europe.
Compositional Technique
Bach's arrangement of Pergolesi's Stabat Mater uses a more complex and contrasting orchestration, distinguishing between 'soli' and 'ripieni' even with the same instrumentation.
Compositional Technique
Bach's slow movements in his violin concertos are conceived as instrumental arias with slender, singing melodic lines, where the orchestra primarily provides accompaniment.
Composition History
The three violin concertos by Bach were likely composed during his time as Kapellmeister at the court of Prince Leopold in Köthen (1717-1723), where he was required to provide concert music.
Composer's Artistic Vision
In his paraphrase of Pergolesi's Stabat Mater, Bach aimed to 'recompose' the text to emphasize its semantic meaning and truth for the faithful, contrasting with Pergolesi's focus on textual declamation rhythm.
Compositional Technique
In Bach's concertos, the solo-tutti contrast shows greater formal variety, including the use of tutti ritornellos extending into solo passages.
Critical Reception
Pergolesi's Stabat Mater was a sensational success throughout Europe, evidenced by numerous printed editions and manuscript copies, and was considered a stylistic ideal for sacred music in the 18th century.
