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The Oboe Concerto in D minor, S D935, is an early 18th-century concerto for oboe, strings and continuo attributed to the Venetian composer Alessandro Marcello.The earliest extant manuscript containing Johann Sebastian Bach's solo keyboard arrangement of the concerto, BWV 974, dates from around 1715.
In the natural minor scale, the triad is a minor chord, denoted by "v". However, in a minor key , the seventh scale degree is often raised by a half step ( ♭ to ♮ ), creating a major chord . These chords may also appear as seventh chords : typically as a dominant seventh chord , but occasionally in minor as a minor seventh chord v 7 with ...
The exposition has two parts: Part 1 has two large phrases in D minor, begins with a cantabile main theme played by the cello, with the piano providing a syncopated accompaniment, and the violin then joins the cello with a distorted version of the theme. The transition, more variation of the main theme, ends with the minor dominant (v) pedal of ...
Johann Ernst of Saxe-Weimar: Concerto Op. 1 No. 1 983: G minor: 984: C major: Johann Ernst of Saxe-Weimar: Violin Concerto in C major and possibly BWV 595 985: G minor: Telemann: Violin Concerto in G minor, TWV 51:g1 986: G major: 987: D minor: Johann Ernst of Saxe-Weimar: Concerto Op. 1 No. 4
The figuration is similar to that of a violin piece, particularly in an earlier revision of the prelude, Preambulum d-Moll, BWV 875a, which does not include the demisemiquavers in bars 22, 24, etc. in the final version. Despite this, the basic structure has remained the same: binary form, with the main theme restated in the dominant in bar 27. [3]
Several works by different composers influenced Mendelssohn's composition of this piece. It is likely that Mendelssohn drew this unusual pairing of solo piano and violin from Johann Hummel's own Concerto for Piano, Violin, and Orchestra in G major, Op. 17, with whom he had briefly studied in 1821. [5]
The concerto transcriptions of Johann Sebastian Bach date from his second period at the court in Weimar (1708–1717). Bach transcribed for organ and harpsichord a number of Italian and Italianate concertos, mainly by Antonio Vivaldi, but with others by Alessandro Marcello, Benedetto Marcello, Georg Philipp Telemann and the musically talented Prince Johann Ernst of Saxe-Weimar.
The subject of the fugue begins in G minor. The second voice enters on the pickup to the fourth beat of m. 2, and it begins in the dominant (D minor), even though the first note of the theme is a G in this instance. The third voice enters in m. 5 in the tonic and the fourth a measure later in the dominant once again.
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