Johann Sebastian Bach
Harpsichord Concerto no. 5 f minor BWV 1056
Some of Bach’s extremely popular harpsichord concertos were originally written as concertos for a different solo instrument – the violin or a woodwind instrument. Predecessor versions are also assumed for the f-minor concerto, although they have not been preserved. A very close examination of the sources reveals that the outer movements presumably trace back to a violin concerto in g minor. However, according to recent research, for the middle movement Bach went back to the slow movement of an oboe concerto which he had also previously employed for the sinfonia of Cantata BWV 156 “Ich steh mit einem Fuß im Grabe”. The text of the cantata fits exactly to the melancholy mood of the Larghetto, which, with its delicately swaying melody accompanied by string pizzicati, is the famous centrepiece of the f-minor concerto. In addition to the autograph score, later manuscript source material documenting the final, considerably enhanced version of the work was also consulted for the Henle Urtext edition of this repertoire evergreen. The piano reduction contains the solo part, sensitively furnished with fingerings by Michael Schneidt, as well as a very playable accompaniment keyboard part, prepared by Johannes Umbreit for practical use.
About the Composer
Johann Sebastian Bach
For many musicians he is “the Alpha and Omega of all music” (Max Reger). Except for operas, Bach composed masterpieces for every ensemble and genre of his age. His catalogue of works contains almost 1,100 entries, including the great Passions of St. Matthew and St. Johan, the Goldberg Variations, the Brandenburg Concerti, or hundreds of singular cantatas. As organist in Mühlhausen and Weimar he creates primarily organ compositions, concerti, and works of chamber music. Later, as music director in Köthen and for the decades he serves as cantor in Leipzig, he composes chiefly sacred vocal compositions and keyboard works. His later, contrapuntally complex compositions exert an enormous influence on the compositional styles and practices of later generations.
About the Authors
Maren Minuth (Editor)
Maren Minuth, born in 1993, read musicology and media studies at the University of Regensburg, followed by a Masters in musicology at the Ludwig Maximilian University of Munich (LMU) while simultaneously studying culture and music management at the Hochschule für Musik und Theater in Munich; received a scholarship from the Max Weber Programme and the Studienstiftung des deutschen Volkes.
2017–2022 academic assistant in the editorial department of G. Henle Publishers; since 2022 copy editor at the publishing house
Norbert Müllemann (Editor)
Dr. Norbert Müllemann, born in 1976 in Cologne, studied musicology, German philology and philosophy at the University of Cologne whilst at the same time studying the piano at the Music Conservatory in Cologne.
In 2004 he began working at G. Henle Publishers as an intern. In 2005 he became a junior editor, whilst at the same time starting his doctorate at the Ludwig-Maximilians-Universität in Munich. He completed it in 2008 with a thesis entitled “Handschriften Frédéric Chopins bis 1830. Studien zur Authentizität, Datierung und Werkgenese”. Since 2008 Müllemann has been an editor at the publishing house, becoming editor-in-chief in 2017 and Head of Publishing in 2024. He has edited numerous Urtext editions for the publisher with a particular focus on the works of Frédéric Chopin.
Michael Schneidt (Fingering)
Johannes Umbreit (Piano reduction)
He is on the jury of different international competitions and has been invited to several international music festivals. Umbreit was a teacher for almost ten years at the Musikhochschule in Munich and at the same time a lecturer for chamber music and piano accompaniment at the Richa
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