Sinfonia

Sinfonia in F Major (a) and (b)

The source cantata:

Title: Ich steh mit einem Fuss im Grabe

No.: 156

Date: 1729?

Occasion: Epiphany III

The transcriptions and their source movement:

Movement: No. 1: Sinfonia

Tune: -

Text: -

Originally scored for: Oboe, stgs. & cont.

Transcribed as: A movement for organ in two versions (see the comments below).

Key in the cantata: F Major

Key in the transcriptions: F Major

Comments: Version a): The number of voices has been reduced, and the two last bars have been omitted, so that the piece ends i F Major instead of C Major. Apart from that few changes.
Version b): In the concerto for harpsichord and stgs. in f minor BWV 1056 the same movement is found, but there the solo voice (harpsichord instead of oboe) is much more elaborated. The sinfonia (and the concerto movement) consists of two parts, and in transcription b) I have added a bar (bar 7) in order to make it possible to repete the two parts. In the repetitional parts the more elaborated solo voice from the harpsichord cencerto has been used.

Peter Bækgaard

Title:	*Ich steh mit einem Fuss im Grabe*
No.:	156
Date:	1729?
Occasion:	Epiphany III

Movement:	No. 1: Sinfonia
Tune:	-
Text:	-
Originally scored for:	Oboe, stgs. & cont.
Transcribed as:	A movement for organ in two versions (see the comments below).
Key in the cantata:	F Major
Key in the transcriptions:	F Major
Comments:	Version a): The number of voices has been reduced, and the two last bars have been omitted, so that the piece ends i F Major instead of C Major. Apart from that few changes. Version b): In the concerto for harpsichord and stgs. in f minor BWV 1056 the same movement is found, but there the solo voice (harpsichord instead of oboe) is much more elaborated. The sinfonia (and the concerto movement) consists of two parts, and in transcription b) I have added a bar (bar 7) in order to make it possible to repete the two parts. In the repetitional parts the more elaborated solo voice from the harpsichord cencerto has been used.