Concerto for oboe and violin in C minor

Concerto for oboe and violin in C minor

BWV 1060r performed by Emma Black, Shunske Sato
and the Netherlands Bach Society
Stadsgehoorzaal, Leiden

  • Menu
  • 1. Allegro
  • 2. Adagio
  • 3. Allegro

Behind the music

Extra videos
Extra videos

Each with their own voice

In search of the original behind a keyboard concerto

Around 1700, a new wind from the south blew through the music world. The ‘Vivaldian’ solo concerto had crossed the Alps and was causing a stir everywhere, including German-speaking Europe. Bach and his contemporaries looked at the model from all sides before adapting it to local customs and talents, especially for the ubiquitous violin. Of which, incidentally, there was no lack of virtuoso players. In Weimar and Köthen, Bach was able to compose for exceptional performers like Prince Johann Ernst of Saxe-Weimar and concertmaster Joseph Spieß, not to mention himself. So it is highly likely that there were once many more violin concertos by Bach.

In the ninteteenth century, when in contrast to the Baroque era ‘original’ was clearly more highly esteemed than ‘arrangement’, people started seeing Bach’s 14 keyboard concertos in a new light. The same applied to this work, which was handed down in a version for two harpsichords. Wilhelm Rust, who was involved with the Leipziger Bach-Gesellschaft from the start in 1850, suspected the existence of an original for two violins in 1874 already, while the physicist and amateur Bach buff Woldemar Voigt proposed this setting for violin and oboe in 1886.

In this version, each instrument makes full use of its own timbre and characteristics. And the imprint of the original is easy to see in the keyboard version, as Bach copied the solo lines almost exactly. In the finale, the violin clearly gets more scope than the oboe to show off its most virtuoso side, while in the second movement – a rocking Siciliano – both instruments become closely entangled.

Concerto for oboe and violin in C minor
oboe, violin
orchestral works
ca. 1719
Special notes
This is a reconstruction of the supposed original form of the concerto for two harpsichords in C minor, BWV 1060.

With support from

L.C.M. Gieles

Extra videos

Shunske Sato and Pieter Affourtit

“What are the differences between the modern and Baroque violin and bow?”

Vocal texts




  • Release date
    11 June 2020
  • Recording date
    6 December 2019
  • Location
    Stadsgehoorzaal, Leiden
  • Violin and direction
    Shunske Sato
  • Oboe
    Emma Black
  • Violin 1
    Pieter Affourtit
  • Violin 2
    Anneke van Haaften
  • Viola
    Manuel Visser
  • Cello
    Lucia Swarts
  • Double bass
    Hen Goldsobel
  • Harpsichord
    Siebe Henstra
  • Director
    Gerbrand van Oudenaarden
  • Music recording
    Guido Tichelman, Bastiaan Kuijt, Pim van der Lee
  • Music edit and mix
    Guido Tichelman
  • Camera
    Alex de Waal, Dagmar Scheeres, Martin van den Brink
  • Lights
    Zen Bloot
  • Assistant director
    Ferenc Soeteman
  • Video editing
    Bas Wielenga
  • Shading
    Wouter van Teerling
  • Technical assistance
    Mart van Bree
  • Producer concert
    Imke Deters
  • Producer film
    Jessie Verbrugh
  • With support from
    L.C.M. Gieles

Help us to complete All of Bach

There are still many recordings to be made before the whole of Bach’s oeuvre is online. And we can’t complete the task without the financial support of our patrons. Please help us to complete the musical heritage of Bach, by supporting us with a donation!