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Appendix 2 Los Angeles Program Notes, 9 December 1956 The concertos that comprise this series ofconcerts are not presented in a chronological manner ... composed during 40 years (1700- 1740) in which the form of the concerto became established. Telemann's concerto in A Minor [was] first performed in Hamburg in 1728 as prologue to his opera Emma undEginhard in [a] three movement pattern (fast, slow, fast) determined by Vivaldi. The vitality and grace ofTelemann, whom his contemporaries called a "French" composer (due to his long residence and success in Paris) is exemplified in the finale, which is a bourn~e. Bach's concertos in E major and A minor are the only two of his solo concertos that have come down in their original form. Debussy wrote of the E Major Adagio, "Very sincerely one does not know where to place oneself or how to hold oneselfto be worthy oflistening to it." Bonporti, always an amateur musician, lived in Trento and constantly attempted to become Canon of the Cathedral, a post he never attained. His place in music is due to Bach's admiration for a series ofviolin and harpsichord works that Bonporti composed entitled "Inventions." Bach copied four ofthese works in his own hand as he did Vivaldi concertos and so both composers' works were printed in the Bachgesellschaft as Bach's compositions. Their identitywas established in our time. The Vivaldi concertos for this series are compositions from his late mature period and the amazing beauty and inspiration ofthe adagios well demonstrate the melodic genius of this master, now recognized as one of the towering figures of early music. Vivaldi's use of scordatura (a special tuning of the solo violin) in concerto six ofOpus IX La Cetra exemplifies his ingenuity in searching [for] new color and effects, as well as his own technical attainments. ...

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