Concerto Pastorale in F – Christmas Concerto by Johann Christoph Pez
Edited and with a realization of the continuo by Winfried Michel
Instrumentation: 2 flutes (or treble recorders), 2 violins, viola and basso continuo (piano)
Piano score and parts
One of the most beautiful baroque works for the Christmas circle, expressive music, but without major technical difficulties! A universal music, which will not miss its effect in church or concert hall, in single movements or as a whole.
It can be performed in chamber music with only seven players or in orchestral instrumentation, for student groups as well as for professional players.
Johann Christoph Pez, born on 9 September 1664 in Munich, is already credited with an impressive list of works in Johann Gottfried Walther’s Musikalisches Lexicon, which was published in 1732. His schooling and musical training at the Jesuit Gymnasium in Munich, where he was taught singing and violin, were followed by studies in Rome. He became Capellmeister of the Archdiocese of Cologne in Bonn, but in 1701 returned to Munich, where When the Bavarian court was temporarily disbanded, he went to Stuttgart as court and opera Capellmeister. In the employ of the Duke of Württenberg, particularly after 1706, he developed an extensive activity, creating a wealth of vocal and instrumental works both sacred and profane, most of them published in his lifetime. He wrote 12 trio sonatas (Duplex Genius) op. 1, as well as op. 2 and op. 3, in the Italian-French
style. These were followed by chamber suites for 2 flutes and Bc., several sonatas and suites for various ensembles, 6 four-part masses, an opera with ballet interludes and a Serenata teatrale. Pez died on 25 September 1716 in Stuttgart.
The source for the present work is a handwritten set of parts owned by the Rostock University Library. The two parts marked Flauto are written in French violin clef, as was usual for treble recorders during the first half of the 18th century. The second string part is in soprano clef (C clef on the bottom line), also familiar to violinists playing middle voices. All parts also use
sharps instead of naturals, which also applies to the thoroughly figured Basso continuo. Signs of articulation are usually exemplary, to be continued accordingly. Dynamic markings appear only in the strings, in bars 35/36 of the second movement.
Needless to say, instrumentation can be colourful (such as two oboes supporting the violins in the Tutti, a bassoon occasionally added to the bass) or con sordino playing in the Pastorale movement. The Continuo can be played on harpsichord or organ, or both alternately. The Passacaglia, impressive in construction and extent, can also stand alone.
style. These were followed by chamber suites for 2 flutes and Bc., several sonatas and suites for various ensembles, 6 four-part masses, an opera with ballet interludes and a Serenata teatrale. Pez died on 25 September 1716 in Stuttgart.
The source for the present work is a handwritten set of parts owned by the Rostock University Library. The two parts marked Flauto are written in French violin clef, as was usual for treble recorders during the first half of the 18th century. The second string part is in soprano clef (C clef on the bottom line), also familiar to violinists playing middle voices. All parts also use
sharps instead of naturals, which also applies to the thoroughly figured Basso continuo. Signs of articulation are usually exemplary, to be continued accordingly. Dynamic markings appear only in the strings, in bars 35/36 of the second movement.
Needless to say, instrumentation can be colourful (such as two oboes supporting the violins in the Tutti, a bassoon occasionally added to the bass) or con sordino playing in the Pastorale movement. The Continuo can be played on harpsichord or organ, or both alternately. The Passacaglia, impressive in construction and extent, can also stand alone.
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