Overscript is a palimpsest of – and a musical commentary on – the Concerto for Flute and strings in G minor by J.S. Bach. The latter is itself a compilation of movements from earlier concerti, the manuscripts of which no longer exist. Judging from the melodic writing and the instrumental range of the solo part, it seems that the two outer movements are probably from a violin concerto, while the middle movement must have been originally conceived for a solo wind instrument. It has been handed down to us as the Concerto for Harpsichord and Strings in F minor, an arrangement Bach probably made for his weekly Collegium Musicum concerts in Leipzig. In my own composition, I took into account the published harpsichord version of the original and a recording of the flute version.
Bach's concerto is included in its entirety, although fragmented, in my own work. The overall structure is preserved – the linear harmonic and thematic evolution is identical in both works. However, a process of intervalic stretching and tempo compression of the original music is in operation throughout, and the listener is invited to make comparisons between the original and the derivant materials, which, for that purpose, are always juxtaposed in close proximity. This method of conveying musical information is more evident in the outer movements. In the middle movement, there is an emotional and personal involvement with the material which, like in a romantic concerto, will hopefully carry the listener beyond the cerebral concerns of the other two movements. Here, the opening melody – one of the most beautiful melodies by Bach – is interrupted at the point of the half-cadence, and what follows is a long development section in the romantic tradition which eventually returns to the original melody at the end. The baroque concerto character of the original is preserved in the outer movements. There the soloist plays with the orchestra, not against it. In the middle movement, the orchestra begins as an accompanist to the solo instrument, eventually assuming a role reminiscent of the nineteenth century concerto.
In addition to the strings and continuo orchestration of the original, my orchestra includes an oboe and a bassoon. The prominent role of these two instruments, second only to the solo flute, is acknowledged in the rather long cadenza of the third movement, where they occasionally share the spotlight with the soloist. The solo part itself is arduous, and makes great demands on the player in terms of range, expressiveness, rhythmic precision and breath control. It is a tribute to the artistry of Robert Aitken, as my concerto is a tribute to Johann Sebastian Bach and the unique place he holds in music history and in the history of human endeavor in general.
