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The concerto’s three-movement format is of the kind predominant amongst Bach’s and Walther’s known arrangements. As one might expect from so young a composer, the ritornello design is rudimentary and the original conception of string possibilities as evinced here unadventurous. As with BWV596, the slow movement presents a contrast between introductory and concluding ‘tutti’ sections and the intervening ‘solo’ material. In the last movement Ernst’s pairs of repeated notes (shown in the Rostock parts) are adjusted for reasons of idiomatic layout, and some new bars are introduced. Ernst’s concern to balance the outer movements remains evident, however, and there are many attractive ideas for which the arranger can take no more than partial credit.
from notes by Francis Pott © 1995
Ernsts Bemühen, die äußeren Konzertsätze miteinander ins Gleichgewicht zu setzen bleibt jedoch ersichtlich, und es gibt viele attraktive Ideen, die nur teilweise dem Bearbeiter zuzuschreiben sind.
aus dem Begleittext von Francis Pott © 1995
Deutsch: Angelika Malbert
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