Keyboard concertos by Johann Sebastian Bach

The harpsichord concertos, BWV 1052–1065, are

concertos for harpsichord, strings and continuo by Johann
Sebastian Bach. There are seven complete concertos for
a single harpsichord (BWV 1052–1058), three concertos
for two harpsichords (BWV 1060–1062), two concertos
for three harpsichords (BWV 1063 and 1064), and one
concerto for four harpsichords (BWV 1065). Two other
concertos include solo harpsichord parts: the concerto
BWV 1044, which has solo parts for harpsichord, violin
and flute, and Brandenburg Concerto No. 5 in D major,
with the same scoring. In addition, there is a nine-bar
concerto fragment for harpsichord (BWV 1059) which
adds an oboe to the strings and continuo.
Most of Bach’s harpsichord concertos (with the excep-
tion of the 5th Brandenburg Concerto) are thought to be
arrangements made from earlier concertos for melodic in-
struments probably written in Köthen. In many cases,
only the harpsichord version has survived. They are
among the first concertos for keyboard instrument ever
written.

1 Compositional history and pur-

Engraving of the Thomaskirche in Leipzig in 1723, the year in
pose which Bach was appointed there. He took up residence with his
family in the Thomasschule on the left.

ered to be arrangements by Bach of previously existing

Johann Georg Schreiber, 1720: Engraving of Katherinenstrasse
in Leipzig. In the centre is Café Zimmermann, where the Col-
legium Musicum held weekly chamber music concerts
The concertos for one harpsichord, BWV 1052–1059,
survive in an autograph score, now held in the Berlin State
Library. Based on the paper’s watermarks and the hand-
writing, it has been attributed to 1738 or 1739.[2] As Peter
Williams records, these concertos are almost all consid-
works. Establishing the history or purpose of any of the
harpsichord concertos, however, is not a straightforward
task. At present attempts to reconstruct the compositional
history can only be at the level of plausible suggestions or
conjectures, mainly because very little of Bach’s instru-
mental music has survived and, even when it has, sources
are patchy. In particular this makes it hard not only to de-
termine the place, time and purpose of the original com-
positions but even to determine the original key and in-
tended instrument.[3]
The harpsichord part in the autograph manuscript is not
a “fair copy” but a composing score with numerous cor-
rections. The orchestral parts on the other hand were
executed as a fair copy.[2][4] Various possible explana-
tions have been proposed as to why Bach assembled
the collection of harpsichord concertos at this partic-
ular time. One centres on his role as director of the
Collegium Musicum in Leipzig, a municipal musical so-
ciety, which gave weekly concerts at the Café Zimmer-
mann, drawing many performers from students at the uni-

1
2 1
Composer directing cantata from gallery in a church, engraving
from Musicalisches Lexicon, Johann Gottfried Walther, 1732
versity. Bach served as director from spring 1729 to sum-
mer 1737; and again from October 1739 until 1740 or
1741. John Butt suggests that the manuscript was pre-
pared for performances on Bach’s resumption as director
in 1739, additional evidence coming from the fact that
the manuscript subsequently remained in Leipzig.[5] Pe-
ter Wollny, however, considers it unlikely that The Col-
legium Musicum would have required orchestral parts that
were so neatly draughted; he considers it more plausible
that the manuscript was prepared for a visit that Bach
made to Dresden in 1738 when he would almost cer-
tainly have given private concerts in court (or to the nobil-
ity) and the ripieno parts would have been played by the
resident orchestra.[2][6] Peter Williams has also suggested
that the collection would have been a useful addition to
the repertoire of his two elder sons, Wilhelm Friedemann
and Carl Philipp Emanuel, both employed as professional
keyboard-players at the time of writing. Williams has
also speculated that it might not be mere coincidence that
the timing matched the publication of the first ever col-
lection of keyboard concertos, the widely acclaimed and
well-selling Organ concertos, Op.4 of George Frederic
COMPOSITIONAL HISTORY AND PURPOSE
Handel published in London and Paris in 1738.[7]
The concertos for two or more harpsichords date from
a slightly earlier period. The parts from the Concerto
for four harpsichords BWV 1065 (Bach’s arrangement
of the Concerto for Four Violins, RV 580, by Antonio
Vivaldi), have been dated to around 1730.[5] Whereas
the harpsichord concertos were composed partly to show-
case Bach’s own prowess at the keyboard, the others
were written for different purposes, one of them being as
Hausmusik—music for domestic performance within the
Bach household at the Thomaschule in Leipzig. Johann
Nikolaus Forkel, Bach’s first biographer, recorded in
1802 that the concertos for two or more harpsichords
were played with his two elder sons. Both of them, cor-
responded with Forkel and both remained in the parental
home until the early 1730s: Wilhelm Friedemann de-
parted in 1733 to take up his appointment as organist at
the Sophienkirche in Dresden; and in 1735 Carl Philipp
Emanuel moved to the university in Frankfurt to continue
training for his (short-lived) legal career. There are also
first-hand accounts of music-making by the entire Bach
family, although these probably date from the 1740s dur-
ing visits to Leipzig by the two elder sons: one of Bach’s
pupils J.F.K. Sonnenkalb recorded that house-concerts
were frequent and involved Bach together with his two
elder sons, two of his younger sons—Johann Christoph
Friedrich and Johann Christian—as well as his son-in-law
Johann Christoph Altnickol. It is also known that Wil-
helm Friedemann visited his father for one month in 1739
with two distinguished lutenists (one of them was Sylvius
Weiss), which would have provided further opportuni-
ties for domestic music-making. The arrangement of the
organ sonatas, BWV 525–530, for two harpsichords with
each player providing the pedal part in the left hand, is
also presumed to have originated as Hausmusik, a duet
for the elder sons.[8]
The harpsichord concertos were composed in a manner
completely idiomatic to the keyboard (this was equally
true for those written for two or more harpsichords).
They were almost certainly originally conceived for a
small chamber group, with one instrument per desk, even
if performed on one of the newly developed fortepianos,
which only gradually acquired the potential for producing
a louder dynamic. The keyboard writing also conforms
to a practise that lasted until the early nineteenth century,
namely the soloist played along with the orchestra in tutti
sections, only coming into prominence in solo passages.[9]
Movements from two of the harpsichord concertos, BWV
1052 and BWV 1053, had precursors which were in-
strumental sinfonias in cantatas with obbligato organ
providing the melody instrument (BWV 146, BWV
169 and BWV 188). This has raised hypothetical
questions—never to be answered conclusively—as to
whether Bach might have conceived of these as “or-
gan concertos”. A Hamburg newspaper reported on a
recital by Bach in 1725 on the Silbermann organ in the
Sophienkirche, Dresden, mentioning in particular that
2.1 Concerto No. 1 in D minor, BWV 1052 3

he had played concertos interspersed with sweet instru- eingehen, BWV 146 (1726); and the last movement for the
mental music (“diversen Concerten mit unterlauffender opening sinfonia of Ich habe meine Zuversicht, BWV 188
Doucen Instrumental-Music”). Wolff (2016) and Rampe (1728). In these cantata versions the orchestra was ex-
(2014) have speculated on whether this report might re- panded by the addition of oboes.[12]
fer to versions of the cantata movements or similar works; Like the other harpsichord concertos, BWV 1052 is gen-
Williams (2016) describes the newspaper article as “tan- erally believed to be a transcription of a lost concerto
talising” but considers it equally likely that in the hour- composed in Cöthen or Weimar. Almost all commenta-
long recital Bach played pieces from his standard organ tors, starting with Wilhelm Rust and Philipp Spitta, think
repertoire (preludes, chorale preludes) and that the re-
that the original melody instrument was probably the vio-
porter was using musical terms in a “garbled” way. In lin because of the many violinistic figurations in the solo
another direction Williams has provided a number of rea-
part—string-crossing, open string techniques—all highly
sons why, unlike Handel, Bach did not compose concer- virtuosic. Williams (2016) has speculated that the copies
tos for organ and a larger orchestra: firstly, although oc-
of the orchestral parts made in 1734 (BWV 1052a) might
casionally used in his cantatas, the Italian concerto style have been used for a performance of the concerto with
of Vivaldi was quite distant from that of Lutheran church
Carl Philipp Emanuel as soloist. There have been several
music; secondly, the tuning of the baroque pipe organ reconstructions of the violin concerto; Ferdinand David
would jar with that of a full orchestra, particularly when made one in 1873; Robert Reitz in 1917; and Wilfried
playing chords; and lastly, the size of the organ loft lim- Fischer prepared one for Volume VII/7 of the Neue Bach
ited that of the orchestra.[10] Ausgabe in 1970 based on BWV 1052. In 1976, in order
to resolve playability problems in Fischer’s reconstruc-
tion, Werner Breig suggested amendments based on the
2 Concertos for single harpsichord obbligato organ part in the cantatas and BWV 1052a;
since then the authenticity of the violin concerto has been
The works BWV 1052–1057 were intended as a set of widely accepted.[13][14][15]
six, shown in the manuscript in Bach’s traditional manner
beginning with 'J.J.' (Jesu juva, “Jesus, help”) and ending
with 'Finis. S. D. Gl.' (Soli Deo Gloria). Aside from
the Brandenburg concertos, it is the only such collection
of concertos in Bach’s oeuvre, and it is the only set of
concertos from his Leipzig years. The concerto BWV
1058 and fragment BWV 1059 are at the end of the score,
but they are an earlier attempt at a set of works (as shown
by an additional J.J.), which was, however, abandoned.[11]

2.1 Concerto No. 1 in D minor, BWV 1052

1. Allegro.
As Werner Breig has shown, the first harpsichord con-
2. Adagio.
certo Bach entered into the autograph manuscript was
3. Allegro. BWV 1058, a straightforward adaptation of the A mi-
nor violin concerto. He abandoned the next entry BWV
Scoring: harpsichord solo, violin I/II, viola, continuo 1059 after only a few bars to begin setting down BWV
(cello, violone) 1052 with a far more comprehensive approach to recom-
posing the original than merely adapting the part of the
The earliest surviving manuscript of the concerto can be melody instrument.
dated to 1734; it was made by Bach’s son Carl Philipp
Emanuel and contained only the orchestral parts, the The concerto has similarities with Vivaldi’s highly virtu-
cembalo part being added later by an unknown copyist. osic Grosso Mogul violin concerto, RV 208, which Bach
This version is known as BWV 1052a. The definitive had previously transcribed for solo organ in BWV 594. It
version BWV 1052 was recorded by Bach himself in the is one of Bach’s greatest concertos: in the words of Jones
autograph manuscript of all eight harpsichord concertos (2013) it “conveys a sense of huge elemental power.” This
BWV 1052–1058, made around 1738.[6] mood is created in the opening sections of the two outer
movements. Both start in the manner of Vivaldi with uni-
In the second half of the 1720s, Bach had already written son writing in the ritornello sections—the last movement
versions of all three movements of the concerto for two of begins as follows:
his cantatas with obbligato organ as solo instrument: the
first two movements for the sinfonia and first choral move-
ment of Wir müssen durch viel Trübsal in das Reich Gottes
4 2 CONCERTOS FOR SINGLE HARPSICHORD

section in bars 84–224, and the A′ section from bar 224

until the end. In the first movement the central section is
in the keys of D minor and E minor; in the last movement
the keys are D minor and A minor. As in the opening sec-
tions, the shifts between the two minor tonalities are sud-
den and pronounced. In the first movement Bach creates
another equally dramatic effect by interrupting the relent-
less minor-key passages with statements of the ritornello
theme in major keys. Jones describes these moments of
relief as providing “a sudden, unexpected shaft of light.”
The highly rhythmic thematic material of the solo harp-
sichord part in the third movement has similarities with
the opening of the third Brandenburg Concerto.

Bach then proceeds to juxtapose passages in the key of

D minor with passages in A minor: in the first move-
ment this concerns the first 27 bars; and in the last the
first 41 bars. These somewhat abrupt changes in tonality
convey the spirit of a more ancient modal type of music.
In both movements the A sections are fairly closely tied
to the ritornello material which is interspersed with brief
episodes for the harpsichord. The central B sections of In both B sections Bach adds unexpected features: in the
both movements are freely developed and highly virtu- first movement what should be the last ritornello is inter-
osic; they are filled with violinistic figurations including rupted by a brief perfidia episode building up to the true
keyboard reworkings of bariolage, a technique that relies concluding ritornello; similarly in the last movement, af-
on the use of the violin’s open strings. The B section in ter five bars of orchestral ritornello marking the begin-
the first movement starts with repeated note bariolage fig- ning of the A′ section, the thematic material of the harp-
ures: sichord introduces a freely developed 37-bar highly vir-
tuosic episode culminating in a fermata (for an extempo-
rised cadenza) before the concluding 12 bar ritornello.
The slow movement, an Adagio in G minor and 3
4 time, is built on a ground bass which is played in unison
by the whole orchestra and the harpsichord in the opening
which, when they recur later, become increasingly virtu- ritornello.
osic and eventually merge into brilliant filigree semidemi-
quaver figures—typical of the harpsichord—in the final
extended cadenza-like episode before the concluding ri-
tornello.

It continues throughout the piece providing the foun-

dations over which the solo harpsichord spins a
florid and ornamented melodic line in four long episodes.

Throughout the first movement the harpsichord part also

The subdominant tonality of G minor also plays a role in
has several episodes with “perfidia”—the same half bar
the outer movements, in the bridging passages between
semiquaver patterns repeated over a prolonged period.
the B and A′ sections. More generally Jones (2013) has
Both outer movements are in an A–B–A′ form: the A sec-
pointed out that the predominant keys in the outer move-
tion of the first movement is in bars 1–62, the B section
ments centre around the open strings of the violin.[16][17]
starts with the bariolage passage and lasts from bar 62 to
bar 171, the A′ section lasts from bar 172 until the end; Several hand copies of the concerto—the standard
the A section of the final movement is in bars 1–84, the B method of transmission—survive from the 18th century;
2.2 Concerto No. 2 in E major, BWV 1053
for instance there are hand copies by Johann Friedrich
Agricola around 1740, by Christoph Nichelmann and an
unknown scribe in the early 1750s. Its first publication in
print was in 1838 by the Kistner Publishing House.[18]
The performance history in the nineteenth century can
be traced back to the circle of Felix Mendelssohn. In
the first decade of the 19th century the harpsichord
virtuoso and great aunt of Mendelssohn, Sara Levy,
gave public performances of the concerto in Berlin at
the Sing-Akademie, established in 1791 by the harp-
sichordist Carl Friedrich Christian Fasch and subse-
quently run by Mendelssohn’s teacher Carl Friedrich Zel-
ter.[19] In 1824 Mendelssohn’s sister Fanny performed
the concerto at the same venue.[20] In 1835 Mendelssohn
played the concerto in his first year as director of the
Gewandhaus in Leipzig.[19] There were further perfor-
mances at the Gewandhaus in 1837, 1843 and 1863.[21]
Ignaz Moscheles, a friend and teacher of Mendelssohn
as well as a fellow devotee of Bach, gave the first per-
formance of the concerto in London in 1836 at a bene-
fit concert, adding one flute and two clarinets, bassoons
and horns to the orchestra. In a letter to Mendelssohn,
he disclosed that he intended the woodwind section to
have the “same position in the Concerto as the organ
in the performance of a Mass.” Robert Schumann sub-
sequently described Moscheles’ reorchestration as “very
beautiful.” The following year Moscheles performed the
concerto at the Academy of Ancient Music with Bach’s
original string orchestration. The Musical World re-
ported that Moscheles “elicited such unequivocal testi-
monies of delight, as the quiet circle of the Ancient Con-
cert subscribers rarely indulge in.”[22] Johannes Brahms
later composed a cadenza for the last movement of the
concerto, which was published posthumously.
2.2 Concerto No. 2 in E major, BWV 1053
1. [Allegro]
2. Siciliano
3. Allegro
Scoring: harpsichord solo, violin I/II, viola, continuo
(cello, violone).
Like the other harpsichord concertos, BWV 1053 is gen-
erally agreed to be a transcription of a lost instrumen-
tal concerto. As with BWV 1052, all the movements
had previous incarnations in Leipzig cantatas written
ten or more years prior to the 1738 or 1739 autograph
manuscript, with the part of the melody instrument writ-
ten for obbligato organ. The first and second movements
of BWV 1053 corresponds to the opening Sinfonia (in D
major) and alto aria “Stirb in mir, Welt” (in B minor) in
Gott soll allein mein Herze haben, BWV 169; and the finale
to the opening Sinfonia (in E major) in Ich geh und suche
mit Verlangen, BWV 49. The cantatas, part of a series
5
where Bach developed the obbligato organ as a chamber
or orchestral instrument, were first performed in Octo-
ber and November 1726 in the Thomaskirche, within two
weeks of each other. The scoring in BWV 169 includes
two oboes and a taille as ripieno instruments in the sin-
fonia and an oboe d'amore in the aria. In the aria, the
lines of the alto soloist and organ weave around each in
what Alfred Dürr has described as “undoubtedly one of
the most inspired vocal pieces that Bach ever wrote ... a
passionate submersion in heavenly love.”
As Wolff (1994) comments, this shows the subtleties in
Bach’s process of arrangement. In this case the super-
position of the additional vocal line over the keyboard
part “aims at the exploration, enrichment and perfection
of the original compositional material.” An oboe d'amore
was also added as a ripieno instrument in the sinfonia of
BWV 49.[23]
Since Ulrich Siegele’s 1957 dissertation, where he sug-
gested that BWV 1053 originated in either a flute con-
certo in F major or oboe concerto in E♭ major, a num-
ber of reconstructions for different melody instruments
have been proposed, all discussed in Breig (2001): Her-
mann Töttcher & Gottfried Müller (in F major for oboe,
1955); by Wilfried Fischer (in E♭ major for oboe, 1966,
and viola, 1996); by Joshua Rifkin (in E♭ major for
oboe, 1983); by Arnold Mehl (in D major for oboe
d'amore. 1983): and by Bruce Haynes (in D major for
oboe d'amore, 1998). Further discussions concerning
the possible original form of the concerto can be found
in Butler (2008), Wolff (2008), and Rampe (2013). In
Wolff (2016), problems with all the reconstructions are
mentioned: for woodwind instruments, breathing prob-
lems created by long uninterrupted passages of semiqua-
ver triplets in the third movement; and for the viola, the
complete absence of string-like figurations in the whole
concerto. Given the occurrence of all three movements in
1726 cantatas, he has suggested that the concerto might
originally have been composed for an unspecified key-
board instrument—interchangeably a harpsichord or an
organ depending on the venue—and that it might have
been one of the pieces played during Bach’s recital on
the Silbermann organ in the Sophienkirche, Dresden in
September 1725.[24]
The harpsichord part in the first movement of BWV 1053
differs from the 1726 organ part in several ways in the
solo passages: in the right hand the melody line became
far more elaborate and ornamental; and in the left hand
the figured bass line was replaced by a denser texture of
6 2 CONCERTOS FOR SINGLE HARPSICHORD
fully worked out figures and chords—the left hand was
“emancipated” in the words of Wolff (2002). At the same
time in the orchestral parts, Bach reduced the contribu-
tions of the lower strings and adjusted the contributions
from upper strings to create a proper balance with the
harpsichord, with none of the string parts doubled except
for the bass instruments. The lighter scoring permitted
counterpoint between the first violin and the harpsichord
in solo episodes. This method of adaptation—in the style
of Bach’s full maturity—was a departure from that used
for BWV 1052 and was employed in the subsequent con-
certos BWV 1054–1057.[25]
The musical structure of the first movement of BWV
1053—concisely written but complex in its many intri-
cate and ingenious details—has been analysed in Berger
(1997) and Rampe (2013). The movement combines the
strict da capo A–B–A form of an aria with the ritornello
structure of a concerto. Section A comprises 62 bars. In
the opening eight-bar ritornello, the harpsichord initially
plays as part of the ripieno, taking the first violin part
in the right hand and the continuo in the left. After this
tutti opening the harpsichord follows its own course, re-
sponding with a nine-bar episode that introduces its own
material.
There are three further ritornello passages with two in-
termittent responses in solo episodes for the harpsichord.
Bach devised the harpsichord’s rhythmic thematic mate-
rial as a contrasting counter-theme to the semiquaver mo-
tifs at the head of the ritornello. In each reprise the scor-
ing of the ritornello is varied: the harpsichord alternates
between its own counter-theme and that of the opening ri-
tornello; it plays increasingly brilliant variants of its own
material—eventually including joyful dactyl motifs—in
counterpoint to the semiquaver violin theme. The middle
section B is 51 bars long and is mostly in the minor mode,
beginning in F♯ minor. There are three solo episodes for
harpsichord punctuated by two reprises of the orchestral
ritornello, first in F♯ (bar 69) and then in its relative ma-
jor key, A major (bar 81). Less tied to the ritornello,
the harpsichord freely develops its own material, which
is derived from that of section A. The third and longest
episode of 27 bars begins in bar 86 and remains centred
on the tonality of C♯ minor. The strings provide a simple
accompaniment to the long phrases of the extended harp-
sichord solo; between phrases the first violin plays a brief
reprise in C♯ minor of the opening semiquaver motif of
the ritornello. The episode culminates in a semiquaver
passage over an extended G♯ pedal point and an Adagio
cadence and fermata in C♯ minor. The movement then re-
sumes with a recapitulation of the whole of section A.[26]
The slow movement in C minor and 12
8 time is a Siciliano, which Jones 2013 has described as
beautiful and haunting. In da capo form, the sustained
string ritornello is accompanied by the harpsichord with
an explicit realisation of the figured bass by gentle bro-
ken chord semiquavers. After the opening ritornello, the
harpsichord, accompanied by detached quaver chords in
the strings, plays its own melodic line spun out in two long
increasingly ornamented phrases, the second of which
merges into the semiquaver accompaniment of the clos-
ing ritornello.[27]
The third movement of BWV 1053 is a sprightly and
dance-like allegro in E major and 3
8 time. Like the first movement, its concise and inge-
nious compositional form combines the da capo structure
of an aria with the ritornello structure of a concerto; it
also has similarly light scoring in the orchestral parts to
create a proper balance between harpsichord and strings.
Although the overall structure is similar to that of the first
movement, the alternations between concertato soloist
and ripieno are more frequent and complex. Rather than
the concertos of Vivaldi, Gregory Butler has suggested
that this movement is closer in form and style to the con-
certos of another of Bach’s Italian contemporaries, the
Venetian composer Tomaso Albinoni. Butler has made
a detailed study of Albinoni’s two sets of twelve concerti
a cinque, Op.7 (1715) and Op.9 (1722), each set having
four violin concertos, four oboe concertos and four dou-
ble oboe concertos, and has proposed the last movement
of the double oboe concerto op.9, No.3 as a possible pre-
cursor of BWV 1053/3.
2.3 Concerto No. 3 in D major, BWV 1054
Bach’s third movement is written in strict da capo A–B–
A form, with 137 bars in the A section and 122 in the B
section. The opening eighteen-bar ritornello has an in-
troductory section or Vordersatz of four bars: the strings
play the “head” motif—three quavers, four semiquavers
and a quaver—in canon commencing in the first violin,
then the second and then the viola. This rhythm is re-
peated in the first eight bars of the ritornello. Below the
strings and the only instrument starting the movement, the
harpsichord plays an introductory flourish of arpeggiated
semiquaver triplets filling in the harmonies and spanning
almost the entire keyboard. In the remainder of the ritor-
nello the harpsichord doubles the first violin part in the
right hand and the continuo in the left.
The harpsichord then begins its own thematic material in
the first solo episode. At first it plays only the first four
bars as a brief declamation, which elicits the ritornello’s
Vordersatz as a response. This is followed by a reprise
by the harpsichord of the new thematic material, now ex-
tended to a sixteen bar episode.
This episode is followed by a reprise of the entire 18-
bar ritornello in the dominant key of B major. In this
reprise the lower string parts are pruned; now the right
hand of the harpsichord part provides the counterpoint to
the first violin part that instead of the second violin and vi-
ola; and the left hand plays its own semiquaver figuration
in tandem with the continuo line. There are two further
episodes for the harpsichord in which its own material is
developed with passagework in semiquavers, in semiqua-
ver triplets and in parallel and contrary motion semiqua-
vers in both hands. These are separated by a shortened
version of the ritornello and followed by a full version,
with its last two bars pruned down to harpsichord and first
violin. Section A concludes, following the traditional pat-
tern established by Albinoni, with a repetition of the main
7
body (Vorspinnung) and concluding part (Epilog) of the
ritornello, with the harpsichord once more doubling the
first violin and continuo parts.
In section B, which immediately follows, Bach breaks
with tradition: now in the relative minor, G♯ minor, he
introduces in the first solo harpsichord episode a highly
contrasting chromatic theme accompanied by character-
istic semiquaver figures in the left hand.
Of 38 bars in length and punctuated by fragmentary
responses from the strings, the solo episode modulates
through the keys of B major and C♯ minor to a cadence
in F♯ minor. It is followed by a sequence of short passages
alternating between ritornello material and solo material
for the harpsichord drawn from both section B (semiqua-
ver figures) and then section A (the beginning of the harp-
sichord theme). The ritornello segments move from F♯
minor to E major, the final segment modulating from F
minor to B major and then E major. The next twelve
bar solo episode continues with and develops the harp-
sichord’s thematic material from section A, modulating
from E major, to B major and then to the distant key
of D♯ major. The 4-bar Vordersatz from the ritornello
is then played in this key, then in G♯ major, reaching
the key of C♯ minor. Section B ends symmetrically with
an extended 33-bar solo episode, a variant of the long
chromatic episode with which it began, After modulating
through the keys of G♯ minor, C♯ minor and D♯ minor,
the movement briefly halts in the manner of a Scarlatti da
capo aria with a cadence to the mediant key of G♯ minor.
The music resumes with a capitulation of section A.[28]
2.3 Concerto No. 3 in D major, BWV 1054
See also: Violin Concerto in E major (Bach)
Scoring: harpsichord solo, violin I/II, viola, continuo
(cello, violone)
Length: c. 17 minutes
The surviving violin concerto in E major, BWV 1042 was
the model for this work, which was transposed down a
tone to allow the top note E6 to be reached as D6 , the
common top limit on harpsichords of the time. The open-
ing movement is one of the rare Bach concerto first move-
ments in da capo A–B–A form.
In 1845 Ignaz Moscheles performed the concerto in
London.[29]
8 2 CONCERTOS FOR SINGLE HARPSICHORD

2.4 Concerto No. 4 in A major, BWV 1055

1. Allegro

2. Larghetto
The two bar “motto” or Vordersatz opening the ritor-
3. Allegro ma non tanto nello, consisting of rhythmic spiccato quaver figures in
the strings and cascading broken chord semiquavers in the
harpsichord, recurs throughout the movement, heralding
Scoring: harpsichord solo, violin I/II, viola, continuo
solo episodes for the harpsichord. In the remainder of A
(cello, violone)
section, the second episode is introduced by the two bar
Unlike the other harpsichord concertos, BWV 1055 has motto and followed by a reprise of the entire first half of
no known precursors, either as an instrumental concerto the ritornello. Section B starts with an 8-bar solo episode
or as a movement with obbligato organ in a cantata. It has and has three more solo episodes, punctuated by the two-
generally been accepted that it is a reworking of a lost bar ritornello motto. In the second bar of the first episode
instrumental concerto, since Donald Francis Tovey first the sustained harpsichord material is heard in counter-
made the suggestion in 1935, when he proposed the oboe point to the motto theme in the strings, now starting in
d'amore as the melody instrument. Additional reasons for the middle of a bar. The second and third episode are
the oboe d'amore have been given by Ulrich Siegele in 6 bars long in E major/F♯ minor and B minor/C♯ minor.
1957, Wilfried Fischer in 1970, Hans-Joachim Schulze The fourth and longest, which ends section B, is 12 bars
in 1981 and Werner Brieg in 1993; Schulze has dated long, starting in C♯ minor and ending back in the tonic
the original concerto to 1721; and a reconstruction as a key of A major. Section A′ starts at bar 79 with what
concerto for oboe d'amore and strings was prepared by sounds like a reprise of the ritornello—the two-bar motto
Wilfried Fischer in 1970 for Volume VII/7 of the Neue in its original key; but, as Bach did in many of his concer-
Bach Ausgabe edition. Another proposed instrument has tos, it is interrupted by a solo episode for harpsichord—a
been the viola d'amore, first suggested by Wilhelm Mohr variant of the episode introducing section B—before the
in 1972; additional reasons for choosing the viola d'amore true reprise of the complete ritornello that concludes the
as a possible melody instrument were later given by Hans movement.[31]
Schoop in 1985 and Kai Köpp in 2000; but in 2008 Dirk-
Larghetto BWV 1055/2 (4:39)
sen gave reasons why he considered it unlikely to have
[30]
been the original melody instrument.
The slow movement of BWV 1055 is a highly expressive
Larghetto in F minor and 12
8 time. Although it does not have the dotted rhythms
of a siciliano, it is close in spirit to this melancholy
dance-form. The movement is pervaded by the chromatic
fourth—both falling and rising—which is associated with
the lamento. It is first heard in the descending bass line
of the opening two bar ritornello, which frames the work.
The material between the opening and closing the ritor-
nellos is freely developed, but nevertheless has some el-
ements of sonata form, most significantly a division into
two parts with the second part starting in the relative ma-
jor key (bars 3–13 and bars 14–36).
As Breig (1999) explains in his preface to the Neue Bach
Ausgabe edition, in compositional terms, BWV 1055 is
one of the most concentrated and mature of Bach’s con-
certos. The opening movement is an Allegro in A major

and . It is written in da capo A–B–A′ form. Mostly light

and nimble in spirit, the movement starts with a 16 bar ri-
tornello broken up into two halves, each 8 bars long. In
the first solo episode, the harpsichord introduces its own
more sustained thematic material as well as semiquaver
passagework derived from the end of the second half of
the ritornello. All the harpsichord solo passages are based
on or develop this thematic material.
2.4 Concerto No. 4 in A major, BWV 1055
In the opening ritornello, the motifs in the first violin
part involve a dramatic downward drop in register onto
chromatic notes which break the harmony. The lilting
rhythms of the first violin and the slower rhythms of the
middle strings continue throughout the movement as a
form of quasi-ostinato, repeating every two bars. As
with the other concertos, the harpsichord plays as a con-
tinuo instrument during the orchestral ritornellos.[32] The
harpsichord enters with its own material in the third bar.
The material in a long four bar phrase contrasts with the
monumental ritornello, with an expressive melodic line
of legato semiquaver figures weaving between long sus-
tained notes, either played off the beat or approached
through sighing appoggiaturas. Further dynamical con-
trast is created by the lowest string parts falling silent,
the bass line being provided just by the harpsichord: un-
til halfway through the second part (bar 23), the accom-
paniment is provided only by the two violins and viola,
marked piano. After the first solo episode, which modu-
lates from F♯ minor to C charp minor, a modified version
of the ritornello is heard again, but now with the chro-
matic fourth rising in the bass line. It serves as a bridge
passage during which the tonality modulates back to F♯
minor. At that point the true opening ritornello is heard
once more, but now as a counterpoint to the beginning
of the second solo episode of the harpsichord. Now ex-
tended to six bars, it leads up to a cadence in C♯ minor
marking the end of the first part; the lowest strings briefly
punctuate the cadence.
At bar 14, the beginning of the second part, the harpsi-
chord begins a long 8-bar passage in the key of A major,
the relative major key, introducing the Sietensatz its sec-
ond thematic material. For two bars, in contrast to the
first and second episodes, it plays sustained notes on the
beat followed by semiquavers, with a left hand accompa-
niment of descending quaver triads in major keys. The
accompanying ritornello figures in the upper and middle
string accompaniment are inverted and played in unison
during the first two baes. After two bars, the episode re-
turns to the minor mode with two bars of semiquaver
figures, which are repeated two bars later a minor third
higher. This culminates in two bars where the music is
at its most intense: the upper and middle strings playing
9
a variant of the original uninverted ritornello theme; in
the harpsichord a descending chromatic fourth in the left
hand plays beneath sighing figures reprised from the first
episode which descend to a closing cadence in B minor.
At the cadence there is a full orchestral tutti—the low-
est strings once more joining the ripieno section—in a
version of the opening ritornello, but now with a rising
chromatic fourth in the top notes of the first violin, as the
key modulates to F♯ minor. The harpsichord enters with
a five bar episode formed by three phrases starting on sus-
tained notes off the beat: the first three bars long with a
falling chromatic fourth in the left hand of the hand harp-
sichord; the second and third, fragmentary one bar state-
ments. These lead into a full recapitulation of the eight-
bar Seitensatz, but now with darker colours: the harpsi-
chord starts lower down in the key of D major and the
left hand part is joined by the lowest strings. At the end
of this episode, back once more in the home tonality of
F minor, the movement concludes with a reprise of the
opening ritornello.[33]
The third movement of BWV 1055, marked Allegro ma
non tanto, is in A major and the lively tempo of 3
8 time. Lightly scored and written in a similarly com-
pact style to the first movement, it begins and ends with
an orchestral ritornello; and, like the first movement, it
is written in da capo A–B–A′ form. Section A occupies
bars 1–82; section B, which starts in the dominant key of
E major and ends in the mediant key of C♯ minor, com-
prises bars 83–138; and the reprise A′ takes place in bars
139–200.
The opening 24-bar ritornello is rhythmic and dance-like;
it is broken up into four bar segments and contains a wide
variety of thematic material. The main theme is played
by the first violin part, which the harpsichord doubles in
the right hand while playing the continuo bass in the left
hand.
The florid style of the four-bar Vordersatz or “motto”
of the ritornello is noteworthy for its flurries of rapid
semidemiquaver scales. The Vordersatz is answered by
a four bar phrase of semiquaver motifs in sequence. The
remainder of the ritornello repeats this material until the
concluding Epilog (bars 20–24) which has a sequence
of one-bar figures in dotted rhythm incorporating joyful
dactyls. The music of the ritornello, including the dif-
ferent quaver figures in the accompaniment, is re-used
throughout the rest of the movement, the thematic mate-
rial recurring mostly in shortened fragments.
After the ritornello, the harpsichord enters in the first of
10 2 CONCERTOS FOR SINGLE HARPSICHORD

its solo episodes, 16 bars long. Its new melodic mate- 2.5 Concerto No. 5 in F minor, BWV 1056
rial contrasts with the ritornello, with sustained notes and
graceful ornamentation typical of the galant style, at first 1. Allegro moderato
accompanied only by repeated quavers in the left hand
and upper strings. 2. Largo

3. Presto

Scoring: harpsichord solo, violin I/II, viola, continuo

(cello, violone)

The ripieno section responds with one of the later seg- Length: c. 10 minutes
ments of the ritornello; this is followed by a shorter The outer movements probably come from a violin con-
episode for harpsichord which incorporates semiquaver certo which was in G minor, and the middle movement is
motifs from the ritornello; and the ripieno responds with probably from an oboe concerto in F major; this move-
a variant of the semidemiquaver motto. After this di- ment is also the sinfonia to the cantata Ich steh mit einem
alogue, a second extended solo episode introduces new Fuß im Grabe, BWV 156.
semiquaver triplet scale figures in the harpsichord, ac-
This middle movement closely resembles the opening
companied by detached quavers in the strings derived
Andante of a Flute Concerto in G major (TWV 51:G2)
from the ritornello.
by Georg Philipp Telemann; the soloists play essen-
tially identical notes for the first two-and-a-half measures.
Although the chronology cannot be known for certain,
Steven Zohn has presented evidence that the Telemann
concerto came first, and that Bach intended his movement
as an elaboration of his friend Telemann’s original.[35]
This is followed by another dialogue between soloist and
ripieno based on the ritornello material. It ends with
the harpsichord doubling the highest and lowest string
2.6 Concerto No. 6 in F major, BWV 1057
parts—the “unison” method by which Bach incorporates
See also: BWV 1049
the soloist in the ripieno—bringing section A to a close in
the dominant key of E major.
In section B the thematic material from section A is devel- 1. Allegro
oped more freely in the harpsichord part with semidemi-
quaver figures modified to semiquaver triplets. There is 2. Andante
further dialogue between harpsichord and orchestra fol-
lowed by an extended episode with semiquaver triplet 3. Allegro assai
passagework in the relative minor key, F♯ minor.
Scoring: harpsichord solo, flauto dolce (recorder) I/II,
violin I/II, viola, continuo (cello, violone)
Length: c. 17 minutes
An arrangement of Brandenburg Concerto No. 4, BWV
1049, which has a concertino of violin and two recorders.
Leaving the flute parts unchanged, Bach wrote the harp-
This is followed by an eight-bar “unison” ritornello mod-
sichord part as a combination of the violin material from
ulating from F♯ minor to C♯ minor. Section B concludes
the original concerto and a written out continuo.[36]
with a second extended solo episode in the mediant key
of C♯ minor, during which the orchestral ritornello mate-
rial is heard over a harpsichord trill and in counterpoint 2.7 Concerto No. 7 in G minor, BWV 1058
before the cadence.
The recapitulation section A′, back in the tonic and dom- See also: Violin Concerto in A minor (Bach)
inant keys, begins with the first six bars of the ritornello,
the harpsichord doubling the strings. This is interrupted
by two last solo episodes for the harpsichord, abridged 1. Allegro
from section A and punctuated by a short ritornello motif
in the strings. The movement concludes with a complete 2. Andante
reprise of the opening ritornello.[34]
3. Allegro assai
3.2 Concerto in C major, BWV 1061 11

Scoring: harpsichord solo, violin I/II, viola, continuo The subtle and masterful way in which the solo instru-
(cello, violone) ments blend with the orchestra marks this out as one of
Length: c. 14 minutes the most mature works of Bach’s years at Köthen. The
middle movement is a cantabile for the solo instruments
Probably Bach’s first attempt at writing out a full harpsi- with orchestral accompaniment.
chord concerto, this is a transcription of the violin con-
certo in A minor, BWV 1041, one whole tone lower to
fit the harpsichord’s range. It seems Bach was dissatis- 3.2 Concerto in C major, BWV 1061
fied with this work, the most likely reason being that he
did not alter the ripieno parts very much, so the harpsi- 1. Allegro
chord was swamped by the orchestra too much to be an
2. Adagio ovvero Largo
effective solo instrument.[11]
Bach did not continue the intended set, which he had 3. Fuga
marked with 'J.J.' (for Jesu juva, “Jesus, help”) at the start
of this work, as was his custom for a set of works. He Scoring: harpsichord I/II solo, violin I/II, viola, continuo
wrote only the short fragment BWV 1059.[11] (cello, violone)
In 1845 Ignaz Moscheles performed the concerto in Length: c. 19 minutes
London.[29]
Of all Bach’s harpsichord concertos, this is probably the
only one that originated as a harpsichord work, though
2.8 Concerto in D minor, BWV 1059 (frag- not in an orchestral guise. The work originated as a con-
certo for two harpsichords unaccompanied (BWV 1061a,
ment)
in the manner of the Italian Concerto, BWV 971), and
the addition of the orchestral parts may not have been by
Scored for harpsichord, oboe and strings in the autograph
Bach himself. The string orchestra does not fulfill an in-
manuscript, Bach abandoned this concerto after entering
dependent role, and only appears to augment cadences;
only nine bars. As with the other harpsichord concer-
it is silent in the middle movement. The harpsichords
tos that have corresponding cantata movements (BWV
have much dialogue between themselves and play in an
1052, 1053 and 1056), this fragment corresponds to the
antiphonal manner throughout.
opening sinfonia of the cantata Geist und Seele wird ver-
wirret, BWV 35, for alto, obbligato organ, oboes, taille
and strings. Rampe (2013) summarises the musicological 3.3 Concerto in C minor, BWV 1062
literature discussing the possibility of a lost instrumental
concerto on which the fragment and movements of the See also: Concerto for Two Violins (Bach)
cantata might have been based. A reconstruction of an
oboe concerto was made in 1983 by Arnold Mehl with
the two sinfonias from BWV 35 as outer movements and 1. Vivace
the opening sinfonia of BWV 156 as slow movement.[37]
2. Largo ma non tanto

3. Allegro assai
3 Concertos for two harpsichords
Scoring: harpsichord I/II solo, violin I/II, viola, continuo
3.1 Concerto in C minor, BWV 1060 (cello, violone)

1. Allegro Length: c. 15 minutes

The well-known Double Violin Concerto in D minor,
2. Adagio
BWV 1043 is the basis of this transcription. It was trans-
3. Allegro posed down a tone for the same reason as BWV 1054, so
that the top note would be D6 .
Scoring: harpsichord I/II solo, violin I/II, viola, continuo
(cello, violone)
4 Concertos for three harpsichords
Length: c. 14 minutes
While the existing score is in the form of a concerto for
4.1 Concerto in D minor, BWV 1063
harpsichord and strings, Bach scholars believe it to be
a transcription of a lost double concerto in D minor; a 1. [no tempo indication]
reconstructed arrangement of this concerto for two vio-
lins or violin and oboe is classified as BWV 1060R.[38] 2. Alla Siciliana
12 6 CONCERTOS FOR HARPSICHORD, FLUTE, AND VIOLIN

3. Allegro 3. Allegro assai

Scoring: harpsichord I/II/III solo, violin I/II, viola, Scoring: harpsichord I/II/III solo, violin I/II, viola,
continuo (cello, violone) continuo (cello, violone)
Length: c. 14 minutes Length: c. 17 minutes
Scholars have yet to settle on the probable scoring and This concerto was probably based on an original in D ma-
tonality of the concerto on which this was based, though jor for three violins. A reconstructed arrangement of this
they do think it is, like the others, a transcription. concerto for three violins in D major is classified as BWV
1064R. In both forms this concerto shows some similar-
Bach’s sons may have been involved in the composition of
ity to the concerto for two violins/harpsichords, BWV
this work. They may have also been involved in the per-
1043/1062, in the interaction of the concertino group
formances of this particular concerto, as Friedrich Kon-
with the ripieno and in the cantabile slow movement.
rad Griepenkerl wrote in the foreword to the first edi-
tion that was published in 1845 that the work owed its
existence “presumably to the fact that the father wanted
to give his two eldest sons, W. Friedemann and C.Ph. 5 Concerto in A minor for four
Emanuel Bach, an opportunity to exercise themselves in harpsichords, BWV 1065
all kinds of playing.” It is believed to have been composed
by 1733 at the latest.[39]
See also: L'estro Armonico
In the mid-nineteenth century the concerto, advertised
as Bach’s “triple concerto”, became part of the concert
repertoire of Felix Mendelssohn and his circle. On May 1. Allegro
1837, Ignaz Moscheles performed it for the first time
in the UK, with Sigismond Thalberg and Julius Bene- 2. Largo
dict in his own concert at the King’s Theatre. Instead of
performing the triple concerto on harpsichords, the per- 3. Allegro
formed it instead on three Erard grand pianofortes. In
1840, Mendelssohn performed it with Franz Liszt and Scoring: harpsichord I/II/III/IV solo, violin I/II, viola,
Ferdinand Hiller at the Gewandhaus in Leipzig, where continuo (cello, violone)
he was director. The programme also included Schu- Length: c. 10 minutes
bert’s “Great” C Major Symphony and some of his own
orchestral and choral compositions; Robert Schumann Bach made a number of transcriptions of Antonio Vi-
described the concert as “three joyous hours of music valdi's concertos, especially from his op.3 set, entitled
such as one does not experience otherwise for years at L'estro Armonico. Bach adapted them for solo harpsi-
a time.” The concerto was repeated later in the season chord and solo organ, but for the Concerto for 4 violins in
with Clara Schumann and Ignaz Moscheles as the other B minor, op.3 no.10, RV 580, he decided upon the unique
soloists. Mendelssohn also played the concerto in 1844 solution of using four harpsichords and orchestra. This is
in the Hanover Square Rooms in London with Moscheles thus the only harpsichord concerto by Bach which was not
and Sigismond Thalberg. Charles Edward Horsely re- an adaptation of his own material. In the middle move-
called Mendelssohn’s “electrical” cadenza in a memoire ment, Bach has the four harpsichords playing differently-
of 1872 as “the most perfect inspiration, which neither articulated arpeggios in a very unusual tonal blend, while
before nor since that memorable Thursday afternoon has providing some additional virtuosity and tension in the
ever been approached.” Moscheles had previously per- other movements.
formed the concerto in 1842 at Gresham College in the
East End of London with different soloists. After a per-
formance in Dresden in 1845 with Clara Schumann and 6 Concertos for harpsichord, flute,
Hiller, Moscheles recorded in his diary, “My concert to-
day was beyond all measure brilliant ... Bach’s Triple
and violin
Concerto made a great sensation; Madame Schumann
played a Cadenza composed by me, Hiller and I extem- 6.1 Concerto in A minor, BWV 1044
porized ours.”[40]
1. Allegro

4.2 Concerto in C major, BWV 1064 2. Adagio ma non tanto e dolce

3. Alla breve
1. Allegro

2. Adagio Concertino: harpsichord, flute, violin

6.1 Concerto in A minor, BWV 1044 13

might have been intended for Frederick, a keen flautist

who employed Bach’s son Carl Philipp Emanuel as court
harpsichordist; this could imply a later date of composi-
tion. Some commentators have questioned the authentic-
ity of the work, although it is now generally accepted.[42]
The concerto is an example of the “parody technique”—
the reworking in new forms of earlier compositions—that
Bach practised increasingly in his later years.[43] The first
and third movements are adapted from the prelude and
fugue in A minor for harpsichord, BWV 894, a large scale
work from Bach’s period in Weimar:[44]

The prelude and fugue have the structure of the first and
last movements of an Italian concerto grosso, which has
led to suggestions that they might be transcriptions of a
Title page of hand copy of the concerto made by Bach’s pupil lost instrumental work. In the concerto BWV 1044, Bach
Johann Friedrich Agricola. The manuscript bears the watermark reworked both the prelude and fugue around the harpsi-
of Frederick the Great. Acquired by the Sing Akademie in Berlin, chord part by adding ripieno ritornello sections.[45] In the
the title page was written by its director Carl Friedrich Zelter who first movement there is an eight bar ritornello that begins
noted in pencil that the harpsichord part had been lent to the with the opening semiquaver motif of the prelude, which
harpsichordist Sara Levy, great aunt of Felix Mendelssohn, on
is then heard in augmented form before breaking into dis-
29 May 1831[41]
tinctive triplet figures:

Ripieno: violin, viola, cello, violone, (harpsichord)

In this concerto for harpsichord, flute and violin, occa-
sionally referred to as Bach’s “triple concerto”, the harp-
sichord has the most prominent role and greatest quan-
tity of material. Except for an additional ripieno vio-
lin part, the instrumentation in all three movements is
identical to that of Brandenburg Concerto No.5 in D
major, BWV 1050. Arranged from previous composi-
tions, the concerto is generally considered to date from
the period 1729–1741 when Bach was director of the
Collegium Musicum in Leipzig and was responsible for
mounting weekly concerts of chamber and orchestral mu-
sic in the Café Zimmermann. Wollny (1997) and Wolff
(2007) contain a comprehensive discussion of the con-
certo, including its history and questions of authenticity.
Because one of the earliest surviving manuscripts comes
from the library of Frederick the Great and because of
post-baroque galant aspects of the instrumental writing—
fine gradations in the dynamical markings (pp, p, mp, mf,
f), the wider range of the harpsichord part as well as fre-
quent changes between pizzicato and arco in the strings—
Wollny has suggested that the arrangement as a concerto
This newly composed material, which recurs throughout
the movement, creates a contrast with that of the soloists,
much of which is directly drawn from the original pre-
lude, especially the harpsichord part. Like the first move-
ment of Brandenburg Concerto No. 5, the virtuosic harp-
sichord part takes precedence, with some passages from
the original extended, some played solo and some omit-
ted. In the solo episodes the flute and violin provide a
“small ripieno” accompaniment to the harpsichord, con-
trasting with the “large ripieno” of the orchestral strings
in the tutti sections.[46]
The last movement of the concerto begins with a fugue
subject in crotchets and minims in the viola and the bass
14 6 CONCERTOS FOR HARPSICHORD, FLUTE, AND VIOLIN
line of the harpsichord and a countersubject which pro-
vides the material for the orchestral ritornello and trans-
forms the original fugue BWV 894/2 into a triple fugue:
At bar 25 the harpsichord enters with the main fugue
subject from BWV 894/2—a moto perpetuo in triplets—
overlaid by the countersubject of the ritornello.
The fugue subject in the ritornello is “hidden” in the main
fugue subject (“soggetto cavato dalle note del tema”): its
constituent notes—A, F, E, D, C, B, A, G♯, A, B—can
be picked out in each of the corresponding crotchet and
minim groups of triplets in the main subject. Other de-
partures from BWV 894/2 include a number of virtu-
osic passages in the harpsichord, with demisemiquaver
runs, semiquavers in the triplets and finally semiquavers
replacing the triplets, culminating in a cadenza for the
harpsichord.[47]
The middle movement is a reworking and transposition
of material from the slow movement of the sonata for or-
gan in D minor, BWV 527; both movements are thought
to be based on a prior lost composition. Like the slow
movement of the fifth Brandenburg Concerto, the slow
movement of BWV 1044 is scored as a chamber work
for the solo instruments. In binary form, the harpsichord
alternates in repeats between upper and lower keyboard
parts of BWV 527/2; the other melodic keyboard part is
played alternately by flute or violin, while the other instru- tion for virtuosity and improvisation.
ment adds a fragmentary accompaniment in semiquavers The concerto is well suited throughout to showing off the
(scored as pizzicato for the violin).
As Mann (1995) comments, Bach’s son Carl Philipp
Emanuel related to his biographer Johann Nikolaus
Forkel how his father took pleasure in converting trios
into quartets ex tempore (“aus dem Stegereif”): BWV
1044/2 is a prime example. Bach created a com-
plex texture in this movement by juxtaposing the de-
tached melody in the harpsichord with a parallel sustained
melody in thirds or sixths in the violin or flute; and in con-
trast a further layer is added by the delicate pizzicato ac-
companiment in the fourth voice, —first in the violin and
then echoed by the flute—which comes close to imitating
the timbre of the harpsichord.[43]
6.2 Concerto in D major, BWV 1050
(Brandenburg Concerto No. 5)
Further information: BWV 1050
1. Allegro
2. Affettuoso
3. Allegro
Concertino: harpsichord, violin, flute
Ripieno: violin, viola, cello, violone, (harpsichord)
The harpsichord is both a concertino and a ripieno instru-
ment: in the concertino passages the part is obbligato; in
the ripieno passages it has a figured bass part and plays
continuo.
This concerto makes use of a popular chamber music en-
semble of the time (flute, violin, and harpsichord), which
Bach used on their own for the middle movement. It is
believed that it was written in 1719, to show off a new
harpsichord by Michael Mietke which Bach had brought
back from Berlin for the Cöthen court. It is also thought
that Bach wrote it for a competition at Dresden with the
French composer and organist Louis Marchand; in the
central movement, Bach uses one of Marchand’s themes.
Marchand fled before the competition could take place,
apparently scared off in the face of Bach’s great reputa-
qualities of a fine harpsichord and the virtuosity of its
 15

player, but especially in the lengthy solo 'cadenza' to the [14] Rampe 2013, pp. 264–270, 372–375
first movement. It seems almost certain that Bach, con-
[15] Wolff 2016, p. 67
sidered a great organ and harpsichord virtuoso, was the
harpsichord soloist at the premiere. Scholars have seen [16] Jones 2013, pp. 258–259, 267
in this work the origins of the solo keyboard concerto as
it is the first example of a concerto with a solo keyboard [17] Rampe & 2013 268–270
part.[48][49] [18] Rampe 2013, p. 272
An earlier version, BWV 1050a, has innumerable small
[19] Christoph Wolff. “A Bach Cult in Late-Eighteenth-
differences from its later cousin, but only two main ones: Century Berlin: Sara Levy’s Musical Salon” in Bulletin of
there is no part for cello, and there is a shorter and less the American Academy. Spring 2005. pp. 26–31.
elaborate (though harmonically remarkable) harpsichord
cadenza in the first movement. (The cello part in BWV [20] Kroll 2014, p. 264
1050, when it differs from the violone part, doubles the
[21] Alfred Dörffel. “Statistik der Concerte im Saale des
left hand of the harpsichord.) Gewandhauses zu Leipzig” p. 3, in Geschichte der
Gewandhausconcerte zu Leipzig vom 25. November 1781
bis 25. November 1881: Im Auftrage der Concert-
7 Notes Direction verfasst. Leipzig, 1884.

[22] Kroll 2014, pp. 265–266

[1] Rampe 2013, p. 357 The translation is taken from Spitta
(1899), pp. 136–137 [23] See:
[2] Peter Wollny, “Harpsichord Concertos,” booklet notes for • Rampe 2013, pp. 375–376
Andreas Staier's 2015 recording of the concertos, Harmo-
• Wolff 1994, pp. 322–323
nia mundi HMC 902181.82
• Dürr 2006, pp. 570–573, 592–595
[3] Williams 2016, pp. 264–265
[24] See:
[4] Breig, Werner (1997), “Composition as Arrangement and
Adaptation”, in John Butt, The Cambridge Companion • Siegele 1957
to Bach, Cambridge University Press, p. 168, ISBN • Rampe 2013, pp. 286–296, 375–377
0521587808
• Williams 2016, pp. 367–368
[5] Butt, John (1999), “Harpsichord Concertos”, in Malcolm
• Wolff 2016
Boyd; John Butt, Oxford Composer Companion: J. S.
Bach, Oxford University Press, p. 209, ISBN 978-0-19- • Butler 2008
866208-2 • Breig 2001
[6] Rampe 2013, pp. 368–375 • Haynes 2001, p. 389–390

[7] Williams 2016, p. 269 [25] See

[8] Williams 2016, pp. 368–369 • Breig 1999, p. XIII

[9] Wiliams 2016, pp. 365–366 • Rampe 2013, p. 293–294

• Wolff 2002, p. 389
[10] See:
• (Wolff 2008
• Wolff 2008
• Williams 2016, pp. 367–368
• Wolff 2016
• Wolff 2016
• Rampe 2014
• Williams 2016, pp. 370–371, 376 [26] See

[11] Butt, John, ed. (1997). The Cambridge Companion to • Berger 1997
Bach. Cambridge Companions to Music. Cambridge • Rampe 2013, p. 293–294
University Press. p. 167ff. ISBN 9780521587808.
• Jones 2013, p. 259
[12] André Isoir (organ) and Le Parlement de Musique con- • Williams 2016, pp. 367–368
ducted by Martin Gester. Johann Sebastian Bach:
L'oeuvre pour orgue et orchestre. Calliope 1993. Liner [27] See:
notes by Gilles Cantagrel.
• Jones 2013, p. 259
[13] Butt, John (1999), “Harpsichord Concertos”, in Malcolm • Rampe 2013, p. 295
Boyd; John Butt, Oxford Composer Companion: J. S.
Bach, Oxford University Press, p. 2010, ISBN 978-0-19- • Wolff 2008
866208-2 • Wolff 2018
16 8 REFERENCES

[28] See: [39] Bach: The Concertos for 3 and 4 Harpsichords – Trevor
Pinnock and the English Concert, from the CD booklet
• Butler 1995 written by Dr. Werner Brieg, 1981, Archive Produktion
• Butler 2008 (bar code 3-259140-004127)
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• Mercer-Taylor, Peter (2000), The Life of
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[29] Kroll 2014, p. p. 268 ISBN 0521639727
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[30] See: England, Ashgate, p. 86, ISBN 0754666522
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• Tovey 1935 [41] See:

• Siegele 1957
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[31] See: • Jones 2013, p. 395
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• Jones, pp. 259–260 • Shulenberg 1995, p. 30

• Breig 1999, p. XIV • Wollny 1997, pp. 283–285

• Rampe 2013
[32] In the autograph manuscript there is a figured bass in the
continuo part, but it is known that this was added later, so [43] Mann 1989
no further instruments beyond harpsichord and strings are
required for performance; see Breig 1999, p. XIV. [44] For a detailed discussion of BWV 849, see Schulenberg
(2006), pp. 145–146
[33] See:
[45] Jones 2013, p. 395
• Rampe 2013, pp. 304–305
• Jones 2013, p. 260 [46] See:
• Breig 1991, pp. 292–295 Breig gives a detailed mu-
• Mann 1989, p. 116
sical analysis of the movement.
• Wollny 1997, p. 285
• Sackmann 2000, pp. 141–143
• Williams 1997, pp. 87, 89 [47] See:

[34] See: • Mann 1989, pp. 116–117

• Rampe, pp. 304–305 • Abravaya 2006, pp. 61–64

• Jones, pp. 259–260 [48] Steinberg, M. The Concerto: A Listener’s Guide, p. 14,
• Breig 1999, p. XIV Oxford (1998) ISBN 0-19-513931-3

[35] Steven Zohn, Music for a Mixed Taste: Style, Genre, [49] Hutchings, A. 1997. A Companion to Mozart’s Piano
and Meaning in Telemann’s Instrumental Works, Oxford Concertos, p. 26, Oxford University Press. ISBN 0-19-
University Press, 2008, pp. 192–194, ISBN 978-0-19- 816708-3
516977-5

[36] Uwe Kraemer. Liner notes for Bach: The Harpsi-

chord Concertos (Igor Kipnis, The London Strings, Neville 8 References
Mariner) CBS Records M2YK 45616, 1989.

[37] Rampe 2013, pp. 390–396

• Abravaya, Ido (2006), On Bach’s Rhythm and Tempo
(PDF), Bochumer Arbeiten zur Musikwissenschaft,
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• Werner Breig, notes to recordings of the complete
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also taken from these recordings
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929776-2
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Tripelkonzert a-Moll (BWV 1044)", Jahrbuch des
Staatlichen Instituts für Musikforschung Preufßis-
cher Kulturbesitz, Berlin: Merseburger: 34–44
17
• Geck, Martin (1994), “Köthen oder Leipzig? Zur
Datierung der nur in Leipziger Quellen erhalte-
nen Orchesterwerke Johann Sebastian Bachs”, Die
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• Haynes, Bruce (2001), The Eloquent Oboe: A His-
tory of the Hautboy 1640–1760, Oxford University
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ment of Johann Sebastian Bach, Volume I: 1695–
1717: Music to Delight the Spirit, Oxford University
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ment of Johann Sebastian Bach, Volume II: 1717–
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its frontiers”, in Don O. Franklin, Bach Studies 1, pp.
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sonaten op. 5 unter besonderer Berücksichtigung
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18
• Schulze, Hans-Joachim (1981), “J. S. Bachs Konz-
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9 External links
ISBN 3-7751-0117-9
• Spitta, Philipp (1899), Johann Sebastian Bach; his
work and influence on the music of Germany, 1685–
1750, Volume 3, translated by Clara Bell; J.A.
Fuller-Maitland, Novello
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ing Four Centuries of Music, Oxford University
Press, ISBN 0198165633
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Cambridge University Press, ISBN 1107139252
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jor for Oboe d'amore with strings and continuo”,
Essays in Musical Analysis, Volume II, London, pp.
196–8
• Wolff, Christoph (1985), “Bach’s Leipzig
chamber music”, Early Music, 13: 165–175,
doi:10.1093/earlyj/13.2.165
• Wolff, Christoph (1994), Bach: Essays on His
Life and Work, Harvard University Press, ISBN
0674059263
• Wolff, Christoph (2002), Johann Sebastian Bach:
the learned musician, Oxford University Press,
ISBN 0-19-924884-2
• Wolff, Christoph (2008), “Sicilianos and Organ
Recitals: Observations on J.S. Bach’s concertos”,
in Gregory Butler, J. S. Bach’s Concerted Ensem-
ble Music: The Concerto, Bach Perspectives, 7,
University of Illinois Press, pp. 97–114, ISBN
0252031652
• Wolff, Christoph (2016), “Did Bach write or-
gan concertos? A propos the prehistory of can-
tata movements with obbligato organ”, in Dirst,
Matthew, Bach and the Organ, Bach Perspectives,
10, University of Illinois Press, pp. 60–75, JSTOR
10.5406/j.ctt18j8xkb
• Wollny, Peter (1993), “Sara Levy and the Making
of Musical Taste in Berlin”, The Musical Quarterly,
77: 651–688, doi:10.1093/mq/77.4.651, JSTOR
742352
• Wollny, Peter (1997), “Uberlegungen zum
Tripelkonzert a-Moll (BWV 1044)", in Martin
Geck; Werner Breig, Bachs Orchesterwerke: Bericht
über das 1. Dortmunder Bach-Symposion im Januar
1996, Dortmund, pp. 283–291
9 EXTERNAL LINKS
• Wollny, Peter (2010), 'Ein förmlicher Sebastian
und Philipp Emanuel Bach-Kultus’: Sara Levy und
ihr musikalisches Wirken (in German), Leipzig:
Breitkopf & Härtel
• Autograph manuscript of BWV 1052–1059, Bach
Archive, Leipzig
• Manuscript of BWV 1052a, Bach Archive, Leipzig
• Harpsichord Concerto No.1, BWV 1052: Scores at
the International Music Score Library Project
• Harpsichord Concerto No.2, BWV 1053: Scores at
the International Music Score Library Project
• Harpsichord Concerto No.3, BWV 1054: Scores at
the International Music Score Library Project
• Harpsichord Concerto No.4, BWV 1055: Scores at
the International Music Score Library Project
• Harpsichord Concerto No.5, BWV 1056: Scores at
the International Music Score Library Project
• Harpsichord Concerto No.6, BWV 1057: Scores at
the International Music Score Library Project
• Harpsichord Concerto No.7, BWV 1058: Scores at
the International Music Score Library Project
• Harpsichord Concerto No.8, BWV 1059: Scores at
the International Music Score Library Project
• Concerto for Flute, Violin and Harpsichord, BWV
1044: Scores at the International Music Score Li-
brary Project
• Concerto for 2 Harpsichords, BWV 1060: Scores at
the International Music Score Library Project
• Concerto for 2 Harpsichords, BWV 1061: Scores at
the International Music Score Library Project
• Concerto for 2 Harpsichords, BWV 1062: Scores at
the International Music Score Library Project
• Concerto for 3 Harpsichords, BWV 1063: Scores at
the International Music Score Library Project
• Concerto for 3 Harpsichords, BWV 1064: Scores at
the International Music Score Library Project
• Concerto for 4 Harpsichords, BWV 1065: Scores at
the International Music Score Library Project
• Program notes from the Los Angeles Chamber Or-
chestra
• Concerto in G minor BWV 1058 by Jozef Ka-
pustka and the Orquestra de Cordas da Grota (Rio
de Janeiro)
 19

10 Text and image sources, contributors, and licenses

10.1 Text
• Keyboard concertos by Johann Sebastian Bach Source: https://en.wikipedia.org/wiki/Keyboard_concertos_by_Johann_Sebastian_
Bach?oldid=781535564 Contributors: Jeandré du Toit, Hyacinth, JackofOz, Francis Schonken, Bender235, Espoo, Woohookitty, Gra-
ham87, Rjwilmsi, JHMM13, TBHecht, 8q67n4tqr5, RussBot, Tony1, Nikkimaria, Killerandy, Mathsci, Pais, DavidRF, Headbomb, JustA-
Gal, Darev, PhilKnight, Rothorpe, Magioladitis, Clavecin, Straw Cat, Brozhnik, Migospia, Harfarhs, Classical geographer, Jlhughes,
GPattle, Katzenfrucht, JL-Bot, Alexbot, Winston365, Arjayay, MelonBot, Addbot, Erutuon, Zorrobot, Luckas-bot, JeanneShade, Yobot,
Amirobot, AnomieBOT, Xqbot, Omnipaedista, FrescoBot, Jonesey95, RedBot, Labrynthia9856, Cnwilliams, Gerda Arendt, Orenburg1,
TobeBot, Nickanc, Woodlot, Lewisevand, Philologer, In ictu oculi, John of Reading, Nick Moyes, ZéroBot, Califra, Wieralee, Crochet,
Ocean Shores, HonestIntelligence, Rezabot, Wbm1058, BG19bot, Solomon7968, Tim Barron, Toccata quarta, Lieutenant of Melkor,
Dexbot, Shugurim, Narky Blert, SageGreenRider, CaradhrasAiguo, Knife-in-the-drawer, JJMC89, Blue Kat, BU RoBOT, SevN and
Anonymous: 45

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• File:BWV1044-1-ritornello.jpeg Source: https://upload.wikimedia.org/wikipedia/commons/9/9c/BWV1044-1-ritornello.jpeg License:
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• File:BWV1044-3-fugue-harpsichord.jpeg Source: https://upload.wikimedia.org/wikipedia/commons/7/76/
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10.3 Content license

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