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Apart from [[concerto]]s which came to be seen as [[List of orchestral works by Johann Sebastian Bach|orchestral pieces]], [[Johann Sebastian Bach]] wrote concertos for unaccompanied [[harpsichord]], such as the ''[[Italian Concerto]]''. Comparably, the original version of [[BWV 1061]], a concerto for two harpsichords, lacks ripieno strings. The largest group of Bach's concertos for an unaccompanied harpsichord are transcriptions of concertos by other composers.
[[File:BWV596-1-autograph.jpg|thumb|350px|Autograph manuscript of first movement of BWV 596, Bach's transcription of Vivaldi's double violin concerto, Op.3, No.11. The only surviving autograph score, it is remarkable for its registration markings in bars 1 and 21. The manuscript has been dated from its watermark to 1714–1716. The theme was borrowed for the first chorus of [[BWV 21]]. The concerto became part of [[Wilhelm Friedemann Bach]]'s repertoire. He appended a note to the heading claiming authorship (he would have been 5 at the time).<ref> See:
*{{harvnb|Bach|2010|page=25}}
*{{harvnb|Williams|2003|page=220}}
</ref>]]
The '''concerto transcriptions''' of [[Johann Sebastian Bach]] date from his second period at the court in [[Weimar]] (1708–1717). Bach transcribed for organ and harpsichord a number of Italian and Italianate concertos, mainly by [[Antonio Vivaldi]], but with others by [[Alessandro Marcello]], [[Benedetto Marcello]], [[Georg Philipp Telemann]] and the musically inclined [[Prince Johann Ernst of Saxe-Weimar]]. It is thought that most of the transcriptions were probably made in 1713–1714. Their publication by [[C.F. Peters]] in the 1850s and by [[Breitkopf & Härtel]] in the 1890s played a decisive role in the Vivaldi revival of the twentieth century.
==History, purpose, transmission and significance==
{{cquote|The pleasure His Grace took in his playing fired him with the desire to try every possible artistry in his treatment of the organ.|4=[[Bach's Nekrolog|Nekrolog]], [[Carl Philipp Emanuel Bach]] and [[Johann Friedrich Agricola]]<ref>{{harvnb|David|Mendel|Wolff|1998}}</ref>}}
[[File:Schlosskirche Weimar 1660.jpg|250px|thumb|The court chapel or ''Himmelsburg'' at the [[Schloss Weimar|Schloss]] in [[Weimar]]. The organ, at the top of the picture, was overhauled by J.K. Weisshaupt in 1707–1708, shortly before Bach's arrival, with further improvements by H.N. Trebs in June 1712–May 1714.<ref>See:
*{{harvnb|Williams|2016|pages=118–119}}
*{{harvnb|Boyd|2001|page=47}}</ref>]]


==Transcriptions==
Bach's concerto transcriptions reflect not only his general interest in and assimilation of musical forms originating in Italy, in particular the concertos of his Venetian contemporary [[Antonio Vivaldi]], but also the particular circumstances of his second period of employment 1708–1717 at the court in [[Weimar]].
{{see also|Weimar concerto transcription (Bach)}}
In his Weimar period, Johann Sebastian Bach transcribed Italian and Italianate concertos. Most, if not all, of the concerto transcriptions for unaccompanied harpsichord were realised from July 1713 to July 1714. Most of these transcriptions were based on concertos by [[Antonio Vivaldi]]. Other models for the transcriptions included concertos by [[Alessandro Marcello]], [[Benedetto Marcello]], [[Georg Philipp Telemann]] and [[Prince Johann Ernst of Saxe-Weimar]].<ref name="Jones2007pp140-153">Jones 2007, [https://books.google.com/books?id=zV-8tnO2ca8C&pg=PA140 pp.&nbsp;140–153]</ref><ref name="Boyd2006pp80-83">Boyd 2006, [https://books.google.com/books?id=XD0ThbL5luEC&pg=PA80 pp.&nbsp;80–83]</ref><ref name="Williams2003pp201-224">Williams 2003, [https://books.google.com/books?id=3SfzUEWrDR0C&pg=PA201 pp.&nbsp;201–224]</ref><ref name="Schulenberg2013pp117-139fn">Schulenberg 2013, [https://books.google.com/books?id=VaYCK7-In9YC&pg=PA117 pp.&nbsp;117–139] and footnotes [https://books.google.com/books?id=VaYCK7-In9YC&pg=PA461 pp.&nbsp;461–3]</ref><ref name="Butler2011">Butler 2011</ref>
{| class="wikitable sortable"
|+ Weimar concerto transcriptions for unaccompanied harpsichord
|-
! scope="col" | [[BWV]]
! scope="col" | [[Key (music)|Key]]
! scope="col" | Model
|-
| 592a || G major || [[Prince Johann Ernst of Saxe-Weimar|Johann Ernst of Saxe-Weimar]]: {{illm|2=scores|1=Concerto in G major (Johann Ernst of Saxe-Weimar)|3=Violin Concerto in G major (Johann Ernst Prinz von Sachsen-Weimar)|lt=Violin Concerto in G major}}; BWV&nbsp;592
|-
| 972 || D major
| data-sort-value="Vivaldi, Op.&nbsp;3 No.&nbsp;09" | [[Antonio Vivaldi|Vivaldi]], [[L'estro Armonico|Op.&nbsp;3]] No.&nbsp;9: Violin Concerto in D major, RV&nbsp;230; BWV&nbsp;972a
|-
| 972a || D major
| data-sort-value="Vivaldi, Op.&nbsp;3 No.&nbsp;09" | [[Antonio Vivaldi|Vivaldi]], [[L'estro Armonico|Op.&nbsp;3]] No.&nbsp;9: Violin Concerto in D major, RV&nbsp;230
|-
| 973 || G major || [[Antonio Vivaldi|Vivaldi]], RV&nbsp;299: Violin Concerto in G major (published as [[Twelve Concertos, Op. 7 (Vivaldi)|Op.&nbsp;7]] No.&nbsp;8)
|-
| [[BWV 974|974]] || D minor || [[Alessandro Marcello|Marcello, A.]]: [[Oboe Concerto (Marcello)|Oboe Concerto in D minor]]<ref name="Selfridge-FieldD935">D935 in Selfridge-Field 1990</ref>
|-
| 975 || G minor || [[Antonio Vivaldi|Vivaldi]], RV&nbsp;316 (variant RV&nbsp;316a, Violin Concerto in G minor, published as [[La stravaganza|Op.&nbsp;4]] No.&nbsp;6)
|-
| 976 || C major || [[Antonio Vivaldi|Vivaldi]], [[L'estro Armonico|Op.&nbsp;3]] No.&nbsp;12: Violin Concerto in E major, RV&nbsp;265
|-
| 977 || C major ||
|-
| 978 || F major
| data-sort-value="Vivaldi, Op.&nbsp;3 No.&nbsp;03" | [[Antonio Vivaldi|Vivaldi]], [[L'estro Armonico|Op.&nbsp;3]] No.&nbsp;3: Violin Concerto in G major, RV&nbsp;310
|-
| 979 || B minor || [[Antonio Vivaldi|Vivaldi]], RV&nbsp;813: Violin Concerto in D minor (formerly RV&nbsp;Anh.&nbsp;10 attributed to [[Giuseppe Torelli|Torelli]])<ref name="Talbot2011RV813">Talbot 2011, [https://books.google.com/books?id=lYypmdoyPqYC&pg=PR40 pp.&nbsp;28–29] and [https://books.google.com/books?id=lYypmdoyPqYC&pg=PR66 p.&nbsp;54]</ref><ref name="Schulenberg2016">Schulenberg 2016</ref>
|-
| 980 || G major || [[Antonio Vivaldi|Vivaldi]], RV&nbsp;383: Violin Concerto in B-flat major, (variant RV&nbsp;383a published as [[La stravaganza|Op.&nbsp;4]] No.&nbsp;1)
|-
| 981 || C minor || [[Benedetto Marcello|Marcello, B.]]: Concerto Op.&nbsp;1 No.&nbsp;2
|-
| 982 || {{nowrap|B{{flat}} major}} || [[Prince Johann Ernst of Saxe-Weimar|Johann Ernst of Saxe-Weimar]]: Concerto Op.&nbsp;1 No.&nbsp;1
|-
| 983 || G minor ||
|-
| 984 || C major || [[Prince Johann Ernst of Saxe-Weimar|Johann Ernst of Saxe-Weimar]]: {{illm|2=scores|1=Violin Concerto in C major (Johann Ernst of Saxe–Weimar)|3=Violin Concerto in C major (Johann Ernst Prinz von Sachsen-Weimar)|lt=Violin Concerto in C major}} and possibly BWV&nbsp;595
|-
| 985 || G minor || [[Georg Philipp Telemann|Telemann]]: {{illm|Violin Concerto in G minor, TWV 51:g1 (Telemann)|scores|Violin Concerto, TWV 51:g1 (Telemann, Georg Philipp)|lt=Violin Concerto in G&nbsp;minor, TWV&nbsp;51:g1}}
|-
| 986 || G major ||
|-
| 987 || D minor || [[Prince Johann Ernst of Saxe-Weimar|Johann Ernst of Saxe-Weimar]]: Concerto Op.&nbsp;1 No.&nbsp;4
|}


===Concerto in G major, BWV 592a===
[[File:Weimar Christoph Riegel 1686.jpeg|thumb|left|350px|View of Weimar, 1686: the ''Wilhelmsburg'' is in the centre, with the ''Stadtkirche'' behind. The 3-storey ''Rotes Schloss'' is over the footbridge on the far left.]]
After {{illm|2=scores|1=Concerto in G major (Johann Ernst of Saxe-Weimar)|3=Violin Concerto in G major (Johann Ernst Prinz von Sachsen-Weimar)|lt=Violin Concerto in G major}} by Prince Johann Ernst of Saxe-Weimar, and organ version [[BWV&nbsp;592]]
During his first brief period in Weimar in 1703 Bach was employed as a court violinist for seven months by [[Johann Ernst III, Duke of Saxe-Weimar]], who ruled jointly with his elder brother [[Wilhelm Ernst, Duke of Saxe-Weimar]]. Wilhelm Ernst's Lutheran piety contrasted with his younger brother's alchoholism. On Johann Ernst's death in 1707, he was succeeded as coregent by his elder son [[Ernst August I, Duke of Saxe-Weimar|Ernst August]], who lived with his younger stepbrother, [[Prince Johann Ernst of Saxe-Weimar|Prince Johann Ernst]], outside the ducal ''Wilhelmsburg'' in the ''Rotes Schloss''. A talented amateur musician, from an early age Prince Johann Ernst had been taught the violin by the court violinist Gregor Christoph Eilenstein. Johann Ernst studied the keyboard with Bach's distant cousin [[Johann Gottfried Walther]], after he became organist at the [[St. Peter und Paul, Weimar|Stadtkirche]] in Weimar in 1707. The following year, when Bach himself was appointed as organist in Weimar in the ducal chapel or ''Himmelsburg'', he not only had at his disposal the recently renovated chapel organ but also the organ in the Stadtkirche. In the ''Wilhelmsburg'', Wilhelm Ernst had already revived the court orchestra, of which Bach eventually became Concertmaster in 1714. As well as music-making in the ''Wilhelmsburg'', Bach was almost certainly involved in the parallel more secular musical events in the ''Rotes Schloss'' organised by August Ernst and Johann Ernst. Harpsichords were available to Bach at both venues.<ref>See:
*{{harvnb|Boyd|2001|page=37}}
*{{harvnb|Bach|2010|page=23}}
*Hanks, GroveOnline.</ref>


Movements:
{{harvtxt|Jones|2007}} traces the influences on Bach's early keyboard compositions—in particular his [[sonata]]s (BWV 963/1, BWV 967) and [[toccata]]s (BWV 912a/2, BWV 915/2)—not only to the works of his older compatriots [[Johann Kuhnau|Kuhnau]], [[Georg Böhm|Böhm]] and [[Dieterich Buxtehude|Buxtehude]], but also to the works of Italian composers from the end of the seventeenth century; in particular the chamber sonatas of [[Arcangelo Corelli|Corelli]] and the concertos of [[Giuseppe Torelli|Torelli]] and [[Tomaso Albinoni|Albinoni]].<ref>{{harvnb|Jones|2007|pages=22–26, 40–42}}</ref>
# [no tempo indication]

# Grave
[[File:7b Bachhaus Eisenach Instrumentensaal.jpg|thumb|300px|left|Instruments in the [[Bachhaus Eisenach]]. In the foreground is a copy of a 1705 harpsichord of the type Bach would have played in Weimar. In the background is a 1650 chamber organ from [[Kleinschwabhausen]] near Weimar.]]
# Presto

Early works like BWV 912a and BWV 967, probably composed before 1707, also display concerto-like elements. The first documented evidence of Bach's engagement with the concerto genre can be dated to around 1709, during his second period in Weimar, when he made a hand copy of the continuo part of Albinoni's ''Sinfonie e concerti a 5'', Op. 2 (1700). In 1709 he also met the virtuoso violinist [[Johann Georg Pisendel]], who had studied with Torelli and is likely to have acquainted Bach with more of the Italian concerto repertoire. In 1709 Bach also copied out all the parts of the double violin concerto in G major, TWV 52, of [[Georg Philipp Telemann]]. Bach would also have known Telemann well then since he was court musician at [[Eisenach]], Bach's birthplace. In Weimar, the deputy [[Capellmeister]], [[Johann Wilhelm Drese]], had brought back compositions from Italy during his stay there in 1702–1703.
[[File:Etienne Roger L'estro armonico !st edition.jpg|thumb|200px|Title page of [[L'estro armonico]], the collection of 12 concertos of Vivaldi's Op.3, published in Amsterdam by [[Estienne Roger]]]]
Later in July 1713, Prince Johann Ernst returned from [[Utrecht]] after studying there for 2 years. A keen amateur violinist, he is likely to have brought or sent back concerto scores from [[Amsterdam]], probably including the collection ''[[L'estro armonico]]'', Op.3 of [[Antonio Vivaldi|Vivaldi]], published there in 1711. Once back in Weimar, he studied composition with Walther, concentrating on the violin concerto. In July 1714, however, poor health forced him to leave Weimar to seek medical treatment in [[Bad Schwalbach]]: he died a year later at the age of nineteen. A number of his concertos were published posthumously by Telemann.<ref> See;
*{{harvnb|Jones|2007|pages=140–141}}
*{{harvnb|Bach|2010|page=24}}
*Hanks, GroveOnline
</ref>

Johann Ernst's enthusiasm for the concerto fitted well with Bach's own interests. It was under these circumstances that Bach, as composer and performer, made his virtuosic concerto transcriptions for organ (BWV 592–596) and for harpsichord (BWV 972–987 and BWV 592a). Although Bach served as Concertmaster in Weimar from 1714–1717, when he is presumed to have composed his own instrumental concertos, the only surviving works in Italian concerto-form from this period are his transcriptions of works by other composers. Of these, the main body were by Vivaldi, with others by Telemann, [[Alessandro Marcello|Alessandro]] and [[Benedetto Marcello]] and Johann Ernst himself. At the same time, Bach's cousin Walther also made a series of organ transcriptions of Italian concertos: in his autobiography, Walther mentions 78 such transcriptions; but of these only 14 survive, of concertos by Albinoni, Giorgio Gentili, Giulio Taglietti, Telemann, Torelli and Vivaldi. Bach and Walther arranged different sets of concertos: Bach favoured the more recent ritornello form, less prevalent in the earlier concertos transcribed by Walther.<ref>See:
*{{harvnb|Jones|2007|pages=141–142}}
*{{harvnb|Bach|2010|page=24}}</ref>

{{harvtxt|Schulze|1972}} has given the following explanation for the transcriptions:<ref>{{harvnb|Williams|2003|page=202}}</ref>

{{quote|Bach’s organ and harpsichord transcriptions BWV 592–596 and 972–987 belong to the year July 1713 to July 1714, were made at the request of Prince Johann Ernst von Sachsen-Weimar, and imply a definite connection with the concert repertory played in Weimar and enlarged by the Prince’s recent purchases of music. Since the court concerts gave Bach an opportunity to know the works in their original form, the transcriptions are not so much study-works as practical versions and virtuoso 'commissioned' music.}}
[[File:Predigerkirche Erfurt (09).jpg|thumb|300px|Organ in the [[Predigerkirche (Erfurt)|Predigerkirche]] in [[Erfurt]]. The facade is that of the original baroque organ built in 1650 by Ludwig Compenius, who also built the organ in the ''Himmelsburg'' in Weimar]]
Schulze has further suggested that during his two year period studying in the Netherlands, Prince Johann Ernst is likely to have attended the popular concerts in the Niewe Kerk in Amsterdam where the blind organist Jan Jakob de Graaf performed his own transcriptions of the most recent Italian concertos.
It is possible that this could have led to Johann Ernst to suggest similar concerto transcriptions to Bach and Walther. Other circumstantial evidence concerning music-making in Weimar is provided by a letter written by Bach's pupil Philipp David Kräuter in April 1713. Asking for permission to stay longer in Weimar, he states that Prince Johann Ernst,

{{quote|who himself plays the violin incomparably, will return to Weimar from Holland after Easter and spend the summer here; I could then hear much fine Italian and French music, which would be particularly profitable to me in composing concertos and ouvertures ... I know too that when the new organ in Weimar is ready, Herr Bach will play incomparable things on it, especially at first ...}}

Kräuter's letter ties in with the organ repairs by Trebs made between June 1713 and May 1714. Commentators have found Schulze's arguments persuasive, but nevertheless point out that not all the transcriptions need have been made in the period from July 1713 to July 1714 when the Prince was back in Weimar. While this could be true for the simpler harpsichord transcriptions, some of the more virtuosic organ transcriptions could date from later, possible composed as a memorial to the prince, after his untimely death.<ref> {{harvnb|Williams|2003|pages=203–204}}</ref>

Published records of Bach's life include his [[Bach's Nekrolog|Nekrolog]] or obituary, written in 1754 by his son [[Carl Philipp Emanuel Bach]] and former pupil [[Johann Friedrich Agricola]], and the 1802 biography of [[Johann Nikolaus Forkel]]. The Nekrolog contains the famous statement about the Duke, Wilhelm Ernst, encouraging Bach as an organist-composer, quoted at the start of this section. In the often quoted passage from his biography, Forkel wrote:<ref>See:
*{{harvnb|Forkel|1920|pages=70–71}} The translation in the text follows Terry's translation with some slight modifications
*{{harvnb|Talbot|1993|pages=2–3}}</ref>
[[File:Vivaldi.jpg|thumb|200px|Probable portrait of [[Antonio Vivaldi]], 1723]]

{{quote|J.S. Bach’s first attempts at composition, like all such efforts, were unsatisfactory. Lacking any instruction to point him towards his goal, he had to do what he could in his own way, like others who set out without a guide. Most beginning composers let their fingers run riot up and down the keyboard, snatching handfuls of notes, assaulting the instrument in an undisciplined way ... Such composers can only be "finger composers" (or "keyboard cavaliers" as Bach called them later on in his life): that is, they let their fingers tell them what to write instead of instructing their fingers what to play. Bach abandoned that method of composition when he observed that brilliant flourishes lead nowhere. He realised that musical ideas need to be subordinated to a plan and that a young composer's first need is a model to guide his efforts. Vivaldi's violin concertos, which had just been published, gave him the guidance he needed. He had often heard them praised for their artistic excellence and decided upon the happy idea of arranging them all for the clavier. He was thus led to study their structure, the musical ideas on which they are built, the pattern of their modulations, and many other characteristics. Moreover, in adapting ideas and figurations originally conceived for the violin to the keyboard, Bach was compelled to think in musical terms, so that his ideas no longer depended on his fingers, but were drawn from his imagination.}}

Although Forkel's account is generally acknowledged to be oversimplified and factually inaccurate, commentators agree that Bach's knowledge and assimilation of the Italian concerto form—which happened partly through his transcriptions—played a key role in the development of his mature style. In practical terms, the concerto transcriptions were suitable for performance in the different venues in Weimar; they would have served an educational purpose for the young prince as well as giving him pleasure.<ref> See:
*{{harvnb|Jones|2007|page=235}}
*{{harvnb|Williams|2003|pages=203–204}}
*{{harvnb|Breig|1997b|page=164}}
*{{harvnb|Boyd|2001|pages=80–81}}</ref>

{{harvtxt|Marshall|1986}} has carried out a systematic study of headings and markings in surviving manuscripts to ascertain the intended instrument for Bach's keyboard works. These have customarily been divided into two distinct groups, his works for organ and his works for harpsichord or clavichord. Although in early music the intended instrument was often not specified, but left to the performer, this was often not the case with Bach's music. Based on known manualiter settings within Bach's works for organ, the possible audience for performances of virtuosic keyboard compositions and the circumstances of their composition, Marshall has suggested that the concerto transcriptions BWV 972–987 might originally have been intended as manualiter settings for the organ.<ref> {{harvnb|Marshall|1986|pages=212–232}}</ref><ref>{{harvnb|Bach|2010|pages=25–26}} Dirksen takes issue with Marshall's suggestion on stylistic grounds, starting from the fact that the two arrangements of one of Prince Johann Ernst's concertos, BWV 592 and 592a, are explicitly designated for organ and cembalo.</ref>

[[File:Griepenkerl%26Roitzsch-Peters-Bach-organ-works.jpg|thumb|250px|Cover for the [[C.F. Peters]] edition of Bach's organ works. BWV 592–595 appeared in 1852, edited by Friedrich Griepenkerl, a student of Forkel.]]
The reception of the concerto transcriptions is reflected in their transmission: they were less widely disseminated than Bach's original organ or keyoard works and were only published in the 1850s during the mid-nineteenth century Bach revival. More significantly perhaps, the concerto transcriptions played a decisive role in the Vivaldi revival which happened only in the following century. The meteoric success of Vivaldi in the early eighteenth century was matched by his descent into almost complete oblivion soon after his death in 1741. In Great Britain, France and particularly his native Italy, musical taste turned against him and, when he was remembered, it was just through salacious anecdote. Only in Northern Germany, where his concertos had influenced a school of composers, was his legacy properly appreciated. The publication of Bach's transcriptions has been recognized by Vivaldi scholars as a decisive step in his revival. In fact the new edition of the concerto transcriptions published by the [[Bach-Gesellschaft]] in the 1890s and the ensuing controversy in assessing their authorship and that of the original concertos in the 1910s sparked a reevaluation of Vivaldi and subsequently the rediscovery of his "lost" works.<ref>See:
*{{harvnb|Bach|2010|pages=24–25}}
*{{harvnb|Pincherle|1962}}
*{{harvnb|Talbot|1993}}
*{{harvnb|Brover-Lubovsky|2008}}</ref>

==Transcriptions for organ, BWV 592–596==
These transcriptions for organ have been dated to 1713–1714. They are scored for two manual keyboards and pedal.<ref>{{harvnb|Williams|2003|pages=201–226}}</ref>
===Concerto in G major, BWV 592===
This concerto is a transcription of a concerto by Prince Johann Ernst of Saxe-Weimar.

*[Allegro]
*Grave
*Presto

===Concerto in A minor, BWV 593===
This concerto is a transcription of a work by Antonio Vivaldi's double violin concerto, Op.3/8, RV 522.

*[Allegro]
*Adagio
*Allegro

===Concerto in C major, BWV 594===
This concerto is a transcription of Antonio Vivaldi's violin concerto "il grosso mogul," Op.7ii/5, RV 208.

*[Allegro]
*Recitativo Adagio
*Allegro

===Concerto in C major, BWV 595===
This concerto movement is a transcription of a composition by Prince Johann Ernst of Saxe-Weimar.
*Allegro

===Concerto in D minor, BWV 596===
This concerto is an transcription of Antonio Vivaldi's double violin concerto, Op. 3/11, RV 565.
*[Allegro]
*Pieno. Grave – Fuge
*Largo e spiccato
*[Allegro]


==Transcriptions for harpsichord, BWV 972–987==
===Concerto in D major, BWV 972===
===Concerto in D major, BWV 972===
After Violin Concerto in D major [[L'estro Armonico|Op.&nbsp;3]] No.&nbsp;9 (RV&nbsp;230) by Antonio Vivaldi (there is an earlier version BWV&nbsp;972a).
After Violin Concerto in D major [[L'estro Armonico|Op.&nbsp;3]] No.&nbsp;9 (RV&nbsp;230) by Antonio Vivaldi and early version BWV&nbsp;972a


Movements:
Movements:
Line 119: Line 77:


===Concerto in D minor, BWV 974===
===Concerto in D minor, BWV 974===
After [[Oboe Concerto (Marcello)|Oboe Concerto in D minor]] by [[Alessandro Marcello]]<ref>Selfridge-Field, D935 </ref>
After [[Oboe Concerto (Marcello)|Oboe Concerto in D minor]] by [[Alessandro Marcello]]<ref name="Selfridge-FieldD935" />


Movements:
Movements:
Line 159: Line 117:


===Concerto in B minor, BWV 979===
===Concerto in B minor, BWV 979===
After Violin Concerto in D minor, RV&nbsp;813, by Antonio Vivaldi (formerly RV&nbsp;Anh.&nbsp;10 attributed to [[Giuseppe Torelli|Torelli]])<ref>Talbot, 2011. RV813 </ref><ref>Schulenberg, 2016</ref>
After Violin Concerto in D minor, RV&nbsp;813, by Antonio Vivaldi (formerly RV&nbsp;Anh.&nbsp;10 attributed to [[Giuseppe Torelli|Torelli]])<ref name="Talbot2011RV813" /><ref name="Schulenberg2016" />


Movements:
Movements:
Line 169: Line 127:


===Concerto in G major, BWV 980===
===Concerto in G major, BWV 980===
After Violin Concerto in B-flat minor, RV 383 by Antonio Vivaldi (variant RV&nbsp;383a published as [[La stravaganza|Op.&nbsp;4]] No.&nbsp;1)
After Violin Concerto in B-flat minor, RV&nbsp;383 (variant RV&nbsp;383a published as [[La stravaganza|Op.&nbsp;4]] No.&nbsp;1)


Movements:
Movements:
Line 203: Line 161:


===Concerto in C major, BWV 984===
===Concerto in C major, BWV 984===
After the Violin Concerto in C major by Prince Johann Ernst of Saxe–Weimar (like BWV 595).
After {{illm|2=scores|1=Violin Concerto in C major (Johann Ernst of Saxe–Weimar)|3=Violin Concerto in C major (Johann Ernst Prinz von Sachsen-Weimar)|lt=Violin Concerto in C major}} and/or BWV&nbsp;595


Movements:
Movements:
Line 211: Line 169:


===Concerto in G minor, BWV 985===
===Concerto in G minor, BWV 985===
After the Violin Concerto in G minor, TWV 51, by Georg Philipp Telemann.
After {{illm|Violin Concerto in G minor, TWV 51:g1 (Telemann)|scores|Violin Concerto, TWV 51:g1 (Telemann, Georg Philipp)|lt=Violin Concerto in G&nbsp;minor, TWV&nbsp;51:g1}} by Georg Philipp Telemann


Movements:
Movements:
Line 235: Line 193:
# Vivace
# Vivace


==Original compositions==
==Notes==
Bach composed unaccompanied keyboard concertos for one and two harpsichords.<ref name="Boyd2006pp80-83" /><ref name="Breig1997p131">Breig 1997, [https://books.google.com/books?id=YiJKHGxrYzsC&pg=PA131 p.&nbsp;131]</ref>
{{reflist|2}}

===''Italian Concerto'' included in ''Clavier-Übung II''===
{{Main article|Italian Concerto, BWV 971}}
Bach's [[Italian Concerto, BWV 971|''Italian Concerto'', BWV 971]], was published in 1735, as first of two compositions included in ''[[Clavier-Übung II]]''. An early version of the concerto's first movement survives in an 18th-century copy.<ref>Beißwenger 2006</ref>

===Early version of Concerto for two harpsichords, BWV 1061===
{{see also|BWV 1061}}
BWV 1061a, a concerto for two harpsichords without accompaniment, is Bach's original version of the Concerto for two harpsichords and strings, [[BWV&nbsp;1061]].<ref>[[Bach Digital]] Work {{BDW|1247}}</ref>

==Doubtful works==
Several concertos for unaccompanied harpsichord are listed as doubtful in [[BWV Anh. II|Anhang II]] of the 1998 edition of the ''[[Bach-Werke-Verzeichnis]]'':<ref name="BWV1998AnhII">{{Wikicite|ref={{harvid|Schmieder, Dürr, and Kobayashi|1998}}|reference=[[Wolfgang Schmieder|Schmieder, Wolfgang]], [[Alfred Dürr]], and Yoshitake Kobayashi (eds.). 1998. [https://www.breitkopf.com/work/78/636 ''Bach-Werke-Verzeichnis: Kleine Ausgabe (BWV<sup>2a</sup>)''.] Wiesbaden: [[Breitkopf & Härtel]]. ISBN 978-3765102493}}, pp.&nbsp;459–466 {{link language|de}}</ref>
* BWV 909 – Concerto and Fugue in C minor
* BWV Anh. 151 – Concerto in C major
* BWV Anh. 152 – Concerto in G major


==References==
==References==
<references />
*{{citation|first=J.S.|last=Bach|editor-first=Pieter|editor-last=Dirksen|series=Complete Organ Works (Breitkopf Urtext)|title=Sonatas, Trios, Concertos| publisher= [[Breitkopf & Härtel]]|location=[[Wiesbaden]]|volume=vol.5 EB 8805|year=2010|ismn=979-0-004-18366-3}} [https://www.breitkopf.com/assets/pdf/15008_EB8805_PDF_EB8805_Einl.pdf Introduction] (in German and English) • [https://www.breitkopf.com/assets/pdf/15008_EB8805_PDF_EB8805Comm.pdf Commentary] (English translation—commentary in paperback original is in German)

* {{citation|first=Malcolm|last= Boyd|title= Bach|series=Master Musician Series|publisher= [[Oxford University Press]]|year= 2007|isbn= 9780195307719|pages=80–83}}
==Sources==
*{{citation|title=The Cambridge Companion to Bach|year=1997a|editor=John Butt|editorlink=John Butt (musician)|first=Werner|last=Breig|chapter=The Instrumental Music|url=https://www.cambridge.org/core/books/the-cambridge-companion-to-bach/BB71E9799CBE6751307BE0ECBC24C132|isbn=9781139002158|pages=123–135}}
* Kirsten Beißwenger. [https://books.google.com/books?id=ixadkfy40bwC&pg=PA1 "An early version of the first movement of the ''Italian Concerto'' BWV&nbsp;971 from the Scholz collection?" pp.&nbsp;1–19] in [https://books.google.com/books?id=ixadkfy40bwC ''Bach&nbsp;Studies&nbsp;2''] edited by Daniel R. Melamed. [[Cambridge University Press]], 2006. ISBN 9780521028912
*{{citation|title=The Cambridge Companion to Bach|year=1997b|editor=John Butt|editorlink=John Butt (musician)|first=Werner|last=Breig|chapter=Composition as arrangement and adaptation|url=https://www.cambridge.org/core/books/the-cambridge-companion-to-bach/BB71E9799CBE6751307BE0ECBC24C132|isbn=9781139002158|pages=154–170}}
* Malcolm Boyd. [https://books.google.com/books?id=XD0ThbL5luEC ''Bach''.] Oxford University Press, 2006. ISBN 9780195307719
*{{citation|title=Tonal Space in the Music of Antonio Vivaldi|first=Bella|last= Brover-Lubovsky|publisher=[[Indiana University Press]]|year= 2008|isbn=0253351294}}
* Werner Breig, translated by Steward Spencer. "The instrumental music", pp.&nbsp;123–135, and "Composition as arrangement and adaptation", pp.&nbsp;154–170, in ''The [[Cambridge Companions to Music|Cambridge Companion]] to Bach'', edited by [[John Butt (musician)|John Butt]]. Cambridge University Press, 1997. ISBN 9780521587808
* {{citation|first=H. Joseph| last=Butler| title=Emulation and Inspiration: J. S. Bach’s Transcriptions from Vivaldi’s ''L’estro armonico''|url=
* H. Joseph Butler. "Emulation and Inspiration: J. S. Bach’s Transcriptions from Vivaldi’s ''L’estro armonico''" in ''[[The Diapason]]'', August 2011.
http://www.thediapason.com/sites/thediapason.com/files/webDiap0811p19-21.pdf|journal=[[The Diapason]]|year= 2011|pages=19–21}}
* [[Richard D. P. Jones]]. "The keyboard works: Bach as teacher and virtuoso", pp.&nbsp;136–153 in ''The [[Cambridge Companions to Music|Cambridge Companion]] to Bach'', edited by [[John Butt (musician)|John Butt]]. Cambridge University Press, 1997. ISBN 9780521587808
*{{citation|first=Hans Theodore |last=David|first2=Arthur|last2=Mendel|first3=Christoph|last3=Wolff|title=The New Bach Reader|year=1998|edition=Revised|publisher=W.W. Norton|isbn=0393319563}}]
* [[Richard D. P. Jones]]. ''The Creative Development of Johann Sebastian Bach: Music to Delight the Spirit'', Volume I: 1695-1717. Oxford University Press, 2007. ISBN 9780198164401
*{{citation|title=Johann Sebastian Bach: His Life, Art, and Work|first=Johann Nikolaus|last= Forkel|authorlink=Johann Nikolaus Forkel|editor=Charles Sanford Terry|editorlink=Charles Sanford Terry|year=1920|publisher= Harcourt, Brace and Howe}}
* [[Richard D. P. Jones]]. ''The Creative Development of Johann Sebastian Bach: Music to Delight the Spirit'', Volume II: 1717-1750. Oxford University Press, 2013 ISBN 9780191503849
*{{GroveOnline|title=Johann Ernst, Prince of Weimar|author=Hanks, Sarah E.|access-date=4 January 2017|url=http://www.oxfordmusiconline.com/subscriber/article/grove/music/14348}}
* David Schulenberg. [https://books.google.com/books?id=VaYCK7-In9YC ''The Keyboard Music of J.S. Bach''.] Routledge, 2013. ISBN 9781136091469
* {{citation|last=Jones|first=Richard|authorlink=Richard D. P. Jones|chapter=The keyboard works: Bach as teacher and virtuoso|pages=136–153|title=The Cambridge Companion to Bach|editor=John Butt|editorlink=John Butt (musician)|publisher= [[Cambridge University Press]]|year= 1997|isbn=9780521587808}}
* David Schulenberg. [http://faculty.wagner.edu/david-schulenberg/files/2016/08/jsbkbupdates_2016a.pdf "Updates for ''The Keyboard Music of J. S. Bach''"] at {{url|http://faculty.wagner.edu/david-schulenberg/}}, 10 August 2016 (retrieved 9 December 2016)
* {{citation|last=Jones|first=Richard|authorlink=Richard D. P. Jones|title=The Creative Development of Johann Sebastian Bach: Music to Delight the Spirit, Volume I: 1695-1717|publisher= [[Oxford University Press]]|year= 2007|isbn=9780198164401|pages=140–153}}
* Eleanor Selfridge-Field. ''The Music of Benedetto and Alessandro Marcello: A Thematic Catalogue with Commentary on the Composers, Repertory, and Sources''. [[Oxford University Press]]/[[Clarendon Press]], 1990. ISBN 9780193161269
*{{citation|last=Jones|first=Richard|authorlink=Richard D. P. Jones|title=The Creative Development of Johann Sebastian Bach: Music to Delight the Spirit, Volume II: 1717-1750|publisher=[[Oxford University Press]]|year= 2013|isbn= 9780191503849}}
* [[Michael Talbot (musicologist)|Michael Talbot]]. [https://books.google.com/books?id=lYypmdoyPqYC ''The Vivaldi Compendium''.] Boydell Press, 2011. ISBN 9781843836704
*{{citation|first=Robert |last=Marshall|title=J.S. Bach as Organist|editor1=George Stauffer|editor2=Ernest May|year=1986|publisher=[[Indiana University Press]]|chapter=Organ or 'Klavier'? Instrumental prescriptions in the sources of Bach's keyboard works|pages=212–239}}
* Peter Williams. ''Bach: A Musical Biography''. Cambridge University Press, 2016. ISBN 9781107139251
*{{citation|title=Vivaldi: Genius of the Baroque|first=Marc|last= Pincherle|authorlink=Marc Pincherle|translator=Christopher Hatch|publisher=W.W. Norton|year=1962|isbn=0393001687}}
* [[Christoph Wolff]]. ''Johann Sebastian Bach: The Learned Musician''. W. W. Norton, 2001. ISBN 9780393322569
*{{citation|first= David|last= Schulenberg|title= The Keyboard Music of J.S. Bach|publisher= Routledge|year= 2013|isbn= 9781136091469|pages=117–139}}, [http://faculty.wagner.edu/david-schulenberg/files/2016/08/jsbkbupdates_2016a.pdf Updates (2016)]

*{{citation|first=Hans-Joachim|last=Schulze|chapter=J. S. Bachs Konzertbearbeitungen nach Vivaldi und anderen: Studien- oder Auftragswerke?|title=
==Further reading==
Deutsches Jahrbuch der Musikwissenschaft für 1973–1977|location=Leipzig|year= 1978|pages= 80–100}}
* Sarah Elizabeth Hanks. ''The German Unaccompanied Keyboard Concerto in the Early 18th Century: Including Works of Walther, Bach, and Their Contemporaries''. University of Iowa, 1972 (dissertation).
* {{citation|first=Eleanor|last= Selfridge-Field|title=The Music of Benedetto and Alessandro Marcello: A Thematic Catalogue with Commentary on the Composers, Repertory, and Sources|publisher=[[Oxford University Press]]|year= 1990|isbn= 9780193161269}}
* Karl Heller. "Zur Stellung des Concerto C-Dur für zwei Cembali BWV 1061 in Bachs Konzert-Œuvre", pp. 241–251 in ''Bericht über die Wissenschaftliche Konferenz zum V. Internationalen Bachfest der DDR in Verbindung mit dem 60. Bachfest der Neuen Bach-Gesellschaft (1985)'', edited by Winfried Hoffmann and Armin Schneiderheinze. Leipzig, 1988. {{link language|de}}
*{{citation|last=Stevens|first=Jane R.|title=The Bach Family and the Keyboard Concerto: The Evolution of a Genre|year=2001|publisher=Harmonie Park Press}}

*{{citation|first=Luigi Ferdinando |last=Tagliavini|title=J.S. Bach as Organist|editor1=George Stauffer|editor2=Ernest May|year=1986|publisher=[[Indiana University Press]]|chapter=Bach's organ transcription of Vivaldi's 'Grosso Mogul' concerto|pages=240–255}}
==Manuscripts==
*{{citation|title=Vivaldi|series=The Master Musicians|first=Michael|last= Talbot|edition=2nd|publisher=J.M. Dent|year=1993|isbn=0460861085}}
* 25448 MSM at [[Conservatoire royal de Bruxelles]] ({{RISM|702002232}}): Fascicles [https://www.bach-digital.de/receive/BachDigitalSource_source_00000221 3] (BWV 972a) and [https://www.bach-digital.de/receive/BachDigitalSource_source_00000222 4] (BWV 981) at [[Bach Digital]] website
*{{citation|editor-first=Michael|editor-last=Talbot|editorlink= Michael Talbot (musicologist)|title=The Vivaldi Compendium|publisher= Boydell Press|year=2011|isbn=9781843836704}}
* D-DS Mus. ms. 66 at {{illm|Universitäts- und Landesbibliothek Darmstadt|de}} (BWV&nbsp;974; {{RISM|450001735}}; [https://www.bach-digital.de/receive/BachDigitalSource_source_00002746 D-DS Mus. ms. 66] at [[Bach Digital]] website)
*{{citation|title=The Organ Music of J. S. Bach|first=Peter |last=Williams|edition=2nd|year=2003|publisher=[[Cambridge University Press]]|isbn=0-521-89115-9|pages=201–224}}
* D-LEb Peters Ms. 8 at {{illm|Stadtbibliothek Leipzig|de}}/[[Bach Archive]]: Fascicles [https://www.bach-digital.de/receive/BachDigitalSource_source_00003393 14] (BWV 971), [https://www.bach-digital.de/receive/BachDigitalSource_source_00003407 28] (BWV 984) and [https://www.bach-digital.de/receive/BachDigitalSource_source_00003408 29] (BWV 981) at [[Bach Digital]] website
*{{citation|first=Peter|last= Williams|title=Bach: A Musical Biography|publisher=[[Cambridge University Press]]|year= 2016|isbn=9781107139251}}
* D-LEm Poel. mus. Ms. 29 at {{illm|Stadtbibliothek Leipzig|de}} (BWV 592a, 973 and 983–4; [https://www.bach-digital.de/receive/BachDigitalSource_source_00003480 D-LEm Poel. mus. Ms. 29] at [[Bach Digital]] website)
*{{citation|first=Christoph|last=Wolff|title=Bach: Essays on His Life and Work|publisher=[[Harvard University Press]]|year=1994|isbn=0674059263|page=263|chapter=Bach's Leipzig Chamber Music|url=http://em.oxfordjournals.org/content/13/2/165.short}} (a reprint of a 1985 publication in [[Early Music]])
* [http://resolver.staatsbibliothek-berlin.de/SBB000165DE00000000 Mus.ms. Bach P 280] at [[Berlin State Library]] (BWV 592 and 973–982; {{RISM|467300717}}; [https://www.bach-digital.de/receive/BachDigitalSource_source_00001222 D-B Mus. ms. Bach P 280] at [[Bach Digital]] website)
*{{citation|first=Christoph|last= Wolff|title=Johann Sebastian Bach: The Learned Musician|publisher= W. W. Norton|year= 2001|isbn= 9780393322569}}
* [http://resolver.staatsbibliothek-berlin.de/SBB0001450A00400000 Mus.ms. Bach P 801 (28)] at [[Berlin State Library]] ("Concerto di Marcello", BWV 981; {{RISM|467300247}}; [https://www.bach-digital.de/receive/BachDigitalSource_source_00001772 D-B Mus. ms. Bach P 801, Fascicle 28] at [[Bach Digital]] website)
* [http://resolver.staatsbibliothek-berlin.de/SBB000151EC00000000 Mus.ms. Bach P 804] at [[Berlin State Library]] ({{RISM|467300254}}): Fascicles [https://www.bach-digital.de/receive/BachDigitalSource_source_00001801 4] (BWV 974), [https://www.bach-digital.de/receive/BachDigitalSource_source_00001811 15] (BWV 976), [https://www.bach-digital.de/receive/BachDigitalSource_source_00001824 28] (BWV 985), [https://www.bach-digital.de/receive/BachDigitalSource_source_00001830 34] (BWV 987), [https://www.bach-digital.de/receive/BachDigitalSource_source_00001831 35] (BWV 983), [https://www.bach-digital.de/receive/BachDigitalSource_source_00001842 46] (BWV 986), [https://www.bach-digital.de/receive/BachDigitalSource_source_00001848 52] (BWV 984), [https://www.bach-digital.de/receive/BachDigitalSource_source_00001850 54] (BWV 973), [https://www.bach-digital.de/receive/BachDigitalSource_source_00001851 55] (BWV 972) and [https://www.bach-digital.de/receive/BachDigitalSource_source_00001852 56] (BWV 977) at [[Bach Digital]] website
* Mus.ms. Bach St 139, Fascicle 1 at [[Berlin State Library]] (autograph parts of BWV 1061a; [https://www.bach-digital.de/receive/BachDigitalSource_source_00002492 D-B Mus. ms. Bach St 139, Faszikel 1] at [[Bach Digital]] website)


==External links==
==External links==
* Scores are available at [[IMSLP]]
* At [[IMSLP]] website:
**BWV 592a: [[scores:Violin Concerto in G major (Johann Ernst Prinz von Sachsen-Weimar)|Violin Concerto in G major (Johann Ernst Prinz von Sachsen-Weimar)]]
**[[scores:Italienisches Konzert, BWV 971 (Bach, Johann Sebastian)|Italienisches Konzert, BWV 971 (Bach, Johann Sebastian)]]
**[[scores:16 Konzerte nach verschiedenen Meistern, BWV 972–987 (Bach, Johann Sebastian)|16 Konzerte nach verschiedenen Meistern, BWV 972–987 (Bach, Johann Sebastian)]], [[scores:Violin Concerto in D major, RV 230 (Vivaldi, Antonio)|Violin Concerto in D major, RV 230 (Vivaldi, Antonio)]], [[scores:Violin Concerto in G major, RV 299 (Vivaldi, Antonio)|Violin Concerto in G major, RV 299 (Vivaldi, Antonio)]], [[scores:Oboe Concerto in D minor, S.Z799 (Marcello, Alessandro)|Oboe Concerto in D minor, S.Z799 (Marcello, Alessandro)]], [[scores:Violin Concerto in G minor, RV 316a (Vivaldi, Antonio)|Violin Concerto in G minor, RV 316a (Vivaldi, Antonio)]], [[scores:Violin Concerto in E major, RV 265 (Vivaldi, Antonio)|Violin Concerto in E major, RV 265 (Vivaldi, Antonio)]], [[scores:Violin Concerto in G major, RV 310 (Vivaldi, Antonio)|Violin Concerto in G major, RV 310 (Vivaldi, Antonio)]], [[scores:Violin Concerto in B-flat major, RV 383a (Vivaldi, Antonio)|Violin Concerto in B-flat major, RV 383a (Vivaldi, Antonio)]], [[scores:Violin Concerto in C major (Johann Ernst Prinz von Sachsen-Weimar)|Violin Concerto in C major (Johann Ernst Prinz von Sachsen-Weimar)]] and [[scores:Violin Concerto, TWV 51:g1 (Telemann, Georg Philipp)|Violin Concerto, TWV 51:g1 (Telemann, Georg Philipp)]]
**[[scores:12 Concerti Grossi, Op.1 (Marcello, Benedetto)|12 Concerti Grossi, Op.1 (Marcello, Benedetto)]], [[scores:L'estro armonico, Op.3 (Vivaldi, Antonio)|L'estro armonico, Op.3 (Vivaldi, Antonio)]], [[scores:La stravaganza, Op.4 (Vivaldi, Antonio)|La stravaganza, Op.4 (Vivaldi, Antonio)]], [[scores:12 Concerti, Op.7 (Vivaldi, Antonio)|12 Concerti, Op.7 (Vivaldi, Antonio)]] and [[scores:12 Concerti a 5 (Various)|12 Concerti a 5 (Various)]]
** [[scores:Concerto for 2 Harpsichords in C major, BWV 1061 (Bach, Johann Sebastian)|Concerto for 2 Harpsichords in C major, BWV 1061 (Bach, Johann Sebastian)]]


[[Category:Concertos by Johann Sebastian Bach]]
[[Category:Concertos by Johann Sebastian Bach]]

Revision as of 04:22, 11 January 2017

Apart from concertos which came to be seen as orchestral pieces, Johann Sebastian Bach wrote concertos for unaccompanied harpsichord, such as the Italian Concerto. Comparably, the original version of BWV 1061, a concerto for two harpsichords, lacks ripieno strings. The largest group of Bach's concertos for an unaccompanied harpsichord are transcriptions of concertos by other composers.

Transcriptions

See also: Weimar concerto transcription (Bach)

In his Weimar period, Johann Sebastian Bach transcribed Italian and Italianate concertos. Most, if not all, of the concerto transcriptions for unaccompanied harpsichord were realised from July 1713 to July 1714. Most of these transcriptions were based on concertos by Antonio Vivaldi. Other models for the transcriptions included concertos by Alessandro Marcello, Benedetto Marcello, Georg Philipp Telemann and Prince Johann Ernst of Saxe-Weimar.[1][2][3][4][5]

Weimar concerto transcriptions for unaccompanied harpsichord
BWV Key Model
592a G major Johann Ernst of Saxe-Weimar: Violin Concerto in G major [scores]; BWV 592
972 D major Vivaldi, Op. 3 No. 9: Violin Concerto in D major, RV 230; BWV 972a
972a D major Vivaldi, Op. 3 No. 9: Violin Concerto in D major, RV 230
973 G major Vivaldi, RV 299: Violin Concerto in G major (published as Op. 7 No. 8)
974 D minor Marcello, A.: Oboe Concerto in D minor[6]
975 G minor Vivaldi, RV 316 (variant RV 316a, Violin Concerto in G minor, published as Op. 4 No. 6)
976 C major Vivaldi, Op. 3 No. 12: Violin Concerto in E major, RV 265
977 C major
978 F major Vivaldi, Op. 3 No. 3: Violin Concerto in G major, RV 310
979 B minor Vivaldi, RV 813: Violin Concerto in D minor (formerly RV Anh. 10 attributed to Torelli)[7][8]
980 G major Vivaldi, RV 383: Violin Concerto in B-flat major, (variant RV 383a published as Op. 4 No. 1)
981 C minor Marcello, B.: Concerto Op. 1 No. 2
982 B♭ major Johann Ernst of Saxe-Weimar: Concerto Op. 1 No. 1
983 G minor
984 C major Johann Ernst of Saxe-Weimar: Violin Concerto in C major [scores] and possibly BWV 595
985 G minor Telemann: Violin Concerto in G minor, TWV 51:g1 [scores]
986 G major
987 D minor Johann Ernst of Saxe-Weimar: Concerto Op. 1 No. 4

Concerto in G major, BWV 592a

After Violin Concerto in G major [scores] by Prince Johann Ernst of Saxe-Weimar, and organ version BWV 592

Movements:

  1. [no tempo indication]
  2. Grave
  3. Presto

Concerto in D major, BWV 972

After Violin Concerto in D major Op. 3 No. 9 (RV 230) by Antonio Vivaldi and early version BWV 972a

Movements:

  1. [no tempo indication]
  2. Larghetto
  3. Allegro

Concerto in G major, BWV 973

After Violin Concerto in G major, RV 299, by Antonio Vivaldi (later version published as Op. 7 No. 8)

Movements:

  1. [no tempo indication]
  2. Largo
  3. Allegro

Concerto in D minor, BWV 974

After Oboe Concerto in D minor by Alessandro Marcello[6]

Movements:

  1. [no tempo indication]
  2. Adagio
  3. Presto

Concerto in G minor, BWV 975

After Violin Concerto in G minor, RV 316, by Antonio Vivaldi (variant RV 316a, published as Op. 4 No. 6)

Movements:

  1. [no tempo indication]
  2. Largo
  3. Giga Presto

Concerto in C major, BWV 976

After Violin Concerto in E major Op. 3 No. 12 (RV 265) by Antonio Vivaldi

Movements:

  1. [no tempo indication]
  2. Largo
  3. Allegro

Concerto in C major, BWV 977

After an unidentified model

Movements:

  1. [no tempo indication]
  2. Adagio
  3. Giga

Concerto in F major, BWV 978

After Violin Concerto in G major Op. 3 No. 3 (RV 310) by Antonio Vivaldi

Movements:

  1. Allegro
  2. Largo
  3. Allegro

Concerto in B minor, BWV 979

After Violin Concerto in D minor, RV 813, by Antonio Vivaldi (formerly RV Anh. 10 attributed to Torelli)[7][8]

Movements:

  1. Allegro – Adagio
  2. Allegro
  3. Andante
  4. Adagio
  5. Allegro

Concerto in G major, BWV 980

After Violin Concerto in B-flat minor, RV 383 (variant RV 383a published as Op. 4 No. 1)

Movements:

  1. [no tempo indication]
  2. Largo
  3. Allegro

Concerto in C minor, BWV 981

After Violin Concerto in C minor Op. 1 No. 2 by Benedetto Marcello

Movements:

  1. Adagio
  2. Vivace
  3. [no tempo indication]
  4. Prestissimo

Concerto in B-flat major, BWV 982

After Violin Concerto in B-flat major Op. 1 No. 1 by Prince Johann Ernst of Saxe-Weimar

Movements:

  1. [no tempo indication]
  2. Adagio
  3. Allegro
  4. Allegro

Concerto in G minor, BWV 983

After an unidentified model

Movements:

  1. [no tempo indication]
  2. Adagio
  3. Allegro

Concerto in C major, BWV 984

After Violin Concerto in C major [scores] and/or BWV 595

Movements:

  1. [no tempo indication]
  2. Adagio e affettoso
  3. Allegro assai

Concerto in G minor, BWV 985

After Violin Concerto in G minor, TWV 51:g1 [scores] by Georg Philipp Telemann

Movements:

  1. [no tempo indication]
  2. Adagio
  3. Allegro

Concerto in G major, BWV 986

After an unidentified model

Movements:

  1. [no tempo indication]
  2. Adagio
  3. Allegro

Concerto in D minor, BWV 987

After Concerto Op. 1 No. 4 by Prince Johann Ernst of Saxe-Weimar

Movements:

  1. [no tempo indication]
  2. Allegro
  3. Adagio
  4. Vivace

Original compositions

Bach composed unaccompanied keyboard concertos for one and two harpsichords.[2][9]

Italian Concerto included in Clavier-Übung II

Main article: Italian Concerto, BWV 971

Bach's Italian Concerto, BWV 971, was published in 1735, as first of two compositions included in Clavier-Übung II. An early version of the concerto's first movement survives in an 18th-century copy.[10]

Early version of Concerto for two harpsichords, BWV 1061

See also: BWV 1061

BWV 1061a, a concerto for two harpsichords without accompaniment, is Bach's original version of the Concerto for two harpsichords and strings, BWV 1061.[11]

Doubtful works

Several concertos for unaccompanied harpsichord are listed as doubtful in Anhang II of the 1998 edition of the Bach-Werke-Verzeichnis:[12]

  • BWV 909 – Concerto and Fugue in C minor
  • BWV Anh. 151 – Concerto in C major
  • BWV Anh. 152 – Concerto in G major

References

  1. ^ Jones 2007, pp. 140–153
  2. ^ a b Boyd 2006, pp. 80–83
  3. ^ Williams 2003, pp. 201–224
  4. ^ Schulenberg 2013, pp. 117–139 and footnotes pp. 461–3
  5. ^ Butler 2011
  6. ^ a b D935 in Selfridge-Field 1990
  7. ^ a b Talbot 2011, pp. 28–29 and p. 54
  8. ^ a b Schulenberg 2016
  9. ^ Breig 1997, p. 131
  10. ^ Beißwenger 2006
  11. ^ Bach Digital Work 01247
  12. ^ Schmieder, Wolfgang, Alfred Dürr, and Yoshitake Kobayashi (eds.). 1998. Bach-Werke-Verzeichnis: Kleine Ausgabe (BWV2a). Wiesbaden: Breitkopf & Härtel. ISBN 978-3765102493, pp. 459–466 Template:Link language

Sources

Further reading

  • Sarah Elizabeth Hanks. The German Unaccompanied Keyboard Concerto in the Early 18th Century: Including Works of Walther, Bach, and Their Contemporaries. University of Iowa, 1972 (dissertation).
  • Karl Heller. "Zur Stellung des Concerto C-Dur für zwei Cembali BWV 1061 in Bachs Konzert-Œuvre", pp. 241–251 in Bericht über die Wissenschaftliche Konferenz zum V. Internationalen Bachfest der DDR in Verbindung mit dem 60. Bachfest der Neuen Bach-Gesellschaft (1985), edited by Winfried Hoffmann and Armin Schneiderheinze. Leipzig, 1988. Template:Link language

Manuscripts

External links

source: https://en.wikipedia.org/w/index.php?title=Concerto_transcriptions_for_organ_and_harpsichord_(Bach)&diff=prev&oldid=759439938

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