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Several prominent scholars, Siegbert Rampe and Dominik Sackmann, Ulrich Siegele, and Wilfried Fischer have argued that Bach transcribed this concerto from a lost original for oboe or oboe d'amore Rampe and Sackmann argued for a dating in Bach changed his method of arrangement with this work, significantly altering the ripieno parts from the original concerto for the first time, limited much more to the tutti sections. The lower string parts were much reduced in scope, allowing the harpsichord bass to be more prominent, and the upper strings were likewise modified to allow the harpsichord to be at the forefront of the texture.

The surviving violin concerto in E major, BWV was the model for this work, which was transposed down a tone to allow the top note E 6 to be reached as D 6 , the common top limit on harpsichords of the time. The opening movement is one of the rare Bach concerto first movements in da capo A—B—A form. In Ignaz Moscheles performed the concerto in London. That it was an oboe d'amore was proposed in by Donald Francis Tovey , in by Ulrich Siegele, [34] in by Wilfried Fischer, [38] and in by Pieter Dirksen.

Wollny notes that whatever the origins, the final work is the only Bach Harpsichord Concerto for which "a complete original set of parts has survived"; included is a "fully figured continuo part," which scholars agree was for a second harpsichord. This middle movement closely resembles the opening Andante of a Flute Concerto in G major TWV G2 by Georg Philipp Telemann ; the soloists play essentially 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.

Lost compositional blueprints (Chapter 14) - Bach's Numbers

An arrangement of Brandenburg Concerto No. Besides transposing, recorder parts have few modifications, except in the second movement in which most of their melodic function is transferred to the soloist. Bach wrote the harpsichord part as a combination of the violin material from the original concerto and a written out continuo. Probably Bach's first attempt at writing out a full harpsichord concerto, this is a transcription of the violin concerto in A minor, BWV , one whole tone lower to fit the harpsichord's range.

It seems Bach was dissatisfied with this work, the most likely reason being that he did not alter the ripieno parts very much, so the harpsichord was swamped by the orchestra too much to be an effective solo instrument. Bach did not continue the intended set, which he had marked with 'J.

He wrote only the short fragment BWV Scored for harpsichord, oboe and strings in the autograph manuscript, Bach abandoned this concerto after entering only nine bars. As with the other harpsichord concertos that have corresponding cantata movements BWV , and , this fragment corresponds to the opening sinfonia of the cantata Geist und Seele wird verwirret, BWV 35 , for alto, obbligato organ, oboes, taille and strings. Rampe summarises the musicological literature discussing the possibility of a lost instrumental concerto on which the fragment and movements of the cantata might have been based.

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A reconstruction of an oboe concerto was made in by Arnold Mehl with the two sinfonias from BWV 35 as outer movements and the opening sinfonia of BWV as slow movement. While the existing score is in the form of a concerto for harpsichords and strings, Bach scholars believe it to be a transcription of a lost double concerto in D minor; a reconstructed arrangement of this concerto for two violins or violin and oboe is classified as BWV R. The middle movement is a cantabile for the solo instruments with orchestral accompaniment. Of all Bach's harpsichord concertos, this is probably the only one that originated as a harpsichord work, though not in an orchestral guise.

The work originated as a concerto for two harpsichords unaccompanied BWV a, in the manner of the Italian Concerto, BWV , and the addition of the orchestral parts may not have been by Bach himself. The string orchestra does not fulfill an independent role, and only appears to augment cadences; it is silent in the middle movement. The harpsichords have much dialogue between themselves and play in an antiphonal manner throughout.

It was transposed down a tone for the same reason as BWV , so that the top note would be D 6. Scholars have yet to settle on the probable scoring and tonality of the concerto on which this was based, though they do think it is, like the others, a transcription. Bach's sons may have been involved in the composition of this work. They may have also been involved in the performances of this particular concerto, as Friedrich Konrad Griepenkerl wrote in the foreword to the first edition that was published in that the work owed its existence "presumably to the fact that the father wanted to give his two eldest sons, W.

Friedemann and C. Emanuel Bach, an opportunity to exercise themselves in all kinds of playing. 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. Instead of performing the triple concerto on harpsichords, the performed it instead on three Erard grand pianofortes.

The programme also included Schubert's "Great" C Major Symphony and some of his own orchestral and choral compositions; Robert Schumann described the concert as "three joyous hours of music such as one does not experience otherwise for years at a time. Charles Edward Horsely recalled Mendelssohn's "electrical" cadenza in a memoire of as "the most perfect inspiration, which neither before nor since that memorable Thursday afternoon has ever been approached.

After a performance in Dresden in with Clara Schumann and Hiller, Moscheles recorded in his diary, "My concert today was beyond all measure brilliant This concerto was probably based on an original in D major for three violins. A reconstructed arrangement of this concerto for three violins in D major is classified as BWV R. Length: c.

Bach made a number of transcriptions of Antonio Vivaldi 's concertos, especially from his Op. Bach adapted them for solo harpsichord and solo organ, but for the Concerto for 4 violins in B minor, Op. This is thus the only orchestral harpsichord concerto by Bach which was not an adaptation of his own material.

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That opus, published in , contains twelve concertos for strings, four of which Nos. The accompaniment in these four concertos consists of violins three parts , violas two parts , cellos and continuo figured bass part for violone and harpsichord. Most likely in the period from July to July , during his tenure as court organist in Weimar, Bach transcribed three of these violin concertos, Nos. Similarly, in the same period, he transcribed two Nos. Vivaldi's Op. Some two decades after the over twenty Weimar concerto transcriptions for unaccompanied keyboard instruments, Bach returned to L'estro armonico , and transcribed its No.

The differences in instrumentation between the individual concertos in Vivaldi's Op.

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In the middle movement, Bach has the four harpsichords playing differently-articulated arpeggios in a very unusual tonal blend, while providing some additional virtuosity and tension in the other movements. Concertino : harpsichord , flute , violin. In this concerto for harpsichord, flute and violin, occasionally referred to as Bach's "triple concerto", the harpsichord has the most prominent role and greatest quantity of material.

Except for an additional ripieno violin part, the instrumentation in all three movements is identical to that of Brandenburg Concerto No.

Wollny and Wolff contain a comprehensive discussion of the concerto, 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 frequent changes between pizzicato and arco in the strings—Wollny has suggested that the arrangement as a concerto 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 composition.

Some commentators have questioned the authenticity of the work, although it is now generally accepted. 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. 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 lost instrumental work.

In the concerto BWV , Bach reworked both the prelude and fugue around the harpsichord part by adding ripieno ritornello sections. See also: BWV a. Main article: Italian Concerto. See also: BWV II pp. Johann Sebastian Bach: L'oeuvre pour orgue et orchestre.

Calliope Bass oboe concerto Bassoon concerto Cello concerto Clarinet concerto Concerto for solo piano Double bass concerto Double concerto for violin and cello English horn concerto Flute concerto Harmonica concerto Harp concerto Harpsichord concerto Marimba concerto Oboe concerto Organ concerto Percussion concerto Piano concerto Timpani concerto Triple concertos for violin, cello, and piano Trumpet concerto Viola concerto Violin concerto. Bach Corelli Graupner Haydn Mozart.

W. F. Bach examples

Chorale concerto Concertato. Chamber music and orchestral works by, and transcriptions after, Johann Sebastian Bach. List of compositions by Johann Sebastian Bach. Compositions for organ , keyboard and lute by Johann Sebastian Bach. Royal Hunt and Storm - from Les Troyens. Sextet Eb major op. Adagio and Rondo KV Canon e Gigue. Andante cantabile op. Nocturne op. String Quartet Eb major op.

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III: 17 - Serenade. String Quartet F major, The Dream op. String Quartet G minor op. III: 1. My heart is inditing HWV - Coronation anthem. Motet and Mass - O quam gloriosum est regnum. III: 2. III: 5. III: 6. String Quartet A major op. III: 7.

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III: 8. III: 9. Tuba Concerto. Concerto D Minor. III: 15 - Dudelsack-Menuett. Quartet A major KV Concerto grosso F major op. Concerto grosso A minor op. Concerto grosso D major op. Concerto grosso Bb major op.