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Both relate the work to performances by Bach of concerted movements for organ and orchestra in
Dresden and Leipzig. Wolff also details why the violinistic figuration in the harpsichord part does not demonstrate that it is a transcription from a previous violin part; for one thing, the "extended and extreme passagework" in the solo part "cannot be found in any of Bach's violin concertos"; for another, he points to other relevant Bach keyboard works that "display direct translations of characteristic violin figuration into idiomatic passagework for the keyboard."
31:
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560:, a friend and teacher of Mendelssohn as well as a fellow devotee of Bach, gave the first performance of the concerto in London in 1836 at a benefit 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".
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Bach then proceeds to juxtapose passages in the key of D minor with passages in A minor: in the first movement 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
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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 sections, the shifts between the two minor tonalities are sudden and pronounced. In the first movement Bach
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and
Gregory Butler, published independently conducted research that led each to conclude that the original form of BWV 1052 was an organ concerto composed within the first few years of Bach's tenure in Leipzig. (Previous scholarship often held that Bach composed the original in Weimar or Cöthen.)
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sections Bach adds unexpected features: in the first movement what should be the last ritornello is interrupted by a brief perfidia episode building up to the true concluding ritornello; similarly in the last movement, after five bars of orchestral ritornello marking the beginning of the
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and contained only the orchestral parts, the cembalo part being added later. This version is known as BWV 1052a. The definitive version BWV 1052 was recorded by Bach himself in the autograph manuscript of all eight harpsichord concertos BWV 1052–1058, made around 1738.
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Bach's first harpsichord in D minor, BWV 1052 is in three movements, marked
Allegro, Adagio and Allegro. It is scored for harpsichord and Baroque string orchestra (2 violins, viola, cello and continuo). BWV 1052 has similarities with Vivaldi's highly virtuosic
1491:
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has speculated that the copies of the orchestral parts made in 1734 (BWV 1052a) might have been used for a performance of the concerto with Carl
Philipp Emanuel as soloist. There have been several reconstructions of the putative violin concerto;
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creates another equally dramatic effect by interrupting the relentless 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".
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which, when they recur later, become increasingly virtuosic and eventually merge into brilliant filigree demisemiquaver figures—typical of the harpsichord—in the final extended cadenza-like episode before the concluding ritornello.
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it "conveys a sense of huge elemental power". This mood is created in the opening sections of the two outer movements. Both start in the manner of
Vivaldi with unison writing in the ritornello sections.
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227:, many scholars suggested that the original melody instrument was the violin, because of the many violinistic figurations in the solo part—string-crossing, open string techniques—all highly virtuosic.
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1474:
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Throughout the first movement the harpsichord part also has several episodes with "perfidia"—the same half bar semiquaver patterns repeated over a prolonged period. Both outer movements are in an
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in 1917; and
Wilfried Fischer prepared one for Volume VII/7 of the Neue Bach Ausgabe in 1970 based on BWV 1052. In 1976, in order to resolve playability problems in Fischer's reconstruction,
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In the twenty-first century, however, Bach scholarship has moved away from any consensus regarding a violin original. In 2016, for example, two leading Bach scholars,
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It continues throughout the piece providing the foundations over which the solo harpsichord spins a florid and ornamented melodic line in four long episodes.
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The highly rhythmic thematic material of the solo harpsichord part in the third movement has similarities with the opening of the third
Brandenburg Concerto.
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violin concerto, RV 208, which Bach had previously transcribed for solo organ in BWV 594. It is considered one of Bach's greatest concertos: in the words of
202:
1411:
Wolff, Christoph (2016). "Did J. S. Bach Write Organ
Concertos? Apropos the Prehistory of Cantata Movements with Obbligato Organ". In Dirst, Matthew (ed.).
1991:
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Like the other harpsichord concertos, BWV 1052 has been widely believed to be a transcription of a lost concerto for another instrument. Beginning with
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reported that
Moscheles "elicited such unequivocal testimonies of delight, as the quiet circle of the Ancient Concert subscribers rarely indulge in".
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sections of both movements are freely developed and highly virtuosic; they are filled with violinistic figurations including keyboard reworkings of
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Several hand copies of the concerto—the standard method of transmission—survive from the 18th century; for instance there are hand copies by
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sections are fairly closely tied to the ritornello material which is interspersed with brief episodes for the harpsichord. The central
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Butler, Gregory (2016), "The Choir Loft as
Chamber: Concerted Movements by Bach from the Mid- to Late 1720s", in Matthew Dirst (ed.),
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Geschichte der Gewandhausconcerte zu Leipzig vom 25. November 1781 bis 25. November 1881: Im Auftrage der Concert-Direction verfasst
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subsequently described Moscheles' reorchestration as "very beautiful". The following year Moscheles performed the concerto at the
2001:
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section, the thematic material of the harpsichord introduces a freely developed 37-bar highly virtuosic episode culminating in a
1135:(in Italian). Vol. Le origini familiari, l'ambiente luterano, gli anni giovanili, Weimar e Köthen (1685–1723). Turin: EDT.
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performed the concerto at the same venue. In 1835 Felix Mendelssohn played the concerto in his first year as director of the
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1961:
1305:"Verzeichnis der bis zum Jahre 1851 gedruckten (und der geschrieben im Handel gewesenen) Werke von Johann Sebastian Bach"
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In the second half of the 1720s, Bach had already written versions of all three movements of the concerto for two of his
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The subdominant tonality of G minor also plays a role in the outer movements, in the bridging passages between the
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has pointed out that the predominant keys in the outer movements centre around the open strings of the violin.
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also disagrees with the hypothesis that the works might have originally been a violin concerto. According to
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1243:
The Creative Development of Johann Sebastian Bach, Volume II: 1717–1750: Music to Delight the Spirit
1934:
1920:
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502:
532:. In the first decade of the 19th century the harpsichord virtuoso and great aunt of Mendelssohn,
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The earliest surviving manuscript of the concerto can be dated to 1734; it was made by Bach's son
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which is played in unison by the whole orchestra and the harpsichord in the opening ritornello.
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as solo instrument: the first two movements for the sinfonia and first choral movement of
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Johann Georg Schreiber, 1720: Engraving of Katherinenstrasse in Leipzig. In the centre is
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in Leipzig. There were further performances at the Gewandhaus in 1837, 1843 and 1863.
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The performance history in the nineteenth century can be traced back to the circle of
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Dass das Konzert die Bearbeitung eines Violinkonzert darstellt, ist unwahrscheinlich.
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suggested amendments based on the obbligato organ part in the cantatas and BWV 1052a.
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It is unlikely that the concerto represents the arrangement of a violin concerto.
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and an unknown scribe in the early 1750s. Its first publication in print was in
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section starts with the bariolage passage and lasts from bar 62 to bar 171, the
212:(1728). In these cantata versions the orchestra was expanded by the addition of
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1862:
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107:
1193:
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1153:(1993). "Sur les traces de l'oeuvre pour orgue et orchestre de J.S. Bach".
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section in the first movement starts with repeated note bariolage figures:
1377:"A Bach Cult in Late-Eighteenth-Century Berlin: Sara Levy's Musical Salon"
17:
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for the last movement of the concerto, which was published posthumously.
124:
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427:
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338:, a technique that relies on the use of the violin's open strings. The
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1225:(1884). "Statistik der Concerte im Saale des Gewandhauses zu Leipzig"
1191:(1999). "Harpsichord Concertos". In Boyd, Malcolm; Butt, John (eds.).
497:
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Wir mĂĽssen durch viel TrĂĽbsal in das Reich Gottes eingehen, BWV 146
813:
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171:, where the Collegium Musicum held weekly chamber music concerts
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conducted by Simon Schindler with Johannes Volker Schmidt (piano)
1161:(organ) and Le Parlement de Musique conducted by Martin Gester.
213:
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120:
691:, Les Folies Françoises, Patrick Cohen-Akenine; 2011; Cypres
536:, gave public performances of the concerto in Berlin at the
29:
1330:, Bach-Handbuch (in German), vol. 5/1, Laaber-Verlag,
206:(1726); and the last movement for the opening sinfonia of
177:
Keyboard concertos by Johann Sebastian Bach § History
1591:
Sonatas for viola da gamba and harpsichord, BWV 1027–1029
1265:
Ignaz Moscheles and the Changing World of Musical Europe
1155:
Johann Sebastian Bach: L'oeuvre pour orgue et orchestre
1647:
Canonic Sonata for oboe, violin and continuo, BWV 1040
39:
Keyboard Concerto No. 1 in D minor, BWV 1052
1959:
1586:
Six Sonatas for Violin and Harpsichord, BWV 1014–1019
577:
The concerto was first published in 1838 in Leipzig.
1898:
1800:
1764:
1740:
1657:
1578:
1543:
Sonatas and Partitas for Solo Violin, BWV 1001–1006
1535:
391:section of the final movement is in bars 1–84, the
379:section of the first movement is in bars 1–62, the
1192:
1283:Johannes Brahms: A Research and Information Guide
1174:, University of Illinois Press, pp. 76–86,
1442:Wollny, Peter (2015). "Harpsichord Concertos".
570:with Bach's original string orchestration. The
544:and subsequently run by Mendelssohn's teacher
387:section lasts from bar 172 until the end; the
1949:List of compositions by Johann Sebastian Bach
1499:
1133:Frau Musika: La vita e le opere di J. S. Bach
8:
1642:Sonata for two flutes and continuo, BWV 1039
1445:Johann Sebastian Bach: Harpsichord Concertos
1004:
1002:
540:, established in 1791 by the harpsichordist
438:The slow movement, an Adagio in G minor and
1690:Sinfonia for violin and orchestra, BWV 1045
430:) before the concluding 12 bar ritornello.
1506:
1492:
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1730:For two harpsichords in C minor, BWV 1060
1479:International Music Score Library Project
1475:Harpsichord Concerto in D minor, BWV 1052
1060:
729:
228:
1966:
1172:Bach Perspectives 9: Bach and the Organ
1032:
710:
814:Concerto, d BWV 1052.1 at Bach Digital
801:
789:
501:The Singakademie in 1843 (Designed by
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1755:Orchestral Suite in G minor, BWV 1070
1390:American Academy of Arts and Sciences
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315:The last movement begins as follows:
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7:
1672:Violin Concerto in E major, BWV 1042
1667:Violin Concerto in A minor, BWV 1041
741:
600:Selected recordings with harpsichord
117:Harpsichord Concerto in D minor
1415:. Bach Perspectives. Vol. 10.
1992:Concertos by Johann Sebastian Bach
1677:Concerto for Two Violins, BWV 1043
648:Neues Bachisches Collegium Musicum
304:First and third movements: Allegro
209:Ich habe meine Zuversicht, BWV 188
106:Problems playing these files? See
25:
1710:Keyboard concertos, BWV 1052–1065
592:Single-manual harpsichord at the
525:by the Kistner Publishing House.
1969:
1750:Orchestral Suites, BWV 1066–1069
1570:Partita for Solo Flute, BWV 1013
1385:Bulletin of the American Academy
1328:Bachs Orchester- und Kammermusik
470:
460:
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395:section in bars 84–224, and the
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318:
308:
84:
66:
48:
548:. In 1824 Mendelssohn's sister
1463:. pp. 6–7. HMC 902181.82.
542:Carl Friedrich Christian Fasch
1:
1835:Everything's Gonna Be Alright
1241:Jones, Richard D. P. (2013),
139:. In three movements, marked
1417:University of Illinois Press
756:, pp. 264–270, 372–375.
153:Bach's harpsichord concertos
1849:Jesu, Joy of Man's Desiring
1565:Cello Suites, BWV 1007–1012
2018:
1725:No. 4 in A major, BWV 1055
1720:No. 2 in E major, BWV 1053
1715:No. 1 in D minor, BWV 1052
1457:Freiburger Barockorchester
1355:Cambridge University Press
1201:Oxford Composer Companions
665:Freiburger Barockorchester
174:
1944:
1350:Bach: A Musical Biography
1285:(2 ed.). Routledge.
515:Johann Friedrich Agricola
485:sections. More generally
96:Fulda Symphonic Orchestra
1326:Rampe, Siegbert (2013),
1267:, Boydell & Brewer,
1111:"Concerto, d BWV 1052.1"
679:Academy of Ancient Music
640:471754-2 (2002 re-issue)
567:Academy of Ancient Music
266:
2002:Compositions in D minor
1392:: 26–31. Archived from
1281:Platt, Heather (2012).
1247:Oxford University Press
1205:Oxford University Press
1123:; et al. 16 April 2020.
972:, pp. 258–259, 267
948:, pp. 258–259, 267
924:, pp. 258–259, 267
900:, pp. 258–259, 267
876:, pp. 258–259, 267
852:, pp. 258–259, 267
624:CBS Masterworks Records
434:Second movement: Adagio
1889:A Whiter Shade of Pale
1870:Sheep may safely graze
1435:10.5406/j.ctt18j8xkb.8
1319:Breitkopf & Härtel
618:, The London Strings,
596:
594:Bach House in Eisenach
510:
273:
172:
34:
1997:Harpsichord concertos
1883:Trio Sonata, BWV 525a
1696:Brandenburg Concertos
1528:Johann Sebastian Bach
685:; 1999; L'Oiseau Lyre
644:Christine Schornsheim
591:
546:Carl Friedrich Zelter
500:
426:(for an extemporised
166:
151:, it is the first of
137:Johann Sebastian Bach
33:
1907:Bach's Greatest Hits
1829:Bach-Busoni Editions
1775:The Musical Offering
1632:in E major, BWV 1035
1627:in E minor, BWV 1034
1621:in C major, BWV 1033
1616:in A major, BWV 1032
1599:in B minor, BWV 1030
1263:Kroll, Mark (2014),
699:Bach Collegium Japan
519:Christoph Nichelmann
453:time, is built on a
183:Carl Philipp Emanuel
1935:Switched-On Bach II
1921:Jazz Sebastian Bach
1809:Air on the G String
720:, pp. 368–375.
683:Christopher Hogwood
634:The English Concert
503:Carl Theodor Ottmer
1419:. pp. 60–75.
1413:Bach and the Organ
1321:. pp. 84–113.
1310:Bach-Jahrbuch 1906
1051:, pp. 265–266
984:, pp. 268–270
960:, pp. 268–270
936:, pp. 268–270
912:, pp. 268–270
888:, pp. 268–270
864:, pp. 268–270
840:, pp. 268–270
828:, pp. 258–259
675:Christophe Rousset
656:Brilliant Classics
652:Burkhard Glaetzner
597:
511:
236:made one in 1873;
173:
159:Historical context
35:
1957:
1956:
1337:978-3-89007-455-9
1214:978-0-19-866208-2
1151:Cantagrel, Gilles
638:Archiv Produktion
610:Leonhardt-Consort
581:later composed a
530:Felix Mendelssohn
284:Musical structure
281:
280:
155:, BWV 1052–1065.
123: 1052, is a
94:Performed by the
89:
71:
53:
16:(Redirected from
2009:
1974:
1973:
1972:
1965:
1928:Switched-On Bach
1783:The Art of Fugue
1609:
1608:
1530:
1519:orchestral works
1508:
1501:
1494:
1485:
1477:: Scores at the
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1011:, pp. 26–31
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517:around 1740, by
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1698:, BWV 1046–1051
1683:Triple Concerto
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1610:major, BWV 1031
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1451:(liner notes).
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1842:Feel My Rhythm
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1469:External links
1467:
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1461:Harmonia Mundi
1453:Andreas Staier
1439:
1425:
1408:
1369:
1364:978-1316531389
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1301:Schneider, Max
1297:
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1399:on 2016-03-04
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654:; 1990–1992;
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1914:Back to Bach
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1401:. Retrieved
1394:the original
1383:
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1121:Bach Archive
1116:Bach Digital
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1033:Dörffel 1884
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297:Jones (2013)
292:Grosso mogul
290:
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258:Bach Digital
254:Peter Wollny
246:
242:Werner Breig
238:Robert Reitz
221:Wilhelm Rust
218:
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201:
188:
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131:and Baroque
116:
114:
1801:Adaptations
1790:discography
1165:. CAL 9720.
1159:André Isoir
1119:. Leipzig:
1090:, pp.
802:Wollny 2015
790:Butler 2016
616:Igor Kipnis
455:ground bass
129:harpsichord
1986:Categories
1863:Lady Lynda
1785:, BWV 1080
1777:, BWV 1079
1757:(doubtful)
1685:, BWV 1044
1623:(doubtful)
1612:(doubtful)
1403:2018-04-12
1388:(Spring).
1189:Butt, John
1142:8870630110
1088:Platt 2012
1075:, p.
1073:Basso 1979
1049:Kroll 2014
1035:, p.
1021:Kroll 2014
1009:Wolff 2005
994:Rampe 2013
982:Rampe 2013
970:Jones 2013
958:Rampe 2013
946:Jones 2013
934:Rampe 2013
922:Jones 2013
910:Rampe 2013
898:Jones 2013
886:Rampe 2013
874:Jones 2013
862:Rampe 2013
850:Jones 2013
838:Rampe 2013
826:Jones 2013
778:Wolff 2016
766:Wolff 2016
754:Rampe 2013
718:Rampe 2013
706:References
626:M2YK 45616
554:Gewandhaus
375:form: the
108:media help
80:3. Allegro
44:1. Allegro
18:BWV 1052.1
1823:Ave Maria
1659:Concertos
1195:J.S. Bach
742:Butt 1999
534:Sara Levy
493:Reception
336:bariolage
195:obbligato
62:2. Adagio
1816:Alphabet
1607:♭
1579:Ensemble
1521:by, and
1375:(2005).
1347:(2016).
1303:(1907).
1236:Leipzig.
1163:Calliope
1131:(1979).
667:; 2013;
636:; 1981;
622:; 1971;
413:In both
191:cantatas
125:concerto
1525:after,
1104:Sources
583:cadenza
428:cadenza
424:fermata
149:Allegro
141:Allegro
1962:Portal
1899:Albums
1742:Suites
1433:
1423:
1361:
1334:
1289:
1271:
1253:
1211:
1178:
1139:
145:Adagio
1766:Fugal
1703:No. 5
1558:No. 3
1553:No. 2
1449:(PDF)
1431:JSTOR
1397:(PDF)
1380:(PDF)
1229:, in
550:Fanny
214:oboes
198:organ
193:with
1877:They
1604:in E
1536:Solo
1517:and
1421:ISBN
1359:ISBN
1332:ISBN
1287:ISBN
1269:ISBN
1251:ISBN
1227:p. 3
1209:ISBN
1176:ISBN
1137:ISBN
1037:p. 3
523:1838
481:and
223:and
147:and
127:for
115:The
1856:Joy
1096:548
1092:270
135:by
121:BWV
1988::
1459:.
1455:,
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1207:.
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1113:.
1094:,
1077:68
1001:^
697:,
681:,
677:,
663:,
650:,
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632:,
608:,
483:A′
420:A′
397:A′
385:A′
373:A′
260:,
216:.
143:,
119:,
1964::
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816:.
792:.
780:.
732:.
509:)
479:B
446:4
415:B
393:B
389:A
381:B
377:A
371:–
369:B
367:–
365:A
340:B
332:B
328:A
110:.
20:)
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