Keyboard concertos by Johann Sebastian Bach

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reasons why, unlike Handel, Bach may not have composed concertos for organ and a larger orchestra: firstly, although occasionally used in his cantatas, the Italian concerto style of Vivaldi was quite distant from that of Lutheran church music; secondly, the tuning of the baroque pipe organ would jar with that of a full orchestra, particularly when playing chords; and lastly, the size of the organ loft limited that of the orchestra. Wolff, however, notes that Bach's congregation did not object to his use of the organ obliggato in the sinfonia movements in the aforementioned cantatas.

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Cöthen.) 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." Also

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soloist. 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 1713 to July 1714, during his tenure as court organist in Weimar, Bach transcribed three of these violin concertos, Nos. 3, 9 and 12, for solo harpsichord (BWV 978, 972 and 976 respectively). Similarly, in the same period, he transcribed two (Nos. 8 and 11) of the four concertos for two violins (Nos. 2, 5, 8 and 11), for unaccompanied

301: 2769: 1693: 1191: 921: 414: 109: 2700: 673: 2751:("aus dem Stegereif"): BWV 1044/2 is a prime example. Bach created a complex texture in this movement by juxtaposing the detached melody in the harpsichord with a parallel sustained melody in thirds or sixths in the violin or flute; and in contrast a further layer is added by the delicate pizzicato accompaniment in the fourth voice, —first in the violin and then echoed by the flute—which comes close to imitating the timbre of the harpsichord. 782: 772: 2661: 2640: 2527: 1956: 1365: 2500:: four violin parts, two viola parts, cello and continuo. The differences in instrumentation between the individual concertos in Vivaldi's Op. 3 only concern which of these eight parts get soloist roles (indicated as obligato in the original publication), and which are accompaniment (ripieno parts, and continuo). For RV 580 the obligato parts are all four violin parts, and the cello part. 662: 857:, 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." 2633: 2192: 2930: 605: 2682: 635: 130:

grown-up sons, Friedemann and Emanuel, were still living in their father's house, Bernhard was already grown up, and Krebs, who had been Sebastian's pupil since 1726, was beginning to display his great talents ... Whether Bach ever wrote violin concertos expressly for them must remain undecided ... In this branch of art he devoted himself chiefly at Leipzig to the clavier concerto.

723: 219: 78:. 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 2733: 2712:, A, B—can be picked out in each of the corresponding crotchet and minim groups of triplets in the main subject. Other departures from BWV 894/2 include a number of virtuosic passages in the harpsichord, with demisemiquaver runs, semiquavers in the triplets and finally semiquavers replacing the triplets, culminating in a cadenza for the harpsichord. 6324: 152:

level of plausible suggestions or conjectures, mainly because very little of Bach's instrumental music has survived and, even when it has, sources are patchy. In particular this makes it hard not only to determine the place, time and purpose of the original compositions but even to determine the original key and intended instrument.

1853:), and the addition of the orchestral parts (BWV 1061, a.k.a. BWV 1061.2) 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 396:, 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. 248:, 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 corresponded with Forkel and both remained in the parental home until the early 1730s: Wilhelm Friedemann departed in 1733 to take up an appointment as organist at the 1775:

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 1060R. The subtle and masterful

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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 1718-19). Alternatively, Christoph Wolff has suggested that it

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The harpsichord part in the autograph manuscript is not a "fair copy" but a composing score with numerous corrections. The orchestral parts on the other hand were executed as a fair copy. Various possible explanations have been proposed as to why Bach assembled the collection of harpsichord concertos

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records, these concertos are almost all considered to be arrangements by Bach of previously existing 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

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The concerto for four harpsichords, strings, and continuo, BWV 1065, was the last of six known transcriptions Bach realised after concertos in Vivaldi's Op. 3. That opus, published in 1711, contains twelve concertos for strings, four of which (Nos. 3, 6, 9 and 12) have a single violin

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and Gregory Butler to propose that Bach originally wrote the concertos BWV 1052 and BWV 1053 for solo organ and orchestra. Among other evidence, they note that both concertos consist of movements that Bach had previously used as instrumental sinfonias in 1726 cantatas with obbligato organ providing

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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. A reconstruction of an oboe concerto was made in 1983 by Arnold Mehl with the two sinfonias from BWV 35 as outer movements and

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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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in that 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

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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 during visits to Leipzig by the two elder sons: one of Bach's pupils, J. F. K. Sonnenkalb, recorded that house-concerts

2913:' to the first movement. It seems almost certain that Bach, considered a great organ and harpsichord virtuoso, was the harpsichord soloist at the premiere. Scholars have seen in this work the origins of the solo keyboard concerto as it is the first example of a concerto with a solo keyboard part. 2667:

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 prelude, especially the harpsichord part. Like the first movement of Brandenburg Concerto No. 5, the virtuosic harpsichord part takes

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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

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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 1064R. In both forms this concerto shows some similarity to the concerto for two violins/harpsichords, BWV 1043/1062, in the

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in Leipzig) argued that the "entire first movement" may instead "originate as a composition for unaccompanied keyboard instrument," since the movement "is conceived on the basis of the harpsichord as solo instrument, to such an extent that the strings are not even permitted to deploy a ritornello

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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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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

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in 1738 when he would almost certainly have given private concerts in court (or to the nobility) and the ripieno parts would have been played by the resident orchestra. Peter Williams has also suggested that the collection would have been a useful addition to the repertoire of his two elder sons,

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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 1052, 1053 and 1056), this fragment corresponds to the opening sinfonia of the

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The music performed by the Society was of various kinds; hence we may assume that violin and clavier concertos by Bach were also performed, though more frequently, perhaps, at Bach's house ... The most flourishing time in Bach's domestic band was, no doubt, from about 1730 until 1733, since the

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An earlier version, BWV 1050a, has innumerable small differences from its later cousin, but only two main ones: there is no part for cello, and there is a shorter and less elaborate (though harmonically remarkable) harpsichord cadenza in the first movement. (The cello part in BWV 1050, when it

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of violin and two recorders. 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

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describes the newspaper article as "tantalising" but considers it possible that in the hour-long recital Bach played pieces from his standard organ repertoire (preludes, chorale preludes) and that the reporter was using musical terms in a "garbled" way. In another direction Williams has listed

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and Gregory Butler, both 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

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and contained only the orchestral parts, the cembalo part being added later by an unknown copyist. 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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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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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. Wollny sees the second movement as a

335:). A Hamburg newspaper reported on a recital by Bach in 1725 on the Silbermann organ in the Sophienkirche, Dresden, mentioning in particular that he had played concertos interspersed with sweet instrumental music ("diversen Concerten mit unterlauffender Doucen Instrumental-Music"). 2675:

The last movement of the concerto begins with a fugue subject in crotchets and minims in the viola and the bass line of the harpsichord and a countersubject which provides the material for the orchestral ritornello and transforms the original fugue BWV 894/2 into a triple fugue:

1968: 1606:, 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. 207:, 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 collection of keyboard concertos, the widely acclaimed and well-selling 2668:

precedence, with some passages from the original extended, some played solo and some omitted. In the solo episodes the flute and violin provide a "small ripieno" accompaniment to the harpsichord, contrasting with the "large ripieno" of the orchestral strings in the

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in 1845 with Clara Schumann and Hiller, Moscheles recorded in his diary, "My concert today was beyond all measure brilliant ... Bach's Triple Concerto made a great sensation; Madame Schumann played a Cadenza composed by me, Hiller and I extemporized ours."

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Of all Bach's harpsichord concertos, this is probably the only one that originated as a harpsichord work without orchestra. The work originated as a concerto for two harpsichords unaccompanied (BWV 1061a, a.k.a. BWV 1061.1, in the manner of the

2723:, 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 instrument adds a fragmentary accompaniment in semiquavers (scored as 1315:

theme of their own, but from the first bar onwards assume their role as accompanists and thus step into the background to enable the solo part to develop unhindered; in the case of a melody instrument like the oboe such a design would be unthinkable."

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recalled Mendelssohn's "electrical" cadenza in a memoire of 1872 as "the most perfect inspiration, which neither before nor since that memorable Thursday afternoon has ever been approached." Moscheles had previously performed the concerto in 1842 at

2285:(BWV 593 and 596). Vivaldi's Op. 3 also contained four concertos for four violins (Nos. 1, 4, 7 and 10). Some two decades after the over twenty Weimar concerto transcriptions for unaccompanied keyboard instruments, Bach returned to 575:

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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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—the last movement begins as follows:

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This concerto makes use of a popular chamber music ensemble 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

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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 semidemiquaver figures—typical of the harpsichord—in the final extended cadenza-like episode before the concluding ritornello.

5779: 471: 435: 1306:, in 1957 by Ulrich Siegele, in 1975 by Wilfried Fischer, and in 2008 by Pieter Dirksen. Alternatively, Wilhelm Mohr argued in 1972 that the original was a concerto for viola d'amore. Most recently, however, in 2015 musicologist 289:, which only gradually acquired the potential for producing a louder dynamic. The keyboard writing also conforms to a practice that lasted until the early nineteenth century, namely the soloist played along with the orchestra in 453: 1383: 1239: 1301:

While scholars agree that the concerto BWV 1055 is based on a lost original, different theories have been proposed for the instrument Bach used in that original. That it was an oboe d'amore was proposed in 1936 by

2289:, and transcribed its No. 10, the concerto in B minor for four violins, cello, strings, and continuo, RV 580, to his concerto in A minor for four harpsichords, strings and continuo, BWV 1065. 1229: 2719:; 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 2654:

sections. In the first movement there is an eight bar ritornello that begins with the opening semiquaver motif of the prelude, which is then heard in augmented form before breaking into distinctive triplet figures:

618:. He abandoned the next entry BWV 1059 after only a few bars to begin setting down BWV 1052 with a far more comprehensive approach to recomposing the original than merely adapting the part of the melody instrument. 1211: 462: 426: 444: 2618:

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 first and third movements are adapted from the

2650:, which has led to suggestions that they might be transcriptions of a lost instrumental work. In the concerto BWV 1044, Bach reworked both the prelude and fugue around the harpsichord part by adding ripieno 234:), have been dated to around 1730. Whereas the harpsichord concertos were composed partly to showcase Bach's own prowess at the keyboard, the others were written for different purposes, one of them being as 2820: 959: 229:

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

5875: 571:, 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. 2277: 580, he decided upon the unique solution of using four harpsichords and orchestra. This is thus the only orchestral harpsichord concerto by Bach which was not an adaptation of his own material. 977: 2070:

in his own concert at the King's Theatre. Instead of performing the triple concerto on harpsichords, the performed it instead on three Erard grand pianofortes. In 1840, Mendelssohn performed it with

2902:; 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 reputation for virtuosity and 2838: 2802: 5994: 871:

reported that Moscheles "elicited such unequivocal testimonies of delight, as the quiet circle of the Ancient Concert subscribers rarely indulge in." In 1838 the concerto was published in Leipzig.

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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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suggests that the manuscript was prepared for performances on Bach's resumption as director in 1739, additional evidence coming from the fact that the manuscript subsequently remained in Leipzig.

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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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Bach und Corelli: Studien zu Bachs Rezeption von Corellis Violinsonaten op. 5 unter besonderer Berücksichtigung der "Sogenannten Arnstädter Orgelchoräle" und der langsamen Konzertsätze

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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

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wrote in the foreword to the first edition 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,

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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.

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described the concert as "three joyous hours of music such as one does not experience otherwise for years at a time." The concerto was repeated later in the season with

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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.

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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

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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

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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,

6187: 2821: 960: 182:, drawing many performers from students at the university. Bach served as director from spring 1729 to summer 1737; and again from October 1739 until 1740 or 1741. 978: 4918: 2839: 2803: 194:

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

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The concerto is well suited throughout to showing off the qualities of a fine harpsichord and the virtuosity of its player, but especially in the lengthy solo '

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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

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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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Wolff, Christoph (2016), "Did J. S. Bach Write Organ Concertos? Apropos the Prehistory of Cantata Movements with Obbligato Organ", in Dirst, Matthew (ed.),

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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

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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

85:, 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. 6077: 6072: 6067: 5812: 5783: 5774: 2571:, BWV 1050. Arranged from previous compositions, the concerto is generally considered to date from the period 1729–1741 when Bach was director of the 1158: 888: 405: 5999: 5922: 649:

sections of both movements are freely developed and highly virtuosic; they are filled with violinistic figurations including keyboard reworkings of

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violin concerto, RV 208, which Bach had previously transcribed for solo organ in BWV 594. It is one of Bach's greatest concertos: in the words of

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Steven Zohn, Music for a Mixed Taste: Style, Genre, and Meaning in Telemann's Instrumental Works, Oxford University Press, 2008, pp. 192–194,

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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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Geck, Martin (1994), "Köthen oder Leipzig? Zur Datierung der nur in Leipziger Quellen erhaltenen Orchesterwerke Johann Sebastian Bachs",

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performed by Roxana Pavel Goldstein (violin), Constance Schoepflin (flute), Matthew Ganong (harpsichord) and the Advent Chamber Orchestra

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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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has shown, the first harpsichord concerto Bach entered into the autograph manuscript was BWV 1058, a straightforward adaptation of the

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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.),

3086: 552: 343:, Gregory Butler and Matthew Dirst have suggested that this report might refer to versions of the cantata movements or similar works. 269:. It is also known that Wilhelm Friedemann visited his father for one month in 1739 with two distinguished lutenists (one of them was 1134:, the common top limit on harpsichords of the time. The opening movement is one of the rare Bach concerto first movements in da capo 6024: 6019: 5984: 5979: 5973: 5968: 5951: 5691: 5669: 5644: 5609: 5577: 5485:

Eppstein, Hans (1970), Droysen, Dagmar (ed.), "Zur Vor- und Entstehungsgeschichte von J. S. Bachs Tripelkonzert a-Moll (BWV 1044)",

5476: 5429: 5029: 5011: 4993: 4886: 4834: 4730: 4630: 4586: 4565: 4514: 4494: 4228: 3833:

Geschichte der Gewandhausconcerte zu Leipzig vom 25. November 1781 bis 25. November 1881: Im Auftrage der Concert-Direction verfasst

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to be more prominent, and the upper strings were likewise modified to allow the harpsichord to be at the forefront of the texture.

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The works BWV 1052–1057 were intended as a set of six, shown in the manuscript in Bach's traditional manner beginning with 'J.J.' (

155: 3037:(violin); the 2nd, 3rd and 4th harpsichord parts are performed by Tini Mathot, Patrizia Marisaldi and Elina Mustonen respectively) 1929:

is the basis of this transcription. It was transposed down a tone for the same reason as BWV 1054, so that the top note would be D

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subsequently described Moscheles' reorchestration as "very beautiful." The following year Moscheles performed the concerto at the

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has suggested that the arrangement as a concerto might have been intended for Frederick, a keen flautist who employed Bach's son

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might have been a 1725 concerto for organ. An organ version exists, like BWV 1052, in a later transcription in his cantatas

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section, the thematic material of the harpsichord introduces a freely developed 37-bar highly virtuosic episode culminating in a

4581:(in Italian). Vol. Le origini familiari, l'ambiente luterano, gli anni giovanili, Weimar e Köthen (1685–1723). Turin: EDT. 2273:. Bach adapted them for solo harpsichord and solo organ, but for the Concerto for 4 violins in B minor, Op. 3 No. 10, 6029: 5910: 5905: 5900: 4548: 1866: 258: 208: 2051:, an opportunity to exercise themselves in all kinds of playing." It is believed to have been composed by 1733 at the latest. 274: 6349: 5817: 5052: 2054:

In the mid-nineteenth century the concerto, advertised as Bach's "triple concerto", became part of the concert repertoire of

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way in which the solo instruments blend with the orchestra marks this out as one of the most mature works of Bach's years at

1613:, "Jesus, help") at the start of this work, as was his custom for a set of works. He wrote only the short fragment BWV 1059. 834: 6201: 2937: 2715:

The middle movement is a reworking and transposition of material from the slow movement of the sonata for organ in D minor,

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Wolff, Christoph (2008), "Sicilianos and Organ Recitals: Observations on J. S. Bach's concertos", in Gregory Butler (ed.),

6042: 5821: 4845: 4610: 4192:

Bach: The Concertos for 3 and 4 Harpsichords – Trevor Pinnock and the English Concert, from the CD booklet written by Dr.

1926: 1486: 277:, for two harpsichords with each player providing the pedal part in the left hand, is also presumed to have originated as 148: 30: 6314: 4955:"Verzeichnis der bis zum Jahre 1851 gedruckten (und der geschrieben im Handel gewesenen) Werke von Johann Sebastian Bach" 533:

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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Butler, Gregory (2008), "Bach the Cobbler: The Origins of Bach's E-major Concerto (BWV 1053)", in Gregory Butler (ed.),

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CDA67607/8 (this 2CD-set also includes BWV 1044 and BWV 1050 with Richard Tognetti (violin) and Alison Mitchell (flute))

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performed the concerto at the same venue. In 1835 Mendelssohn played the concerto in his first year as director of the

6168: 3004: 4789:

Johann Sebastian Bach, Concertos for Violin, for two Violins, for Harpsichord, Flute and Violin, Critical Commentary

6055: 5421: 5267: 5089: 5067: 4614: 4274: 4216: 3136: 787:

The subdominant tonality of G minor also plays a role in the outer movements, in the bridging passages between the

577: 367: 266: 4980:

Schulenberg, David (1995), "Composition and Improvisation in the School of J. S. Bach", in Russell Stinson (ed.),

4525: 6034: 5254: 3395: 3191: 2612: 2531: 2521: 2091: 2048: 1849: 803: 526: 478: 204: 6354: 6102: 5661: 5244:

Wollny, Peter (1997), "Uberlegungen zum Tripelkonzert a-Moll (BWV 1044)", in Martin Geck; Werner Breig (eds.),

3164: 863: 799:

has pointed out that the predominant keys in the outer movements centre around the open strings of the violin.

39: 5708: 5601: 5346: 4968: 2507:

in a very unusual tonal blend, while providing some additional virtuosity and tension in the other movements.

5416:

Butler, Gregory (1995), "J. S. Bach's reception of Tomaso Albinoni's concertos", in Daniel R. Melamed (ed.),

5061: 6259: 6175: 5683: 5636: 5551: 5529: 5468: 4767: 4708: 4678: 4169: 4145: 3331: 3299: 3058: 2044: 830: 300: 241: 200: 121: 6328: 6241: 6222: 5595: 2744: 2325: 2107: 1439: 245: 212: 51: 4722:

The Harpsichord and its Repertoire: Proceedings of the International Harpsichord Symposium, Utrecht, 1990

3582:

The Harpsichord and its Repertoire: Proceedings of the International Harpsichord Symposium, Utrecht, 1990

1602:

Probably Bach's first attempt at writing out a full harpsichord concerto, this is a transcription of the

92:) are thought to be arrangements made from earlier concertos for melodic instruments probably written in 6208: 6047: 5880: 5732: 5722: 5214: 3335: 3082: 2568: 838: 393: 262: 223: 79: 75: 5288:

Berger, Christian (1997), "Ein Spiel mit Form-Modellen. J. S. Bachs Cembalokonzert E-Dur BWV 1053", in

3230: 2886:

The harpsichord is both a concertino and a ripieno instrument: in the concertino passages the part is

6181: 6126: 5619: 4662: 4600: 4116: 3304: 3259: 3172: 2974: 2103: 1521: 807: 304: 273:), which would have provided further opportunities for domestic music-making. The arrangement of the 183: 144: 4764:

The Creative Development of Johann Sebastian Bach, Volume II: 1717–1750: Music to Delight the Spirit

3569: 6287: 6273: 6161: 5917: 5548:

The Creative Development of Johann Sebastian Bach, Volume I: 1695–1717: Music to Delight the Spirit

5405: 3327: 3270: 2982: 2588: 2575:

in Leipzig and was responsible for mounting weekly concerts of chamber and orchestral music in the

2297: 2269: 2207: 1634: 374:, the early version of which, BWV 1050a, may have originated before Bach left Weimar in 1717. 97: 96:. In many cases, only the harpsichord version has survived. They are among the first concertos for 5705:'Ein förmlicher Sebastian und Philipp Emanuel Bach-Kultus': Sara Levy und ihr musikalisches Wirken 821:. In the first decade of the 19th century the harpsichord virtuoso and great aunt of Mendelssohn, 525:

The earliest surviving manuscript of the concerto can be dated to 1734; it was made by Bach's son

147:. Based on the paper's watermarks and the handwriting, it has been attributed to 1738 or 1739. As 6235: 5586: 5513: 5496: 5233: 5198: 3285: 3241: 3187: 3157: 3094: 3090: 2870: 2549: 2063: 1526: 143:

The concertos for one harpsichord, BWV 1052–1059, survive in an autograph score, now held in the

120:

in 1723, the year in which Bach was appointed there. He took up residence with his family in the

4220: 4210: 2576: 767:

which is played in unison by the whole orchestra and the harpsichord in the opening ritornello.

179: 160: 108: 5622:(1981), "J. S. Bachs Konzerte: Fragen der Überlieferung und Chronologie", in P. Ahnsehl (ed.), 5139: 2699: 5687: 5665: 5640: 5605: 5573: 5555: 5533: 5472: 5447: 5425: 5409: 5392: 5384: 5371: 5353: 5188: 5166: 5071: 5025: 5007: 4989: 4972: 4904: 4882: 4863: 4830: 4822: 4808: 4792: 4771: 4749: 4726: 4682: 4674: 4649: 4626: 4622: 4618: 4582: 4561: 4510: 4490: 4242: 4224: 4037: 3988: 3962: 3903: 3899: 3823: 3611: 3587: 3343: 3255: 3245: 3033:

91929 & 91930 (these two 2CD-sets also include BWV 1044 with Wilbert Hazelzet (flute) and

2986: 2572: 2055: 1428:

The middle movement is probably from an oboe concerto in F major; is also the sinfonia to the

842: 818: 352: 170: 4720: 3883: 3831: 3580: 3309:; 2019; Alpha Classics 446 (2CD-set, also contains four concertos from the BWV 1052–1058 set) 6280: 6134: 5505: 5363: 5313: 5309: 5223: 5110: 4740:

Dirksen, Pieter (2008), "J. S. Bach's Violin Concerto in G Minor", in Gregory Butler (ed.),

4696: 4061: 3295: 3222: 3126: 3122: 3072: 3054: 2978: 2557: 2310: 2274: 2199: 2075: 1379: 672: 253: 4170:"Concerto, C (version for 2 harpsichords, strings and basso continuo) BWV 1061.2; BWV 1061" 5653: 5098: 5044:

Johann Sebastian Bach; his work and influence on the music of Germany, 1685–1750, Volume 3

4784: 4013:

Kompositionsweise und Bearbeitungstechnik in der Instrumentalmusik Johann Sebastian Bachs,

3291: 3205: 3064: 2970: 2647: 2620: 2294: 2260: 2195: 2112: 2095: 2067: 2059: 1438:; and closely resembles the opening Andante of a Flute Concerto in G major (TWV 51:G2) by 1142: 872: 858: 854: 822: 592: 544:

as solo instrument: the first two movements for the sinfonia and first choral movement of

388: 319: 257:

were frequent and involved Bach together with his two elder sons, two of his younger sons—

231: 159:

Johann Georg Schreiber, 1720: Engraving of Katherinenstrasse in Leipzig. In the centre is

5022:

Kompositionsweise und Bearbeitungstechnik in der Instrumentalmusik Johann Sebastian Bachs

4288:

H. Joseph Butler. "Emulation and Inspiration: J. S. Bach’s Transcriptions from Vivaldi’s

3235: 2183:

interaction of the concertino group with the ripieno and in the cantabile slow movement.

2102:

and Moscheles as the other soloists. Mendelssohn also played the concerto in 1844 in the

6194: 5830: 5590: 5460: 5401: 5388: 5367: 5359: 5321: 5271: 5263: 5042: 5038: 4796: 4704: 4557: 3399: 3281: 3264: 3140: 3132: 3108: 3100: 3016: 3015:

4782363 (this 4CD-set also includes BWV 971, BWV 1044 with Aurélie Nicolet (flute) and

2966: 2899: 2895: 2646:

The prelude and fugue have the structure of the first and last movements of an Italian

2503:

In the middle movement, Bach has the four harpsichords playing differently-articulated

2099: 2087: 1531: 781: 771: 568: 135: 71: 67: 5202: 2660: 2639: 2627:

in A minor for harpsichord, BWV 894, a large scale work from Bach's period in Weimar:

1050:

sections. The lower string parts were much reduced in scope, allowing the harpsichord

817:

The performance history in the nineteenth century can be traced back to the circle of

588:

suggested amendments based on the obbligato organ part in the cantatas and BWV 1052a.

6338: 5517: 5329:

Breig, Werner (1993), "Zur Gestalt Johann Sebastian Bachs Konzert für Oboe d'amore",

4964: 4958: 4716: 4599:(1997). "The instrumental music" and "Composition as Arrangement and Adaptation". In 4574: 3574: 3195: 3114: 3030: 3012: 3008: 2992: 2903: 2690: 1126:

was the model for this work, which was transposed down a tone to allow the top note E

811: 308: 270: 249: 63: 5381:

Johann Sebastian Bach: Concertos for Cembalo BWV 1052–1059, with critical commentary

5308:(1991), "Der Ostinatoprinzip in Johann Sebastian Bachs langsamen Konzertsătzen", in 3156:

Salvatore Carchiolo, Andrea Mion, Insieme Strumentale di Roma, Giorgio Sasso; 2011;

2526: 6266: 6094: 5736: 5726: 5700: 5342: 5305: 5293: 5209: 5084: 4725:. Utrecht: STIMU Foundation for Historical Performance Practice. pp. 157–185. 4596: 4294: 4193: 4179: 4174: 4155: 4150: 3391: 3275: 3201: 3076: 3034: 3000: 2996: 2608: 2264: 2236: 2165: 2019: 1908: 1829: 1758: 1725: 1585: 1498: 1429: 1408: 1311: 1307: 1303: 1284: 1105: 1014: 611: 597: 585: 581: 564: 511: 312: 187: 113: 5298:

Bachs Orchesterwerke: Bericht über das 1. Dortmunder Bach-Symposion im Januar 1996

5246:

Bachs Orchesterwerke: Bericht über das 1. Dortmunder Bach-Symposion im Januar 1996

3338:

who noted in pencil that the harpsichord part had been lent to the harpsichordist

3152:

Salvatore Carchiolo reconstruction (BWV 35, solo parts for harpsichord and oboe):

661: 4604: 2837: 2819: 2801: 1712: 1246: 1228: 1210: 976: 958: 940: 469: 451: 433: 6229: 5289: 4529: 4057: 3176: 3050: 3022: 2874: 2720: 2632: 2553: 2315: 2224: 2191: 2153: 2071: 2007: 1896: 1817: 1746: 1721: 1573: 1516: 1482: 1396: 1272: 1093: 1002: 810:

and an unknown scribe in the early 1750s. Its first publication in print was in

764: 698:

section starts with the bariolage passage and lasts from bar 62 to bar 171, the

556:(1728). In these cantata versions the orchestra was expanded by the addition of 499: 59: 5487:

Jahrbuch des Staatlichen Instituts für Musikforschung Preufßischer Kulturbesitz

2681: 2599:), the wider range of the harpsichord part as well as frequent changes between 2595:

aspects of the instrumental writing—fine gradations in the dynamical markings (

1425:

The outer movements probably come from a violin concerto which was in G minor.

634: 604: 600:

disagrees with the hypothesis that the works was originally a violin concerto.

6215: 5114: 5048: 4268: 3339: 2851: 2748: 2688:

At bar 25 the harpsichord enters with the main fugue subject from BWV 894/2—a

2651: 2496:

RV 580 was published with the same eight parts as the other concertos in

2282: 2079: 1854: 1737: 1263: 993: 846: 722: 541: 490: 286: 218: 5509: 4667: 1609:

Bach did not continue the intended set, which he had marked with 'J.J.' (for

4699:(1993). "Sur les traces de l'oeuvre pour orgue et orchestre de J. S. Bach". 3579:. "The Background to Bach's Fifth Brandenburg Concerto" pp. 157–185 in 2887: 2724: 2600: 1995: 1967:

performed by Rolf Reinhardt and the Pro Musica Orchestra Stuttgart in 1954

1781: 1630: 1320: 1051: 853:. There were further performances at the Gewandhaus in 1837, 1843 and 1863. 650: 538: 236: 5626:, Bach-Studien, vol. 6, Leipzig: Breitkopf & Härtel, pp. 9–26 5572:, Musikwissenschaftliche Schriften (in German), vol. 36, Katzbichler, 5400:

Werner Breig, notes to recordings of the complete harpsichord concertos by

1777: 1254:

Performed by the Advent Chamber Orchestra with Matthew Ganong (harpsichord)

984:

Performed by the Advent Chamber Orchestra with Matthew Ganong (harpsichord)

657:

section in the first movement starts with repeated note bariolage figures:

93: 5228: 5123:"A Bach Cult in Late-Eighteenth-Century Berlin: Sara Levy's Musical Salon" 5087:(1935), "Concerto in A major for Oboe d'amore with strings and continuo", 4117:"Concerto for Two Pianos and Orchestra in C major, BWV 1061, by J.S. Bach" 2917:

differs from the violone part, doubles the left hand of the harpsichord.)

2115:

in the East End of London with different soloists. After a performance in

17: 2890:; in the ripieno passages it has a figured bass part and plays continuo. 2760: 2504: 1603: 1452: 1123: 879:

for the last movement of the concerto, which was published posthumously.

55: 4843:

Mohr, Wilhelm (1972), "Hat Bach ein Oboe-d'amore-Konzert geschrieben?",

252:

in Dresden; and in 1735 Carl Philipp Emanuel moved to the university in

4146:"Concerto, C (version for two solo harpsichords) BWV 1061.1; BWV 1061a" 2910: 2732: 2716: 2244: 2173: 2116: 2083: 2027: 1916: 1837: 1766: 1643: 1593: 1506: 1416: 1292: 1113: 1022: 876: 850: 742: 738: 653:, a technique that relies on the use of the violin's open strings. The 534: 519: 332: 328: 324: 195: 175: 117: 5237: 4665:(1999). "Harpsichord Concertos". In Boyd, Malcolm; Butt, John (eds.). 4900: 3586:

Utrecht: STIMU Foundation for Historical Performance Practice, 1992.

3249: 2592: 2228: 2157: 2011: 1900: 1821: 1750: 1577: 1490: 1400: 1276: 1146: 1097: 1006: 826: 503: 2743:

comments, Bach's son Carl Philipp Emanuel related to his biographer

2132: 1983: 1875: 1796: 1720:

Performed by the University of Washington Sinfonietta, conducted by

1669: 1552: 1461: 1335: 1167: 1072: 897: 168:

at this particular time. One centres on his role as director of the

88:

Most of Bach's harpsichord concertos (with the exception of the 5th

34:

Composer directing cantata from gallery in a church, engraving from

547:

Wir müssen durch viel Trübsal in das Reich Gottes eingehen, BWV 146

2878: 2624: 2525: 2240: 2232: 2190: 2169: 2161: 2023: 2015: 1912: 1904: 1833: 1825: 1762: 1754: 1589: 1581: 1502: 1494: 1412: 1404: 1288: 1280: 1109: 1101: 1047: 1018: 1010: 515: 507: 351:

The earliest extant sources regarding Bach's involvement with the

299: 217: 29: 5093:, vol. II, London: Oxford University Press, pp. 196–198 481:

conducted by Simon Schindler with Johannes Volker Schmidt (piano)

240:—music for domestic performance within the Bach household at the 178:, a municipal musical society, which gave weekly concerts at the 163:, where the Collegium Musicum held weekly chamber music concerts 5300:(in German), Dortmund: Klangfarben Musikverlag, pp. 257–263 4707:(organ) and Le Parlement de Musique conducted by Martin Gester. 3826:. "Statistik der Concerte im Saale des Gewandhauses zu Leipzig" 3737: 3735: 3733: 3731: 3729: 3727: 3725: 3723: 3721: 3719: 3402:'s 2015 recording of the concertos, Harmonia Mundi HMC 902181.82 3046:

Solo part performed on harpsichord, unless otherwise indicated:

557: 5840: 5212:(1993), "Sara Levy and the Making of Musical Taste in Berlin", 4719:(1992). "The Background to Bach's Fifth Brandenburg Concerto". 3183:

Winifried Radeke reconstruction (BWV 35, solo part for flute):

2747:

how his father took pleasure in converting trios into quartets

5318:

Von Isaac bis Bach. Festschrift Martin Just zum 60. Geburtstag

4270:

Bach - Concerto in A minor BWV 1065 | Netherlands Bach Society

3209: 2924: 2694:

in triplets—overlaid by the countersubject of the ritornello.

621:

The concerto has similarities with Vivaldi's highly virtuosic

2530:

Title page of hand copy of the concerto made by Bach's pupil

2767: 1691: 1661:

Concerto for two harpsichords in C minor, BWV 1060

1189: 919: 412: 318:

The question "Did J.S. Bach write organ concertos?" has led

4098: 4096: 4094: 3851: 3849: 3847: 3845: 3843: 3768: 3766: 3764: 3762: 3760: 3758: 3756: 3754: 3752: 3750: 1963:

Concerto for Three Harpsichords No. 2 in C major, BWV 1064

1961:

Concerto for Three Harpsichords No. 1 in D minor, BWV 1063

2755:

Concerto in D major, BWV 1050 (Brandenburg Concerto No. 5)

1616:

In 1845 Ignaz Moscheles performed the concerto in London.

550:(1726); and the last movement for the opening sinfonia of 27:

For harpsichord/organ, strings and continuo; BWV 1052–1065

5944:

Sonatas for viola da gamba and harpsichord, BWV 1027–1029

4805:

Ignaz Moscheles and the Changing World of Musical Europe

4556:, Bochumer Arbeiten zur Musikwissenschaft, vol. 4, 3434: 3432: 2094:

and some of his own orchestral and choral compositions;

1784:

for the solo instruments with orchestral accompaniment.

4919:"Hat Bach Konzerte für Orgel und Orchester komponiert?" 4701:

Johann Sebastian Bach: L'oeuvre pour orgue et orchestre

3941: 3939: 2941: 2202:

of Bach's concerto for four harpsichords, BWV 1065

1323:

and the finale as having the "gait of a rapid minuet."

357:

Weimar concerto transcriptions, BWV 592–596 and 972–987

6000:

Canonic Sonata for oboe, violin and continuo, BWV 1040

3926: 3924: 3334:

in Berlin, the title page was written by its director

2883:

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

2563:

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

422:

Keyboard Concerto No. 1 in D minor, BWV 1052

6312: 5939:

Six Sonatas for Violin and Harpsichord, BWV 1014–1019

5833:

and the Orquestra de Cordas da Grota (Rio de Janeiro)

5526:

The Eloquent Oboe: A History of the Hautboy 1640–1760

5248:, Dortmund: Klangfarben Musikverlag, pp. 283–291 4196:, 1981, Archive Produktion (bar code 3-259140-004127) 2086:, where he was director. The programme also included 386:, "Jesus, help") and ending with 'Finis. S. D. Gl.' ( 5780:

Concerto for Flute, Violin and Harpsichord, BWV 1044

3795: 3793: 3682: 3680: 3603: 3601: 3599: 1965:

Concerto for Four Harpsichords in A minor, BWV 1065

1372:

Concerto for Harpsichord No. 2 in F major, BWV 1057

1370:

Concerto for Harpsichord No. 1 in F minor, BWV 1056

6251: 6153: 6117: 6093: 6010: 5931: 5896:

Sonatas and Partitas for Solo Violin, BWV 1001–1006

5888: 5633:

The Chromatic Fourth During Four Centuries of Music

5440:

J. S. Bach's Concerted Ensemble Music: The Concerto

5159:

J. S. Bach's Concerted Ensemble Music: The Concerto

4742:

J. S. Bach's Concerted Ensemble Music: The Concerto

3497: 3495: 2187:

Concerto in A minor for four harpsichords, BWV 1065

1948: 1357: 1199:

Harpsichord Concerto in A Major, BWV 1055

1159:

Harpsichord Concerto in A major, BWV 1055

929:

Harpsichord Concerto in E major, BWV 1053

889:

Harpsichord Concerto in E major, BWV 1053

706:section of the final movement is in bars 1–84, the 694:section of the first movement is in bars 1–62, the 406:

Harpsichord Concerto in D minor, BWV 1052

4666: 4860:Johannes Brahms: A Research and Information Guide 4642:Bach Perspectives, Volume 10, Bach and the Organ 3980: 3978: 2062:performed it for the first time in the UK, with 5253:Wollny, Peter (2015). "Harpsichord Concertos". 4115:Schnabel, Artur; Schnabel, Karl Ulrich (1951). 3961:(2nd ed.). Frankfurt am Main: S. Fischer. 3190:, Orchestre de chambre Jean-François Paillard, 867:with Bach's original string orchestration. The 127: 4526:J. S. Bach - Concertos for Harpsichord, Vol. 1 1376:Concerto for Harpsichord in D minor, BWV 1059 1374:Concerto for Harpsichord in G minor, BWV 1058 837:and subsequently run by Mendelssohn's teacher 825:, gave public performances of the concerto in 702:section lasts from bar 172 until the end; the 6302:List of compositions by Johann Sebastian Bach 5852: 4579:Frau Musika: La vita e le opere di J. S. Bach 4284: 4282: 3915: 222:A single-manual harpsichord conserved in the 8: 5995:Sonata for two flutes and continuo, BWV 1039 5256:Johann Sebastian Bach: Harpsichord Concertos 4899:, Bach-Handbuch (in German), vol. 5/1, 4387: 4385: 3369:, p. 357 The translation is taken from 2511:Concertos for harpsichord, flute, and violin 1701:Concerto for oboe and violin, BWV 1060R 833:, established in 1791 by the harpsichordist 748:The slow movement, an Adagio in G minor and 6043:Sinfonia for violin and orchestra, BWV 1045 5680:Johann Sebastian Bach: the learned musician 5412:); lengths also taken from these recordings 4877:Rampe, Siegbert; Sackmann, Dominik (2000), 4823:"Bach's parody technique and its frontiers" 4403: 4368: 3387: 3385: 3383: 3381: 3379: 1927:Double Violin Concerto in D minor, BWV 1043 745:) before the concluding 12 bar ritornello. 5859: 5845: 5837: 4402:For a detailed discussion of BWV 849, see 2291: 190:, however, considers it unlikely that The 6083:For two harpsichords in C minor, BWV 1060 5813:International Music Score Library Project 5784:International Music Score Library Project 5775:International Music Score Library Project 5227: 4015:Neuhausen Stuttgart: Hänssler-Verlag 1975 3867: 3635: 293:sections, only coming into prominence in 5624:Beiträge zum Konzertschaffen J. S. Bachs 5101:(1985), "Bach's Leipzig chamber music", 4459: 3543: 3486: 3474: 3462: 3411: 2435:four harpsichords, strings and continuo 2259:Bach made a number of transcriptions of 1620:Concerto in D minor, BWV 1059 (fragment) 572: 344: 154: 107: 6319: 4507:A Companion to Mozart's Piano Concertos 4473: 4128: 4126: 3945: 3930: 3359: 3319: 2106:in London with Moscheles and Thalberg. 215:published in London and Paris in 1738. 5024:(dissertation) (in German), Hänssler, 4436: 4374: 4362: 4316: 4310: 3710: 3698: 3513: 3370: 3326:The manuscript bears the watermark of 2849: 2580: 1945: 1735: 1627:Geist und Seele wird verwirret, BWV 35 1354: 1261: 991: 488: 6108:Orchestral Suite in G minor, BWV 1070 5789:Concerto for 2 Harpsichords, BWV 1060 5723:Autograph manuscript of BWV 1052–1059 5136:American Academy of Arts and Sciences 4415: 4357: 4342: 4330: 4254: 4132: 4102: 4073: 3999: 3984: 3895: 3879: 3855: 3811: 3799: 3784: 3772: 3741: 3686: 3671: 3659: 3623: 3607: 3557: 3538: 3533: 3528: 3501: 3450: 3423: 3366: 2584: 1638: 796: 626: 340: 336: 7: 6025:Violin Concerto in E major, BWV 1042 6020:Violin Concerto in A minor, BWV 1041 5743:Harpsichord Concerto No. 1, BWV 1052 4453: 4430: 4391: 4085: 4024: 3647: 3438: 3019:(violin); does not include BWV 1065) 2740: 2569:Brandenburg Concerto No.5 in D major 1728:(oboe) and Martin Friedmann (violin) 1604:violin concerto in A minor, BWV 1041 1124:violin concerto in E major, BWV 1042 5183:, Bach Perspectives, vol. 10, 3298:, Ljupka Hadzi Georgieva (pianos), 3105:Academy of St. Martin in the Fields 3069:Academy of St. Martin in the Fields 1538:Concerto No. 7 in G minor, BWV 1058 1447:Concerto No. 6 in F major, BWV 1057 1327:Concerto No. 5 in F minor, BWV 1056 1153:Concerto No. 4 in A major, BWV 1055 1058:Concerto No. 3 in D major, BWV 1054 883:Concerto No. 2 in E major, BWV 1053 400:Concerto No. 1 in D minor, BWV 1052 6345:Concertos by Johann Sebastian Bach 6030:Concerto for Two Violins, BWV 1043 5442:, Bach Perspectives, vol. 7, 5161:, Bach Perspectives, vol. 7, 4881:(in German), Kassel: Bärenreiter, 4744:, Bach Perspectives, vol. 7, 4613:. Translated by Spencer, Steward. 4509:, p. 26, Oxford University Press. 3087:Neues Bachisches Collegium Musicum 2850:Problems playing these files? See 2263:'s concertos, especially from his 1382:and the Leonhardt Consort in 1968 1262:Problems playing these files? See 992:Problems playing these files? See 553:Ich habe meine Zuversicht, BWV 188 489:Problems playing these files? See 25: 6063:Keyboard concertos, BWV 1052–1065 5658:Bach: Essays on His Life and Work 5589:(1998). "11. Orchesterwerke". In 4829:, CUP Archive, pp. 115–117, 4239:Mendelssohn and Victorian England 1843:Length: c. 19 minutes (19m:14s) 1544:Violin Concerto in A minor (Bach) 1064:Violin Concerto in E major (Bach) 1032:Gott soll allein mein Herze haben 814:by the Kistner Publishing House. 6322: 6103:Orchestral Suites, BWV 1066–1069 5923:Partita for Solo Flute, BWV 1013 5366:). Translated by Taylor, Steve. 5131:Bulletin of the American Academy 5004:The Keyboard Music of J. S. Bach 4897:Bachs Orchester- und Kammermusik 4487:The Concerto: A Listener's Guide 2928: 2835: 2817: 2799: 2731: 2698: 2680: 2659: 2638: 2631: 2131: 1982: 1954: 1937:Concertos for three harpsichords 1874: 1795: 1736:Problems playing this file? See 1710: 1668: 1551: 1460: 1363: 1334: 1244: 1226: 1208: 1166: 1071: 974: 956: 938: 896: 780: 770: 721: 710:section in bars 84–224, and the 671: 660: 633: 603: 467: 449: 431: 378:Concertos for single harpsichord 5593:; Kobayashi, Yoshitake (eds.). 5355:Bach: Concertos for Harpsichord 4606:The Cambridge Companion to Bach 4064:) CBS Records M2YK 45616, 1989. 4054:Bach: The Harpsichord Concertos 3027:The Amsterdam Baroque Orchestra 1867:Concerto for Two Violins (Bach) 1434:Ich steh mit einem Fuß im Grabe 1039:Ich geh und suche mit Verlangen 841:. In 1824 Mendelssohn's sister 138:, "Johann Sebastian Bach," 1880 5274:. pp. 6–7. HMC 902181.82. 1650:Concertos for two harpsichords 835:Carl Friedrich Christian Fasch 311:, Dresden, 1910, destroyed in 1: 6188:Everything's Gonna Be Alright 5822:Los Angeles Chamber Orchestra 5546:Jones, Richard D. P. (2007), 4762:Jones, Richard D. P. (2013), 4611:Cambridge Companions to Music 4209:Mercer-Taylor, Peter (2000), 4052:Uwe Kraemer. Liner notes for 2516:Concerto in A minor, BWV 1044 2461:organ (or pedal harpsichord) 2384:organ (or Pedal harpsichord) 2251: 2124:Concerto in C major, BWV 1064 2058:and his circle. In May 1837, 1942:Concerto in D minor, BWV 1063 1861:Concerto in C minor, BWV 1062 1788:Concerto in C major, BWV 1061 1655:Concerto in C minor, BWV 1060 1525:No. 4, BWV 1049, which has a 360: 281:, a duet for the elder sons. 5827:Concerto in G minor BWV 1058 5489:, Berlin: Merseburger: 34–44 5444:University of Illinois Press 5185:University of Illinois Press 5163:University of Illinois Press 4986:University of Nebraska Press 4825:, in Don O. Franklin (ed.), 4795:(in German), vol. III, 4746:University of Illinois Press 4646:University of Illinois Press 3662:, pp. 264–270, 372–375. 3119:Australian Chamber Orchestra 2591:and because of post-baroque 2041:Friedrich Konrad Griepenkerl 6202:Jesu, Joy of Man's Desiring 5918:Cello Suites, BWV 1007–1012 5002:Schulenberg, David (2006), 3005:Chamber Orchestra of Europe 2542:Adagio ma non tanto e dolce 2293:Bach's transcriptions from 1780:. The middle movement is a 265:—as well as his son-in-law 6371: 6078:No. 4 in A major, BWV 1055 6073:No. 2 in E major, BWV 1053 6068:No. 1 in D minor, BWV 1052 5568:Sackmann, Dominik (2000), 5465:The cantatas of J. S. Bach 5422:Cambridge University Press 5358:(study score based on the 5268:Freiburger Barockorchester 5090:Essays in Musical Analysis 5068:Cambridge University Press 4846:Neue Zeitschrift für Musik 4675:Oxford Composer Companions 4615:Cambridge University Press 4550:On Bach's Rhythm and Tempo 4217:Cambridge University Press 4135:, p. 255, footnote 18 3137:Freiburger Barockorchester 2758: 2519: 2205: 1864: 1658: 1541: 1450: 1156: 1145:performed the concerto in 1061: 886: 403: 275:organ sonatas, BWV 525–530 267:Johann Christoph Altnickol 259:Johann Christoph Friedrich 6297: 5678:Wolff, Christoph (2002), 5121:Wolff, Christoph (2005). 5063:Bach: A Musical Biography 4862:(2 ed.). Routledge. 3957:Wolff, Christoph (2007). 3916:Rampe & Sackmann 2000 3103:(piano & conductor), 2532:Johann Friedrich Agricola 2522:Triple Concerto, BWV 1044 2332: 2329: 2324: 2319: 2314: 2309: 2306: 2130: 1981: 1953: 1873: 1850:Italian Concerto, BWV 971 1794: 1667: 1550: 1459: 1362: 1333: 1165: 1083:2. Adagio e piano sempre 1070: 895: 804:Johann Friedrich Agricola 795:sections. More generally 479:Fulda Symphonic Orchestra 5662:Harvard University Press 5631:Williams, Peter (1997), 5510:10.52412/mf.1994.H1.1098 5060:Williams, Peter (2016), 5020:Siegele, Ulrich (1957), 5006:, Taylor & Francis, 4926:Musik & Gottesdienst 4917:Rampe, Siegbert (2014), 4895:Rampe, Siegbert (2013), 4807:, Boydell & Brewer, 3744:, pp. 258–259, 267. 3396:"Harpsichord Concertos," 3079:573641-2 (1999 re-issue) 2989:471754-2 (2002 re-issue) 2985:, Trevor Pinnock; 1981; 2092:"Great" C Major Symphony 1642:the opening sinfonia of 1181:3. Allegro ma non tanto 864:Academy of Ancient Music 40:Johann Gottfried Walther 5733:Manuscript of BWV 1052a 5684:Oxford University Press 5637:Oxford University Press 5552:Oxford University Press 5530:Oxford University Press 5469:Oxford University Press 5138:: 26–31. Archived from 5115:10.1093/earlyj/13.2.165 4932:: 14–22, archived from 4858:Platt, Heather (2012). 4768:Oxford University Press 4679:Oxford University Press 4489:, p. 14, Oxford (1998) 4241:, Ashgate, p. 86, 4212:The Life of Mendelssohn 3546:, pp. 370–371, 376 3059:CBS Masterworks Records 2778:Johann Sebastian Bach's 1807:2. Adagio ovvero Largo 1240:3. Allegro ma non tanto 616:A minor violin concerto 323:the melody instrument ( 6242:A Whiter Shade of Pale 6223:Sheep may safely graze 5709:Breitkopf & Härtel 5707:(in German), Leipzig: 5602:Breitkopf & Härtel 5598:: Kleine Ausgabe (BWV) 5596:Bach-Werke-Verzeichnis 5524:Haynes, Bruce (2001), 5379:Breig, Werner (2001), 5203:10.5406/j.ctt18j8xkb.8 4969:Breitkopf & Härtel 4547:Abravaya, Ido (2006), 4237:Eatock, Colin (2009), 4060:, The London Strings, 3300:Kammerakademie Potsdam 3192:Jean-François Paillard 3179:-2401 SACD (June 2020) 3171:Masato Suzuki and the 3053:, The London Strings, 2772: 2745:Johann Nikolaus Forkel 2535: 2452:two violins and cello 2428:four violins and cello 2267: 3 set, entitled 2203: 2179:Length: c. 17 minutes 2108:Charles Edward Horsley 2033:Length: c. 14 minutes 1922:Length: c. 15 minutes 1886:2. Largo ma non tanto 1772:Length: c. 14 minutes 1696: 1599:Length: c. 14 minutes 1512:Length: c. 17 minutes 1440:Georg Philipp Telemann 1422:Length: c. 10 minutes 1298:Length: c. 14 minutes 1194: 1119:Length: c. 17 minutes 924: 417: 315: 246:Johann Nikolaus Forkel 226: 224:Bach House in Eisenach 213:George Frideric Handel 209:Organ concertos, Op. 4 164: 141: 125: 43: 6350:Harpsichord concertos 6236:Trio Sonata, BWV 525a 6049:Brandenburg Concertos 5881:Johann Sebastian Bach 5620:Schulze, Hans-Joachim 5215:The Musical Quarterly 5085:Tovey, Donald Francis 5053:J. A. Fuller-Maitland 4821:Mann, Alfred (1989), 3959:Johann Sebastian Bach 3336:Carl Friedrich Zelter 3083:Christine Schornsheim 2771: 2759:Further information: 2529: 2520:Further information: 2194: 1959:You may hear Bach's: 1695: 1368:You may hear Bach's: 1310:(the director of the 1193: 923: 839:Carl Friedrich Zelter 741:(for an extemporised 416: 394:Brandenburg concertos 303: 254:Frankfurt an der Oder 221: 158: 111: 76:Johann Sebastian Bach 36:Musicalisches Lexicon 33: 6260:Bach's Greatest Hits 6182:Bach-Busoni Editions 6128:The Musical Offering 5985:in E major, BWV 1035 5980:in E minor, BWV 1034 5974:in C major, BWV 1033 5969:in A major, BWV 1032 5952:in B minor, BWV 1030 5604:. pp. 424–436. 5471:, pp. 392–397, 5374: 9790006204519. 4879:Bachs Orchestermusik 4803:Kroll, Mark (2014), 4505:Hutchings, A. 1997. 4182:; et al. 2020-04-16. 4158:; et al. 2020-04-16. 3280:, Vincent van Laar, 3173:Bach Collegium Japan 3011:; 1990, 1993, 1997; 2975:Lars Ulrik Mortensen 2942:adding missing items 2783:Brandenburg Concerto 2613:Carl Philipp Emanuel 2104:Hanover Square Rooms 1522:Brandenburg Concerto 1485:solo, flauto dolce ( 1343:1. Allegro moderato 808:Christoph Nichelmann 763:time, is built on a 527:Carl Philipp Emanuel 370:Brandenburg Concerto 205:Carl Philipp Emanuel 145:Berlin State Library 90:Brandenburg Concerto 81:Brandenburg Concerto 6288:Switched-On Bach II 6274:Jazz Sebastian Bach 6162:Air on the G String 5587:Schmieder, Wolfgang 5406:The English Concert 5395: 9790006494699 5387:, vol. VII/4, 5229:10.1093/mq/77.4.651 5165:, pp. 97–114, 4982:Bach Perspectives 1 4406:, pp. 145–146) 4076:, pp. 390–396. 4027:, pp. 507–508. 3858:, pp. 265–266. 3775:, pp. 268–270. 3626:, pp. 368–375. 3373:, pp. 136–137) 3328:Frederick the Great 2983:The English Concert 2589:Frederick the Great 2303: 1971:Here on archive.org 1857:manner throughout. 1386:Here on archive.org 98:keyboard instrument 5497:Die Musikforschung 5424:, pp. 20–46, 5370:. pp. XI–XV. 5324:, pp. 287–300 5187:, pp. 60–75, 5181:Bach and the Organ 4960:Bach-Jahrbuch 1906 4648:, pp. 76–86, 4456:, pp. 116–117 4377:, pp. 283–285 4119:. British Library. 4105:, pp. 254–256 4011:Wilfried Fischer, 3489:, pp. 365–366 3477:, pp. 368–369 3453:, pp. 368–375 3414:, pp. 264–265 3398:booklet notes for 3330:. Acquired by the 3286:Brilliant Classics 3242:Anneke Uittenbosch 3188:Jean-Pierre Rampal 3158:Brilliant Classics 3095:Brilliant Classics 3091:Burkhard Glaetzner 2940:; you can help by 2773: 2536: 2292: 2227:I/II/III/IV solo, 2204: 2064:Sigismond Thalberg 2049:C.Ph. Emanuel Bach 1697: 1646:as slow movement. 1195: 1130:to be reached as D 925: 580:made one in 1873; 418: 392:). Aside from the 316: 227: 201:Wilhelm Friedemann 165: 126: 48:keyboard concertos 44: 6310: 6309: 5561:978-0-19-816440-1 5539:978-0-19-816646-7 5453:978-0-252-03165-6 5446:, pp. 1–20, 5410:Archiv Produktion 5385:Neue Bach Ausgabe 5194:978-0-252-04019-1 5172:978-0-252-03165-6 5077:978-1-107-13925-1 4988:, pp. 1–42, 4910:978-3-89007-455-9 4869:978-1-135-84708-1 4814:978-1-84383-935-4 4793:Neue Bach Ausgabe 4777:978-0-19-969628-4 4755:978-0-252-03165-6 4697:Cantagrel, Gilles 4688:978-0-19-866208-2 4655:978-0-252-04019-1 4404:Schulenberg (2006 4248:978-0-7546-6652-3 4042:978-0-19-516977-5 3968:978-3-596-16739-5 3516:, pp. 76–86. 3344:Felix Mendelssohn 3256:Pieter-Jan Belder 3246:Leonhardt-Consort 3244:, Eduard Müller, 3217:BWV 1060–1065 set 3111:SK89245 / SK89690 3042:BWV 1052–1058 set 2987:Archiv Produktion 2961:BWV 1052–1065 set 2958: 2957: 2840: 2822: 2804: 2727:for the violin). 2573:Collegium Musicum 2494: 2493: 2255: 10 minutes 2150: 2149: 2146:3. Allegro assai 2056:Felix Mendelssohn 2004: 2003: 1977: 1976: 1893: 1892: 1889:3. Allegro assai 1814: 1813: 1715: 1687: 1686: 1570: 1569: 1566:3. Allegro assai 1479: 1478: 1475:3. Allegro assai 1392: 1391: 1353: 1352: 1249: 1231: 1213: 1185: 1184: 1090: 1089: 979: 961: 943: 915: 914: 875:later composed a 819:Felix Mendelssohn 477:Performed by the 472: 454: 436: 353:keyboard concerto 192:Collegium Musicum 171:Collegium Musicum 112:Engraving of the 16:(Redirected from 6362: 6327: 6326: 6325: 6318: 6281:Switched-On Bach 6136:The Art of Fugue 5962: 5961: 5883: 5872:orchestral works 5861: 5854: 5847: 5838: 5811:: Scores at the 5782:: Scores at the 5773:: Scores at the 5711: 5696: 5674: 5654:Wolff, Christoph 5649: 5627: 5615: 5582: 5564: 5542: 5520: 5490: 5481: 5456: 5434: 5396: 5375: 5364:New Bach Edition 5351: 5338: 5325: 5314:Reinhard Wiesend 5310:Wolfgang Osthoff 5301: 5275: 5261: 5249: 5240: 5231: 5205: 5175: 5153: 5151: 5150: 5144: 5127: 5117: 5099:Wolff, Christoph 5094: 5080: 5056: 5047:, translated by 5034: 5016: 4998: 4976: 4946: 4945: 4944: 4938: 4923: 4913: 4891: 4873: 4854: 4839: 4817: 4799: 4785:Kilian, Dietrich 4780: 4758: 4736: 4712: 4692: 4672: 4658: 4636: 4592: 4570: 4555: 4533: 4523: 4517: 4503: 4497: 4483: 4477: 4471: 4465: 4462:, pp. 61–64 4448: 4442: 4425: 4419: 4413: 4407: 4400: 4394: 4389: 4380: 4369:Schulenberg 1995 4365:, pp. 47–48 4352: 4346: 4340: 4334: 4328: 4322: 4305: 4299: 4290:L’estro armonico 4286: 4277: 4271: 4266: 4260: 4251: 4233: 4203: 4197: 4190: 4184: 4183: 4166: 4160: 4159: 4142: 4136: 4130: 4121: 4120: 4112: 4106: 4100: 4089: 4083: 4077: 4071: 4065: 4062:Neville Marriner 4050: 4044: 4034: 4028: 4022: 4016: 4009: 4003: 3997: 3991: 3982: 3973: 3972: 3954: 3948: 3943: 3934: 3928: 3919: 3913: 3907: 3893: 3887: 3877: 3871: 3865: 3859: 3853: 3838: 3821: 3815: 3809: 3803: 3797: 3788: 3782: 3776: 3770: 3745: 3739: 3714: 3708: 3702: 3696: 3690: 3684: 3675: 3669: 3663: 3657: 3651: 3645: 3639: 3633: 3627: 3621: 3615: 3605: 3594: 3578: 3567: 3561: 3555: 3549: 3523: 3517: 3511: 3505: 3504:, pp. 60–75 3499: 3490: 3484: 3478: 3472: 3466: 3460: 3454: 3448: 3442: 3436: 3427: 3421: 3415: 3409: 3403: 3389: 3374: 3364: 3347: 3346:, on 29 May 1831 3342:, great aunt of 3324: 3308: 3296:Anna Vinnitskaya 3279: 3268: 3239: 3231:Janny van Wering 3223:Gustav Leonhardt 3167:reconstruction: 3125:(violin); 2005; 3123:Richard Tognetti 3073:Neville Marriner 3055:Neville Marriner 2979:Nicholas Kraemer 2953: 2950: 2932: 2931: 2925: 2842: 2841: 2824: 2823: 2806: 2805: 2788: 2779: 2770: 2735: 2711: 2710: 2702: 2684: 2663: 2642: 2635: 2597:pp, p, mp, mf, f 2498:L'estro armonico 2483: 2457: 2429: 2406: 2380: 2361: 2352: 2330:Transcribed for 2322: 2304: 2299:L'estro armonico 2287:L'estro armonico 2270:L'estro armonico 2256: 2253: 2208:L'estro Armonico 2135: 2128: 2127: 2076:Ferdinand Hiller 1986: 1979: 1978: 1958: 1957: 1946: 1878: 1871: 1870: 1799: 1792: 1791: 1717: 1716: 1694: 1672: 1665: 1664: 1555: 1548: 1547: 1464: 1457: 1456: 1380:Gustav Leonhardt 1367: 1366: 1355: 1338: 1331: 1330: 1251: 1250: 1233: 1232: 1215: 1214: 1192: 1170: 1163: 1162: 1075: 1068: 1067: 981: 980: 963: 962: 945: 944: 922: 900: 893: 892: 806:around 1740, by 784: 774: 762: 761: 760: 759: 725: 675: 664: 637: 607: 474: 473: 456: 455: 438: 437: 415: 365: 364: 1713–1714 362: 285:newly developed 263:Johann Christian 139: 83:No. 5 in D major 21: 6370: 6369: 6365: 6364: 6363: 6361: 6360: 6359: 6355:Concerti grossi 6335: 6334: 6333: 6329:Classical music 6323: 6321: 6313: 6311: 6306: 6293: 6247: 6149: 6113: 6089: 6051:, BWV 1046–1051 6036:Triple Concerto 6006: 5963:major, BWV 1031 5959: 5958: 5927: 5884: 5879: 5865: 5771:No. 8, BWV 1059 5767:No. 7, BWV 1058 5763:No. 6, BWV 1057 5759:No. 5, BWV 1056 5755:No. 4, BWV 1055 5751:No. 3, BWV 1054 5747:No. 2, BWV 1053 5719: 5714: 5699: 5694: 5677: 5672: 5652: 5647: 5630: 5618: 5612: 5585: 5580: 5567: 5562: 5545: 5540: 5523: 5493: 5484: 5479: 5459: 5454: 5437: 5432: 5415: 5378: 5349: 5341: 5328: 5304: 5287: 5283: 5281:Further reading 5278: 5262:(liner notes). 5259: 5252: 5243: 5208: 5195: 5178: 5173: 5156: 5148: 5146: 5142: 5125: 5120: 5097: 5083: 5078: 5059: 5039:Spitta, Philipp 5037: 5032: 5019: 5014: 5001: 4996: 4979: 4949: 4942: 4940: 4936: 4921: 4916: 4911: 4894: 4889: 4876: 4870: 4857: 4842: 4837: 4820: 4815: 4802: 4783: 4778: 4761: 4756: 4739: 4733: 4717:Dirksen, Pieter 4715: 4703:(liner notes). 4695: 4689: 4661: 4656: 4639: 4633: 4595: 4589: 4573: 4568: 4553: 4546: 4542: 4537: 4536: 4524: 4520: 4504: 4500: 4484: 4480: 4472: 4468: 4449: 4445: 4426: 4422: 4414: 4410: 4401: 4397: 4390: 4383: 4353: 4349: 4341: 4337: 4329: 4325: 4306: 4302: 4287: 4280: 4269: 4267: 4263: 4249: 4236: 4231: 4208: 4204: 4200: 4191: 4187: 4168: 4167: 4163: 4144: 4143: 4139: 4131: 4124: 4114: 4113: 4109: 4101: 4092: 4084: 4080: 4072: 4068: 4051: 4047: 4035: 4031: 4023: 4019: 4010: 4006: 3998: 3994: 3983: 3976: 3969: 3956: 3955: 3951: 3944: 3937: 3929: 3922: 3914: 3910: 3894: 3890: 3878: 3874: 3866: 3862: 3854: 3841: 3822: 3818: 3810: 3806: 3798: 3791: 3783: 3779: 3771: 3748: 3740: 3717: 3709: 3705: 3697: 3693: 3685: 3678: 3670: 3666: 3658: 3654: 3646: 3642: 3634: 3630: 3622: 3618: 3606: 3597: 3572: 3568: 3564: 3556: 3552: 3524: 3520: 3512: 3508: 3500: 3493: 3485: 3481: 3473: 3469: 3461: 3457: 3449: 3445: 3437: 3430: 3422: 3418: 3410: 3406: 3390: 3377: 3365: 3361: 3356: 3351: 3350: 3325: 3321: 3316: 3302: 3292:Evgeni Koroliov 3273: 3262: 3260:Menno van Delft 3233: 3219: 3206:Zagreb Soloists 3150: 3065:Andrei Gavrilov 3044: 2971:Kenneth Gilbert 2963: 2954: 2948: 2945: 2929: 2923: 2857: 2856: 2848: 2846: 2845: 2844: 2843: 2836: 2833: 2827: 2826: 2825: 2818: 2815: 2809: 2808: 2807: 2800: 2797: 2791: 2789: 2780: 2777: 2774: 2768: 2763: 2757: 2708: 2707: 2648:concerto grosso 2607:in the strings— 2577:Café Zimmermann 2524: 2518: 2513: 2481: 2455: 2427: 2404: 2378: 2359: 2350: 2321:Obligato instr. 2320: 2261:Antonio Vivaldi 2254: 2210: 2189: 2156:I/II/III solo, 2126: 2113:Gresham College 2096:Robert Schumann 2068:Julius Benedict 2060:Ignaz Moscheles 2010:I/II/III solo, 1969: 1966: 1964: 1962: 1960: 1955: 1944: 1939: 1932: 1925:The well-known 1869: 1863: 1790: 1743: 1742: 1734: 1732: 1731: 1730: 1729: 1718: 1711: 1708: 1702: 1698: 1692: 1663: 1657: 1652: 1622: 1546: 1540: 1455: 1449: 1394: 1384: 1377: 1375: 1373: 1371: 1369: 1364: 1329: 1269: 1268: 1260: 1258: 1257: 1256: 1255: 1252: 1245: 1242: 1236: 1235: 1234: 1227: 1224: 1218: 1217: 1216: 1209: 1206: 1200: 1196: 1190: 1161: 1155: 1143:Ignaz Moscheles 1133: 1129: 1066: 1060: 999: 998: 990: 988: 987: 986: 985: 982: 975: 972: 966: 965: 964: 957: 954: 948: 947: 946: 939: 936: 930: 926: 920: 891: 885: 873:Johannes Brahms 859:Robert Schumann 855:Ignaz Moscheles 758: 753: 752: 751: 750: 749: 593:Christoph Wolff 578:Ferdinand David 573:Williams (2016) 496: 495: 487: 485: 484: 483: 482: 475: 468: 465: 459: 458: 457: 450: 447: 441: 440: 439: 432: 429: 423: 419: 413: 408: 402: 389:Soli Deo Gloria 380: 372:, BWV 1050 363: 345:Williams (2016) 320:Christoph Wolff 232:Antonio Vivaldi 180:Café Zimmermann 161:Café Zimmermann 140: 134: 106: 54:1052–1065, are 28: 23: 22: 15: 12: 11: 5: 6368: 6366: 6358: 6357: 6352: 6347: 6337: 6336: 6332: 6331: 6308: 6307: 6305: 6304: 6298: 6295: 6294: 6292: 6291: 6284: 6277: 6270: 6263: 6255: 6253: 6249: 6248: 6246: 6245: 6238: 6233: 6226: 6219: 6212: 6205: 6198: 6195:Feel My Rhythm 6191: 6184: 6179: 6172: 6165: 6157: 6155: 6151: 6150: 6148: 6147: 6146: 6145: 6132: 6123: 6121: 6115: 6114: 6112: 6111: 6105: 6099: 6097: 6091: 6090: 6088: 6087: 6086: 6085: 6080: 6075: 6070: 6060: 6059: 6058: 6045: 6040: 6032: 6027: 6022: 6016: 6014: 6008: 6007: 6005: 6004: 6003: 6002: 5997: 5989: 5988: 5987: 5982: 5977: 5971: 5966: 5954: 5948:Flute Sonatas 5946: 5941: 5935: 5933: 5929: 5928: 5926: 5925: 5920: 5915: 5914: 5913: 5908: 5903: 5901:Partita No. 1 5892: 5890: 5886: 5885: 5876:transcriptions 5866: 5864: 5863: 5856: 5849: 5841: 5835: 5834: 5831:Jozef Kapustka 5824: 5815: 5786: 5777: 5740: 5730: 5718: 5717:External links 5715: 5713: 5712: 5697: 5692: 5675: 5670: 5650: 5645: 5628: 5616: 5610: 5583: 5578: 5565: 5560: 5543: 5538: 5521: 5491: 5482: 5477: 5457: 5452: 5435: 5430: 5418:Bach Studies 2 5413: 5402:Trevor Pinnock 5398: 5376: 5339: 5326: 5302: 5284: 5282: 5279: 5277: 5276: 5272:Harmonia Mundi 5264:Andreas Staier 5250: 5241: 5222:(4): 651–688, 5206: 5193: 5176: 5171: 5154: 5118: 5109:(2): 165–175, 5095: 5081: 5076: 5057: 5035: 5030: 5017: 5012: 4999: 4994: 4977: 4951:Schneider, Max 4947: 4914: 4909: 4892: 4887: 4874: 4868: 4855: 4840: 4835: 4827:Bach Studies 1 4818: 4813: 4800: 4781: 4776: 4759: 4754: 4748:, p. 21, 4737: 4731: 4713: 4693: 4687: 4659: 4654: 4637: 4631: 4593: 4587: 4575:Basso, Alberto 4571: 4566: 4543: 4541: 4538: 4535: 4534: 4518: 4498: 4485:Steinberg, M. 4478: 4466: 4464: 4463: 4457: 4443: 4441: 4440: 4434: 4420: 4408: 4395: 4381: 4379: 4378: 4372: 4366: 4360: 4347: 4335: 4333:, p. 395. 4323: 4321: 4320: 4314: 4300: 4298:, August 2011. 4278: 4261: 4259: 4258: 4252: 4247: 4234: 4229: 4198: 4185: 4161: 4137: 4122: 4107: 4090: 4078: 4066: 4045: 4029: 4017: 4004: 3992: 3974: 3967: 3949: 3935: 3920: 3908: 3888: 3872: 3870:, p. 102. 3868:Schneider 1907 3860: 3839: 3837:Leipzig, 1884. 3824:Alfred Dörffel 3816: 3804: 3789: 3787:, p. 272. 3777: 3746: 3715: 3703: 3691: 3676: 3664: 3652: 3650:, p. 210. 3640: 3636:Cantagrel 1993 3628: 3616: 3595: 3570:Pieter Dirksen 3562: 3550: 3548: 3547: 3541: 3536: 3531: 3518: 3506: 3491: 3479: 3467: 3455: 3443: 3428: 3426:, p. 168. 3416: 3404: 3400:Andreas Staier 3375: 3358: 3357: 3355: 3352: 3349: 3348: 3318: 3317: 3315: 3312: 3311: 3310: 3289: 3282:Musica Amphion 3253: 3218: 3215: 3214: 3213: 3199: 3181: 3180: 3162: 3161: 3149: 3146: 3145: 3144: 3141:Harmonia Mundi 3133:Andreas Staier 3130: 3112: 3109:Sony Classical 3101:Murray Perahia 3098: 3097:99360/6 and /7 3080: 3062: 3043: 3040: 3039: 3038: 3020: 3017:Yuuko Shiokawa 2990: 2967:Trevor Pinnock 2962: 2959: 2956: 2955: 2935: 2933: 2922: 2919: 2900:Louis Marchand 2896:Michael Mietke 2868: 2867: 2864: 2861: 2847: 2834: 2829: 2828: 2816: 2811: 2810: 2798: 2793: 2792: 2776: 2775: 2766: 2765: 2764: 2756: 2753: 2737: 2736: 2704: 2703: 2686: 2685: 2665: 2664: 2644: 2643: 2636: 2547: 2546: 2543: 2540: 2517: 2514: 2512: 2509: 2492: 2491: 2488: 2485: 2479: 2476: 2473: 2470: 2466: 2465: 2462: 2459: 2453: 2450: 2447: 2444: 2440: 2439: 2436: 2433: 2430: 2425: 2422: 2419: 2415: 2414: 2411: 2408: 2402: 2399: 2396: 2393: 2389: 2388: 2385: 2382: 2376: 2373: 2370: 2367: 2363: 2362: 2357: 2354: 2348: 2345: 2342: 2339: 2335: 2334: 2331: 2328: 2323: 2318: 2313: 2308: 2221: 2220: 2217: 2214: 2188: 2185: 2148: 2147: 2144: 2141: 2137: 2136: 2125: 2122: 2100:Clara Schumann 2002: 2001: 1998: 1992: 1988: 1987: 1975: 1974: 1951: 1950: 1949:External audio 1943: 1940: 1938: 1935: 1930: 1891: 1890: 1887: 1884: 1880: 1879: 1862: 1859: 1812: 1811: 1808: 1805: 1801: 1800: 1789: 1786: 1733: 1719: 1709: 1704: 1703: 1700: 1699: 1690: 1689: 1688: 1685: 1684: 1681: 1678: 1674: 1673: 1659:Main article: 1656: 1653: 1651: 1648: 1633:organ, oboes, 1621: 1618: 1568: 1567: 1564: 1561: 1557: 1556: 1539: 1536: 1477: 1476: 1473: 1470: 1466: 1465: 1448: 1445: 1390: 1389: 1360: 1359: 1358:External audio 1351: 1350: 1347: 1344: 1340: 1339: 1328: 1325: 1259: 1253: 1243: 1238: 1237: 1225: 1220: 1219: 1207: 1202: 1201: 1198: 1197: 1188: 1187: 1186: 1183: 1182: 1179: 1176: 1172: 1171: 1157:Main article: 1154: 1151: 1131: 1127: 1122:The surviving 1088: 1087: 1084: 1081: 1077: 1076: 1059: 1056: 1034:, BWV 169 989: 983: 973: 968: 967: 955: 950: 949: 937: 932: 931: 928: 927: 918: 917: 916: 913: 912: 909: 906: 902: 901: 887:Main article: 884: 881: 754: 569:Philipp Spitta 486: 476: 466: 461: 460: 448: 443: 442: 430: 425: 424: 421: 420: 411: 410: 409: 404:Main article: 401: 398: 379: 376: 355:genre are his 149:Peter Williams 136:Philipp Spitta 132: 105: 102: 100:ever written. 26: 24: 14: 13: 10: 9: 6: 4: 3: 2: 6367: 6356: 6353: 6351: 6348: 6346: 6343: 6342: 6340: 6330: 6320: 6316: 6303: 6300: 6299: 6296: 6290: 6289: 6285: 6283: 6282: 6278: 6276: 6275: 6271: 6269: 6268: 6264: 6262: 6261: 6257: 6256: 6254: 6250: 6243: 6239: 6237: 6234: 6231: 6227: 6224: 6220: 6217: 6213: 6210: 6206: 6203: 6199: 6196: 6192: 6189: 6185: 6183: 6180: 6177: 6173: 6170: 6166: 6163: 6159: 6158: 6156: 6152: 6144: 6141: 6140: 6139: 6137: 6133: 6131: 6129: 6125: 6124: 6122: 6120: 6116: 6109: 6106: 6104: 6101: 6100: 6098: 6096: 6092: 6084: 6081: 6079: 6076: 6074: 6071: 6069: 6066: 6065: 6064: 6061: 6057: 6054: 6053: 6052: 6050: 6046: 6044: 6041: 6039: 6037: 6033: 6031: 6028: 6026: 6023: 6021: 6018: 6017: 6015: 6013: 6009: 6001: 5998: 5996: 5993: 5992: 5991:Trio Sonatas 5990: 5986: 5983: 5981: 5978: 5975: 5972: 5970: 5967: 5964: 5955: 5953: 5950: 5949: 5947: 5945: 5942: 5940: 5937: 5936: 5934: 5930: 5924: 5921: 5919: 5916: 5912: 5909: 5907: 5904: 5902: 5899: 5898: 5897: 5894: 5893: 5891: 5887: 5882: 5877: 5873: 5869: 5868:Chamber music 5862: 5857: 5855: 5850: 5848: 5843: 5842: 5839: 5832: 5828: 5825: 5823: 5819: 5818:Program notes 5816: 5814: 5810: 5806: 5802: 5798: 5794: 5790: 5787: 5785: 5781: 5778: 5776: 5772: 5768: 5764: 5760: 5756: 5752: 5748: 5744: 5741: 5738: 5734: 5731: 5728: 5724: 5721: 5720: 5716: 5710: 5706: 5702: 5701:Wollny, Peter 5698: 5695: 5693:0-19-924884-2 5689: 5685: 5681: 5676: 5673: 5671:0-674-05926-3 5667: 5663: 5659: 5655: 5651: 5648: 5646:0-19-816563-3 5642: 5638: 5634: 5629: 5625: 5621: 5617: 5613: 5611:3-7651-0249-0 5607: 5603: 5600:(in German). 5599: 5597: 5592: 5588: 5584: 5581: 5579:3-87397-095-3 5575: 5571: 5566: 5563: 5557: 5553: 5549: 5544: 5541: 5535: 5531: 5527: 5522: 5519: 5515: 5511: 5507: 5503: 5499: 5498: 5492: 5488: 5483: 5480: 5478:0-19-929776-2 5474: 5470: 5466: 5462: 5458: 5455: 5449: 5445: 5441: 5436: 5433: 5431:0-521-02891-4 5427: 5423: 5419: 5414: 5411: 5407: 5403: 5399: 5394: 5390: 5386: 5382: 5377: 5373: 5369: 5365: 5361: 5357: 5356: 5348: 5344: 5343:Breig, Werner 5340: 5336: 5332: 5327: 5323: 5319: 5315: 5311: 5307: 5306:Breig, Werner 5303: 5299: 5295: 5291: 5286: 5285: 5280: 5273: 5269: 5265: 5258: 5257: 5251: 5247: 5242: 5239: 5235: 5230: 5225: 5221: 5217: 5216: 5211: 5210:Wollny, Peter 5207: 5204: 5200: 5196: 5190: 5186: 5182: 5177: 5174: 5168: 5164: 5160: 5155: 5145:on 2016-03-04 5141: 5137: 5133: 5132: 5124: 5119: 5116: 5112: 5108: 5104: 5100: 5096: 5092: 5091: 5086: 5082: 5079: 5073: 5069: 5065: 5064: 5058: 5054: 5050: 5046: 5045: 5040: 5036: 5033: 5031:3-7751-0117-9 5027: 5023: 5018: 5015: 5013:0-415-97400-3 5009: 5005: 5000: 4997: 4995:0-8032-1042-6 4991: 4987: 4983: 4978: 4974: 4970: 4967:(in German). 4966: 4965:Bach-Jahrbuch 4962: 4961: 4956: 4952: 4948: 4939:on 2016-11-27 4935: 4931: 4928:(in German), 4927: 4920: 4915: 4912: 4906: 4902: 4901:Laaber-Verlag 4898: 4893: 4890: 4888:3-7618-1345-7 4884: 4880: 4875: 4871: 4865: 4861: 4856: 4852: 4848: 4847: 4841: 4838: 4836:0-521-34105-1 4832: 4828: 4824: 4819: 4816: 4810: 4806: 4801: 4798: 4794: 4790: 4786: 4782: 4779: 4773: 4769: 4765: 4760: 4757: 4751: 4747: 4743: 4738: 4734: 4732:90-72786-03-3 4728: 4724: 4723: 4718: 4714: 4710: 4706: 4702: 4698: 4694: 4690: 4684: 4680: 4676: 4671: 4670: 4664: 4660: 4657: 4651: 4647: 4643: 4638: 4634: 4632:0-521-58780-8 4628: 4624: 4620: 4616: 4612: 4608: 4607: 4602: 4598: 4597:Breig, Werner 4594: 4590: 4588:88-7063-011-0 4584: 4580: 4576: 4572: 4569: 4567:3-7618-1602-2 4563: 4559: 4552: 4551: 4545: 4544: 4539: 4531: 4527: 4522: 4519: 4516: 4515:0-19-816708-3 4512: 4508: 4502: 4499: 4496: 4495:0-19-513931-3 4492: 4488: 4482: 4479: 4475: 4470: 4467: 4461: 4460:Abravaya 2006 4458: 4455: 4452: 4451: 4447: 4444: 4439:, p. 285 4438: 4435: 4433:, p. 116 4432: 4429: 4428: 4424: 4421: 4418:, p. 395 4417: 4412: 4409: 4405: 4399: 4396: 4393: 4388: 4386: 4382: 4376: 4373: 4370: 4367: 4364: 4361: 4359: 4356: 4355: 4351: 4348: 4344: 4339: 4336: 4332: 4327: 4324: 4319:, p. 283 4318: 4315: 4313:, p. 681 4312: 4309: 4308: 4304: 4301: 4297: 4296: 4291: 4285: 4283: 4279: 4276: 4272: 4265: 4262: 4257:, p. 268 4256: 4253: 4250: 4244: 4240: 4235: 4232: 4230:0-521-63972-7 4226: 4222: 4218: 4214: 4213: 4207: 4206: 4202: 4199: 4195: 4189: 4186: 4181: 4177: 4176: 4171: 4165: 4162: 4157: 4153: 4152: 4147: 4141: 4138: 4134: 4129: 4127: 4123: 4118: 4111: 4108: 4104: 4099: 4097: 4095: 4091: 4087: 4082: 4079: 4075: 4070: 4067: 4063: 4059: 4055: 4049: 4046: 4043: 4039: 4033: 4030: 4026: 4021: 4018: 4014: 4008: 4005: 4001: 3996: 3993: 3990: 3986: 3981: 3979: 3975: 3970: 3964: 3960: 3953: 3950: 3947: 3942: 3940: 3936: 3932: 3927: 3925: 3921: 3917: 3912: 3909: 3905: 3901: 3897: 3892: 3889: 3885: 3881: 3876: 3873: 3869: 3864: 3861: 3857: 3852: 3850: 3848: 3846: 3844: 3840: 3836: 3834: 3829: 3825: 3820: 3817: 3814:, p. 264 3813: 3808: 3805: 3801: 3796: 3794: 3790: 3786: 3781: 3778: 3774: 3769: 3767: 3765: 3763: 3761: 3759: 3757: 3755: 3753: 3751: 3747: 3743: 3738: 3736: 3734: 3732: 3730: 3728: 3726: 3724: 3722: 3720: 3716: 3712: 3707: 3704: 3700: 3695: 3692: 3688: 3683: 3681: 3677: 3674:, p. 67. 3673: 3668: 3665: 3661: 3656: 3653: 3649: 3644: 3641: 3637: 3632: 3629: 3625: 3620: 3617: 3613: 3609: 3604: 3602: 3600: 3596: 3593: 3592:90-72786-03-3 3589: 3585: 3583: 3576: 3571: 3566: 3563: 3560:, p. 66) 3559: 3554: 3551: 3545: 3544:Williams 2016 3542: 3540: 3537: 3535: 3532: 3530: 3527: 3526: 3522: 3519: 3515: 3510: 3507: 3503: 3498: 3496: 3492: 3488: 3487:Williams 2016 3483: 3480: 3476: 3475:Williams 2016 3471: 3468: 3465:, p. 269 3464: 3463:Williams 2016 3459: 3456: 3452: 3447: 3444: 3441:, p. 209 3440: 3435: 3433: 3429: 3425: 3420: 3417: 3413: 3412:Williams 2016 3408: 3405: 3401: 3397: 3393: 3388: 3386: 3384: 3382: 3380: 3376: 3372: 3368: 3363: 3360: 3353: 3345: 3341: 3337: 3333: 3332:Sing Akademie 3329: 3323: 3320: 3313: 3306: 3301: 3297: 3293: 3290: 3287: 3283: 3277: 3272: 3271:Siebe Henstra 3266: 3261: 3257: 3254: 3251: 3247: 3243: 3237: 3232: 3228: 3224: 3221: 3220: 3216: 3211: 3207: 3203: 3200: 3197: 3193: 3189: 3186: 3185: 3184: 3178: 3174: 3170: 3169: 3168: 3166: 3165:Masato Suzuki 3159: 3155: 3154: 3153: 3147: 3143:HMC 902181.82 3142: 3138: 3134: 3131: 3128: 3124: 3120: 3116: 3115:Angela Hewitt 3113: 3110: 3107:; 2000-2001; 3106: 3102: 3099: 3096: 3093:; 1990-1992; 3092: 3088: 3084: 3081: 3078: 3074: 3070: 3066: 3063: 3060: 3056: 3052: 3049: 3048: 3047: 3041: 3036: 3032: 3028: 3024: 3021: 3018: 3014: 3013:Decca Records 3010: 3009:Camerata Bern 3006: 3002: 2998: 2994: 2993:Andras Schiff 2991: 2988: 2984: 2980: 2976: 2972: 2968: 2965: 2964: 2960: 2952: 2943: 2939: 2936:This list is 2934: 2927: 2926: 2920: 2918: 2914: 2912: 2907: 2905: 2904:improvisation 2901: 2897: 2891: 2889: 2884: 2881: 2880: 2876: 2872: 2865: 2862: 2859: 2858: 2855: 2853: 2832: 2814: 2813:2. Affettuoso 2796: 2786: 2784: 2762: 2754: 2752: 2750: 2746: 2742: 2734: 2730: 2729: 2728: 2726: 2722: 2718: 2713: 2701: 2697: 2696: 2695: 2693: 2692: 2691:moto perpetuo 2683: 2679: 2678: 2677: 2673: 2671: 2662: 2658: 2657: 2656: 2653: 2649: 2641: 2637: 2634: 2630: 2629: 2628: 2626: 2622: 2616: 2614: 2610: 2606: 2602: 2598: 2594: 2590: 2586: 2582: 2581:Wollny (1997) 2578: 2574: 2570: 2564: 2561: 2559: 2555: 2551: 2544: 2541: 2538: 2537: 2533: 2528: 2523: 2515: 2510: 2508: 2506: 2501: 2499: 2489: 2486: 2480: 2477: 2474: 2471: 2468: 2467: 2463: 2460: 2454: 2451: 2448: 2445: 2442: 2441: 2437: 2434: 2431: 2426: 2423: 2420: 2417: 2416: 2412: 2409: 2403: 2400: 2397: 2394: 2391: 2390: 2386: 2383: 2377: 2374: 2371: 2368: 2365: 2364: 2358: 2355: 2349: 2346: 2344:G major 2343: 2340: 2337: 2336: 2327: 2317: 2312: 2305: 2302: 2300: 2296: 2290: 2288: 2284: 2278: 2276: 2272: 2271: 2266: 2262: 2257: 2248: 2246: 2242: 2238: 2234: 2230: 2226: 2218: 2215: 2212: 2211: 2209: 2201: 2198:of the three 2197: 2193: 2186: 2184: 2180: 2177: 2175: 2171: 2167: 2163: 2159: 2155: 2145: 2142: 2139: 2138: 2134: 2129: 2123: 2121: 2118: 2114: 2109: 2105: 2101: 2097: 2093: 2089: 2085: 2081: 2077: 2073: 2069: 2065: 2061: 2057: 2052: 2050: 2046: 2045:W. Friedemann 2042: 2037: 2034: 2031: 2029: 2025: 2021: 2017: 2013: 2009: 1999: 1997: 1993: 1990: 1989: 1985: 1980: 1973: 1972: 1952: 1947: 1941: 1936: 1934: 1928: 1923: 1920: 1918: 1914: 1910: 1906: 1902: 1898: 1888: 1885: 1882: 1881: 1877: 1872: 1868: 1860: 1858: 1856: 1852: 1851: 1844: 1841: 1839: 1835: 1831: 1827: 1823: 1819: 1809: 1806: 1803: 1802: 1798: 1793: 1787: 1785: 1783: 1779: 1773: 1770: 1768: 1764: 1760: 1756: 1752: 1748: 1741: 1739: 1727: 1723: 1707: 1682: 1679: 1676: 1675: 1671: 1666: 1662: 1654: 1649: 1647: 1645: 1640: 1637:and strings. 1636: 1632: 1628: 1619: 1617: 1614: 1612: 1607: 1605: 1600: 1597: 1595: 1591: 1587: 1583: 1579: 1575: 1565: 1562: 1559: 1558: 1554: 1549: 1545: 1537: 1535: 1533: 1528: 1524: 1523: 1518: 1513: 1510: 1508: 1504: 1500: 1496: 1492: 1488: 1484: 1474: 1471: 1468: 1467: 1463: 1458: 1454: 1446: 1444: 1441: 1437: 1435: 1431: 1426: 1423: 1420: 1418: 1414: 1410: 1406: 1402: 1398: 1388: 1387: 1381: 1378:performed by 1361: 1356: 1348: 1345: 1342: 1341: 1337: 1332: 1326: 1324: 1322: 1316: 1313: 1309: 1305: 1299: 1296: 1294: 1290: 1286: 1282: 1278: 1274: 1267: 1265: 1241: 1223: 1205: 1180: 1178:2. Larghetto 1177: 1174: 1173: 1169: 1164: 1160: 1152: 1150: 1148: 1144: 1139: 1137: 1125: 1120: 1117: 1115: 1111: 1107: 1103: 1099: 1095: 1085: 1082: 1079: 1078: 1074: 1069: 1065: 1057: 1055: 1053: 1049: 1044: 1042: 1041:, BWV 49 1040: 1035: 1033: 1026: 1024: 1020: 1016: 1012: 1008: 1004: 997: 995: 971: 953: 935: 910: 908:2. Siciliano 907: 904: 903: 899: 894: 890: 882: 880: 878: 874: 870: 869:Musical World 866: 865: 860: 856: 852: 848: 844: 840: 836: 832: 831:Sing-Akademie 828: 824: 820: 815: 813: 809: 805: 800: 798: 794: 790: 785: 783: 778: 775: 773: 768: 766: 757: 746: 744: 740: 736: 731: 726: 724: 719: 716: 713: 709: 705: 701: 697: 693: 689: 685: 681: 676: 674: 669: 665: 663: 658: 656: 652: 648: 644: 638: 636: 631: 628: 624: 619: 617: 613: 608: 606: 601: 599: 594: 589: 587: 583: 579: 574: 570: 566: 561: 559: 555: 554: 549: 548: 543: 540: 536: 531: 528: 523: 521: 517: 513: 509: 505: 501: 494: 492: 480: 464: 446: 428: 407: 399: 397: 395: 391: 390: 385: 377: 375: 373: 371: 358: 354: 349: 346: 342: 338: 334: 330: 326: 321: 314: 310: 309:Sophienkirche 307:organ in the 306: 302: 298: 296: 292: 288: 282: 280: 276: 272: 271:Sylvius Weiss 268: 264: 260: 255: 251: 250:Sophienkirche 247: 243: 239: 238: 233: 225: 220: 216: 214: 210: 206: 202: 197: 193: 189: 185: 181: 177: 173: 172: 162: 157: 153: 150: 146: 137: 131: 123: 119: 115: 110: 103: 101: 99: 95: 91: 86: 84: 82: 77: 73: 69: 65: 61: 57: 53: 49: 41: 37: 32: 19: 6286: 6279: 6272: 6267:Back to Bach 6265: 6258: 6135: 6127: 6062: 6048: 6035: 5737:Bach Archive 5727:Bach Archive 5704: 5679: 5657: 5632: 5623: 5594: 5591:Dürr, Alfred 5569: 5547: 5525: 5501: 5495: 5486: 5464: 5461:Dürr, Alfred 5439: 5417: 5380: 5354: 5334: 5330: 5317: 5297: 5294:Werner Breig 5255: 5245: 5219: 5213: 5180: 5158: 5147:. Retrieved 5140:the original 5129: 5106: 5102: 5088: 5062: 5043: 5021: 5003: 4981: 4959: 4941:, retrieved 4934:the original 4929: 4925: 4896: 4878: 4859: 4850: 4844: 4826: 4804: 4788: 4763: 4741: 4721: 4700: 4668: 4641: 4605: 4578: 4549: 4521: 4506: 4501: 4486: 4481: 4474:Dirksen 1992 4469: 4446: 4423: 4411: 4398: 4371:, p. 30 4350: 4338: 4326: 4303: 4295:The Diapason 4293: 4289: 4264: 4238: 4211: 4201: 4194:Werner Breig 4188: 4180:Bach Archive 4175:Bach Digital 4173: 4164: 4156:Bach Archive 4151:Bach Digital 4149: 4140: 4110: 4081: 4069: 4053: 4048: 4032: 4020: 4012: 4007: 3995: 3958: 3952: 3946:Dirksen 2008 3931:Siegele 1957 3911: 3891: 3875: 3863: 3832: 3819: 3807: 3780: 3713:, p. 6. 3706: 3694: 3667: 3655: 3643: 3631: 3619: 3581: 3565: 3553: 3521: 3509: 3482: 3470: 3458: 3446: 3419: 3407: 3392:Peter Wollny 3371:Spitta (1899 3362: 3322: 3252:4509-97452-2 3202:James Galway 3182: 3163: 3151: 3077:EMI Classics 3045: 3035:Andrew Manze 3001:Bruno Canino 2997:Peter Serkin 2946: 2915: 2908: 2892: 2885: 2882: 2869: 2782: 2781: 2738: 2714: 2705: 2689: 2687: 2674: 2669: 2666: 2645: 2617: 2604: 2596: 2585:Wolff (2007) 2565: 2562: 2548: 2502: 2497: 2495: 2487:harpsichord 2410:harpsichord 2375:two violins 2356:harpsichord 2301:, Op. 3 2298: 2286: 2279: 2268: 2258: 2249: 2222: 2181: 2178: 2151: 2053: 2038: 2035: 2032: 2005: 1970: 1924: 1921: 1894: 1848: 1845: 1842: 1815: 1774: 1771: 1744: 1726:Laila Storch 1639:Rampe (2013) 1629:, for alto, 1623: 1615: 1610: 1608: 1601: 1598: 1571: 1530:written out 1520: 1514: 1511: 1480: 1433: 1427: 1424: 1421: 1393: 1385: 1317: 1312:Bach Archive 1308:Peter Wollny 1304:Donald Tovey 1300: 1297: 1270: 1222:2. Larghetto 1140: 1135: 1121: 1118: 1091: 1045: 1038: 1031: 1027: 1000: 952:2. Siciliano 868: 862: 816: 801: 797:Jones (2013) 792: 788: 786: 779: 776: 769: 755: 747: 734: 729: 727: 720: 717: 711: 707: 703: 699: 695: 691: 687: 683: 679: 677: 670: 666: 659: 654: 646: 642: 639: 632: 627:Jones (2013) 623:Grosso Mogul 622: 620: 612:Werner Breig 609: 602: 598:Peter Wollny 590: 586:Werner Breig 582:Robert Reitz 565:Wilhelm Rust 562: 551: 545: 532: 524: 497: 387: 383: 381: 369: 350: 341:Rampe (2014) 337:Wolff (2016) 317: 313:World War II 294: 290: 283: 278: 244:in Leipzig. 242:Thomasschule 235: 228: 191: 188:Peter Wollny 169: 166: 142: 128: 124:on the left. 122:Thomasschule 114:Thomaskirche 89: 87: 80: 47: 45: 35: 6154:Adaptations 6143:discography 5389:Bärenreiter 5368:Bärenreiter 5322:Bärenreiter 5290:Martin Geck 5103:Early Music 4971:. pp. 4797:Bärenreiter 4711:. CAL 9720. 4705:André Isoir 4617:. pp. 4558:Bärenreiter 4437:Wollny 1997 4375:Wollny 1997 4363:Kilian 1989 4317:Wollny 1997 4311:Wollny 1993 4178:. Leipzig: 4154:. Leipzig: 4058:Igor Kipnis 3989:p. 268 3898:, pp. 3711:Wollny 2015 3699:Butler 2016 3610:, pp. 3573: [ 3558:Wolff (2016 3514:Butler 2016 3303: [ 3274: [ 3263: [ 3234: [ 3227:Alan Curtis 3051:Igor Kipnis 3023:Ton Koopman 2875:harpsichord 2741:Mann (1989) 2721:binary form 2554:harpsichord 2225:harpsichord 2154:harpsichord 2140:1. Allegro 2072:Franz Liszt 2008:harpsichord 2000:3. Allegro 1899:I/II solo, 1897:harpsichord 1820:I/II solo, 1818:harpsichord 1804:1. Allegro 1749:I/II solo, 1747:harpsichord 1722:Vilem Sokol 1683:3. Allegro 1677:1. Allegro 1574:harpsichord 1563:2. Andante 1560:1. Allegro 1517:arrangement 1483:harpsichord 1472:2. Andante 1469:1. Allegro 1397:harpsichord 1273:harpsichord 1175:1. Allegro 1094:harpsichord 1086:3. Allegro 1080:1. Allegro 1003:harpsichord 911:3. Allegro 905:1. Allegro 765:ground bass 500:harpsichord 366:), and his 287:fortepianos 60:harpsichord 6339:Categories 6216:Lady Lynda 6138:, BWV 1080 6130:, BWV 1079 6110:(doubtful) 6038:, BWV 1044 5976:(doubtful) 5965:(doubtful) 5149:2015-10-05 5134:(Spring). 5049:Clara Bell 4943:2016-11-27 4669:J. S. Bach 4663:Butt, John 4601:Butt, John 4416:Jones 2013 4358:Wolff 1985 4343:Rampe 2013 4331:Jones 2013 4255:Kroll 2014 4219:, p. 4133:Jones 2013 4103:Jones 2013 4074:Rampe 2013 4000:Tovey 1935 3987:, p. 3985:Kroll 2014 3896:Platt 2012 3882:, p. 3880:Basso 1979 3856:Kroll 2014 3812:Kroll 2014 3800:Wolff 2005 3785:Rampe 2013 3773:Rampe 2013 3742:Jones 2013 3687:Wolff 2016 3672:Wolff 2016 3660:Rampe 2013 3624:Rampe 2013 3608:Breig 1997 3539:Rampe 2014 3534:Wolff 2016 3529:Wolff 2008 3502:Wolff 2016 3451:Rampe 2013 3424:Breig 1997 3367:Rampe 2013 3354:References 3061:M2YK 45616 3003:(pianos), 2949:April 2018 2938:incomplete 2921:Recordings 2877:, violin, 2871:Concertino 2863:Affettuoso 2852:media help 2831:3. Allegro 2795:1. Allegro 2785:No. 5 2749:ex tempore 2672:sections. 2652:ritornello 2550:Concertino 2545:Alla breve 2206:See also: 2143:2. Adagio 2080:Gewandhaus 1883:1. Vivace 1865:See also: 1855:antiphonal 1738:media help 1680:2. Adagio 1542:See also: 1527:concertino 1451:See also: 1443:original. 1349:3. Presto 1264:media help 1204:1. Allegro 1062:See also: 994:media help 970:3. Allegro 847:Gewandhaus 690:form: the 491:media help 463:3. Allegro 427:1. Allegro 305:Silbermann 297:passages. 18:BWV 1061.1 6176:Ave Maria 6012:Concertos 5820:from the 5739:, Leipzig 5729:, Leipzig 5518:244226070 5504:: 17–24, 5347:"Preface" 5337:: 431–448 5055:, Novello 4853:: 507–508 4454:Mann 1989 4431:Mann 1989 4392:Mann 1989 4086:Butt 1999 4025:Mohr 1972 3648:Butt 1999 3439:Butt 1999 3340:Sara Levy 3198:STU 70693 3117:(piano), 3067:(piano), 2888:obbligato 2725:pizzicato 2601:pizzicato 2560:, violin 2505:arpeggios 2295:Vivaldi's 2223:Scoring: 2200:movements 2152:Scoring: 2006:Scoring: 1996:Siciliana 1895:Scoring: 1816:Scoring: 1782:cantabile 1745:Scoring: 1706:2. Adagio 1631:obbligato 1611:Jesu juva 1572:Scoring: 1481:Scoring: 1436:, BWV 156 1395:Scoring: 1346:2. Largo 1321:siciliana 1271:Scoring: 1092:Scoring: 1001:Scoring: 823:Sara Levy 651:bariolage 539:obbligato 498:Scoring: 445:2. Adagio 384:Jesu juva 279:Hausmusik 237:Hausmusik 184:John Butt 56:concertos 6169:Alphabet 5960:♭ 5932:Ensemble 5874:by, and 5809:BWV 1065 5805:BWV 1064 5801:BWV 1063 5797:BWV 1062 5793:BWV 1061 5703:(2010), 5656:(1994), 5463:(2006), 5345:(1999). 5316:(eds.), 5296:(eds.), 5041:(1899), 4953:(1907). 4787:(1989), 4709:Calliope 4577:(1979). 4532:website. 3284:; 2006; 3248:; 1968; 3212:GD 86517 3208:; 1987; 3194:; 1974; 3148:BWV 1059 3139:; 2013; 3127:Hyperion 3075:; 1987; 3057:; 1971; 3029:; 1991; 2761:BWV 1050 2709:♯ 2490:C major 2475:E major 2464:D minor 2449:D minor 2438:A minor 2424:B minor 2413:D major 2398:D major 2387:A minor 2372:A minor 2250:Length: 2237:continuo 2196:Incipits 2166:continuo 2088:Schubert 2020:continuo 1994:2. Alla 1909:continuo 1830:continuo 1810:3. Fuga 1759:continuo 1625:cantata 1586:continuo 1532:continuo 1499:continuo 1489:) I/II, 1487:recorder 1453:BWV 1049 1409:continuo 1285:continuo 1141:In 1845 1106:continuo 1015:continuo 728:In both 535:cantatas 512:continuo 133:— 72:continuo 5878:after, 5408:(1981, 5362:of the 4623:154–170 4619:123–135 4603:(ed.). 4540:Sources 4275:YouTube 2911:cadenza 2866:Allegro 2860:Allegro 2717:BWV 527 2621:prelude 2539:Allegro 2478:violin 2401:violin 2360:F major 2347:violin 2245:violone 2219:Allegro 2213:Allegro 2174:violone 2117:Dresden 2084:Leipzig 2078:at the 2028:violone 1917:violone 1838:violone 1767:violone 1724:, with 1644:BWV 156 1594:violone 1507:violone 1430:cantata 1417:violone 1293:violone 1114:violone 1023:violone 877:cadenza 851:Leipzig 829:at the 743:cadenza 739:fermata 520:violone 333:BWV 188 329:BWV 169 325:BWV 146 196:Dresden 176:Leipzig 118:Leipzig 104:History 68:strings 6315:Portal 6252:Albums 6095:Suites 5690: 5668: 5643: 5608: 5576: 5558: 5536: 5516: 5475: 5450: 5428: 5360:urtext 5238:742352 5236: 5201: 5191: 5169: 5074: 5028: 5010: 4992: 4907: 4885: 4866: 4833: 4811: 4774: 4752: 4729: 4685: 4652: 4629: 4585: 4564: 4513: 4493: 4245: 4227: 4040: 3965: 3590: 3250:Teldec 2609:Wollny 2593:galant 2231:I/II, 2229:violin 2160:I/II, 2158:violin 2014:I/II, 2012:violin 1903:I/II, 1901:violin 1824:I/II, 1822:violin 1778:Köthen 1753:I/II, 1751:violin 1635:taille 1580:I/II, 1578:violin 1576:solo, 1493:I/II, 1491:violin 1403:I/II, 1401:violin 1399:solo, 1279:I/II, 1277:violin 1275:solo, 1147:London 1138:form. 1100:I/II, 1098:violin 1096:solo, 1009:I/II, 1007:violin 1005:solo, 827:Berlin 506:I/II, 504:violin 502:solo, 368:fifth 94:Köthen 42:, 1732 6119:Fugal 6056:No. 5 5911:No. 3 5906:No. 2 5514:S2CID 5350:(PDF) 5331:Tibia 5260:(PDF) 5234:JSTOR 5199:JSTOR 5143:(PDF) 5126:(PDF) 4975:–113. 4937:(PDF) 4922:(PDF) 4554:(PDF) 4450:See: 4427:See: 4354:See: 4307:See: 4292:" in 4205:See: 3830:, in 3612:167ff 3577:] 3525:See: 3314:Notes 3307:] 3288:93187 3278:] 3267:] 3238:] 3196:Erato 3160:94340 3031:Erato 2879:flute 2670:tutti 2625:fugue 2558:flute 2432:1065 2283:organ 2241:cello 2233:viola 2216:Largo 2170:cello 2162:viola 2024:cello 2016:viola 1913:cello 1905:viola 1834:cello 1826:viola 1763:cello 1755:viola 1590:cello 1582:viola 1503:cello 1495:viola 1413:cello 1405:viola 1289:cello 1281:viola 1136:A–B–A 1110:cello 1102:viola 1048:tutti 1019:cello 1011:viola 843:Fanny 558:oboes 542:organ 537:with 516:cello 508:viola 291:tutti 64:organ 6230:They 5957:in E 5889:Solo 5870:and 5688:ISBN 5666:ISBN 5641:ISBN 5606:ISBN 5574:ISBN 5556:ISBN 5534:ISBN 5473:ISBN 5448:ISBN 5426:ISBN 5404:and 5393:ISMN 5372:ISMN 5189:ISBN 5167:ISBN 5072:ISBN 5026:ISBN 5008:ISBN 4990:ISBN 4905:ISBN 4883:ISBN 4864:ISBN 4831:ISBN 4809:ISBN 4772:ISBN 4750:ISBN 4727:ISBN 4683:ISBN 4650:ISBN 4627:ISBN 4621:and 4583:ISBN 4562:ISBN 4511:ISBN 4491:ISBN 4243:ISBN 4225:ISBN 4038:ISBN 3963:ISBN 3828:p. 3 3588:ISBN 2623:and 2605:arco 2603:and 2583:and 2484:976 2472:265 2458:596 2446:565 2421:580 2407:972 2395:230 2381:593 2369:522 2353:978 2341:310 2333:Key 2307:No. 2074:and 2066:and 2047:and 1991:1. 1052:bass 1036:and 812:1838 791:and 567:and 331:and 295:solo 261:and 203:and 70:and 62:(or 58:for 46:The 6209:Joy 5829:by 5506:doi 5224:doi 5111:doi 4851:133 4530:BIS 4528:at 4273:on 4221:144 3904:548 3900:270 3210:RCA 3177:BIS 2944:. 2739:As 2469:12 2443:11 2418:10 2326:BWV 2316:Key 2265:Op. 2090:'s 2082:in 1840:): 1519:of 1515:An 934:1. 849:in 610:As 211:of 174:in 116:in 74:by 66:), 52:BWV 6341:: 5807:, 5803:, 5799:, 5795:, 5791:, 5769:, 5765:, 5761:, 5757:, 5753:, 5749:, 5745:, 5735:, 5725:, 5686:, 5682:, 5664:, 5660:, 5639:, 5635:, 5554:, 5550:, 5532:, 5528:, 5512:, 5502:47 5500:, 5467:, 5420:, 5391:, 5383:, 5352:. 5335:18 5333:, 5320:, 5312:; 5292:; 5270:. 5266:, 5232:, 5220:77 5218:, 5197:, 5128:. 5107:13 5105:, 5070:, 5066:, 5051:; 4984:, 4973:84 4963:. 4957:. 4930:68 4924:, 4903:, 4849:, 4791:, 4770:, 4766:, 4681:. 4677:. 4673:. 4644:, 4625:. 4609:. 4560:, 4384:^ 4281:^ 4223:, 4215:, 4172:. 4148:. 4125:^ 4093:^ 3977:^ 3938:^ 3923:^ 3902:, 3884:68 3842:^ 3792:^ 3749:^ 3718:^ 3679:^ 3598:^ 3575:nl 3494:^ 3431:^ 3394:, 3378:^ 3305:de 3294:, 3276:nl 3269:, 3265:de 3258:, 3240:, 3236:nl 3229:, 3225:, 3204:, 3175:, 3135:, 3121:, 3089:, 3085:, 3071:, 3025:, 3007:, 2999:, 2995:, 2981:, 2977:, 2973:, 2969:, 2906:. 2873:: 2579:. 2556:, 2552:: 2392:9 2366:8 2338:3 2311:RV 2275:RV 2252:c. 2247:) 2243:, 2235:, 2176:) 2172:, 2164:, 2030:) 2026:, 2018:, 1933:. 1919:) 1915:, 1907:, 1836:, 1828:, 1769:) 1765:, 1757:, 1596:) 1592:, 1584:, 1534:. 1509:) 1505:, 1497:, 1419:) 1415:, 1407:, 1295:) 1291:, 1283:, 1149:. 1116:) 1112:, 1104:, 1043:. 1025:) 1021:, 1013:, 793:A′ 735:A′ 712:A′ 700:A′ 688:A′ 560:. 522:) 518:, 510:, 361:c. 339:, 327:, 50:, 38:, 6317:: 6244:" 6240:" 6232:" 6228:" 6225:" 6221:" 6218:" 6214:" 6211:" 6207:" 6204:" 6200:" 6197:" 6193:" 6190:" 6186:" 6178:" 6174:" 6171:" 6167:" 6164:" 6160:" 5860:e 5853:t 5846:v 5614:. 5508:: 5397:, 5226:: 5152:. 5113:: 4872:. 4735:. 4691:. 4635:. 4591:. 4476:. 4345:. 4088:. 4056:( 4002:. 3971:. 3933:. 3918:. 3906:. 3886:. 3835:. 3802:. 3701:. 3689:. 3638:. 3614:. 3584:. 2951:) 2947:( 2854:. 2787:, 2534:. 2482:0 2456:0 2405:0 2379:0 2351:0 2239:( 2168:( 2022:( 1931:6 1911:( 1832:( 1761:( 1740:. 1588:( 1501:( 1411:( 1287:( 1266:. 1132:6 1128:6 1108:( 1017:( 996:. 789:B 756:4 730:B 708:B 704:A 696:B 692:A 686:– 684:B 682:– 680:A 655:B 647:B 643:A 514:( 493:. 359:( 20:)

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Knowledge (XXG)

Keyboard concertos by Johann Sebastian Bach

Index