The keyboard concertos, BWV 1052–1065, are concertos for harpsichord (or organ), strings and continuo by Johann Sebastian Bach. There are seven complete concertos for a single harpsichord (BWV 1052–1058), three concertos for two harpsichords (BWV 1060–1062), two concertos for three harpsichords (BWV 1063 and 1064), and one concerto for four harpsichords (BWV 1065). Two other concertos include solo harpsichord parts: the concerto BWV 1044, which has solo parts for harpsichord, violin and flute, and Brandenburg Concerto No. 5 in D major, with the same scoring. In addition, there is a nine-bar concerto fragment for harpsichord (BWV 1059) which adds an oboe to the strings and continuo.
Most of Bach's harpsichord concertos (with the exception of the 5th Brandenburg Concerto) are thought to be arrangements made from earlier concertos for melodic instruments probably written in Köthen. In many cases, only the harpsichord version has survived. They are among the first concertos for keyboard instrument ever written.
History
The concertos for one harpsichord, BWV 1052–1059, survive in an autograph score, now held in the Berlin State Library. Based on the paper's watermarks and the handwriting, it has been attributed to 1738 or 1739.Peter Wollny, "Harpsichord Concertos," booklet notes for Andreas Staier's 2015 recording of the concertos, Harmonia Mundi HMC 902181.82 As Peter Williams 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 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.
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 at this particular time. One centres on his role as director of the Collegium Musicum in Leipzig, a municipal musical society, which gave weekly concerts at the Café Zimmermann, 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. John Butt 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. Peter Wollny, however, considers it unlikely that The Collegium Musicum would have required orchestral parts that were so neatly draughted; he considers it more plausible that the manuscript was prepared for a visit that Bach made to Dresden in 1738 when he would almost 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, Wilhelm Friedemann and Carl Philipp Emanuel, both employed as professional keyboard-players at the time of writing. Williams has also speculated that it might not be mere coincidence that the timing matched the publication of the first ever collection of keyboard concertos, the widely acclaimed and well-selling Organ concertos, Op. 4 of George Frideric Handel published in London and Paris in 1738.
The concertos for two or more harpsichords date from a slightly earlier period. The parts from the concerto for four harpsichords BWV 1065 (Bach's arrangement of the Concerto for Four Violins, RV 580, by Antonio Vivaldi), have been dated to around 1730. 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 Hausmusik—music for domestic performance within the Bach household at the Thomasschule in Leipzig. Johann Nikolaus Forkel, Bach's first biographer, recorded in 1802 that the concertos for two or more harpsichords were played with his two elder sons. Both of them 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 Sophienkirche in Dresden; and in 1735 Carl Philipp Emanuel moved to the university in Frankfurt an der Oder 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 were frequent and involved Bach together with his two elder sons, two of his younger sons—Johann Christoph Friedrich and Johann Christian—as well as his son-in-law Johann Christoph Altnickol. It is also known that Wilhelm Friedemann visited his father for one month in 1739 with two distinguished lutenists (one of them was Sylvius Weiss), which would have provided further opportunities for domestic music-making. The arrangement of the organ sonatas, BWV 525–530, for two harpsichords with each player providing the pedal part in the left hand, is also presumed to have originated as Hausmusik, a duet for the elder sons.
The harpsichord concertos were composed in a manner completely idiomatic to the keyboard (this was equally true for those written for two or more harpsichords). They were almost certainly originally conceived for a small chamber group, with one instrument per desk, even if performed on one of the newly developed fortepianos, which only gradually acquired the potential for producing a louder dynamic. The keyboard writing also conforms to a practice that lasted until the early nineteenth century, namely the soloist played along with the orchestra in tutti sections, only coming into prominence in solo passages.
The question "Did J.S. Bach write organ concertos?" has led Christoph Wolff 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 the melody instrument (BWV 146, BWV 169 and BWV 188). 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"). , , Gregory Butler and Matthew Dirst have suggested that this report might refer to versions of the cantata movements or similar works. 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 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.See: 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.
The earliest extant sources regarding Bach's involvement with the keyboard concerto genre are his Weimar concerto transcriptions, BWV 592–596 and 972–987 (), and his fifth Brandenburg Concerto, BWV 1050, the early version of which, BWV 1050a, may have originated before Bach left Weimar in 1717.. "The Background to Bach's Fifth Brandenburg Concerto" pp. 157–185 in The Harpsichord and its Repertoire: Proceedings of the International Harpsichord Symposium, Utrecht, 1990. Utrecht: STIMU Foundation for Historical Performance Practice, 1992.
Concertos for single harpsichord 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.' (Jesu juva, "Jesus, help") and ending with 'Finis. S. D. Gl.' (Soli Deo Gloria). Aside from the Brandenburg concertos, it is the only such collection of concertos in Bach's oeuvre, and it is the only set of concertos from his Leipzig years. The concerto BWV 1058 and fragment BWV 1059 are at the end of the score, but they are an earlier attempt at a set of works (as shown by an additional J.J.), which was, however, abandoned.
Concerto No. 1 in D minor, BWV 1052
Scoring: harpsichord solo, violin I/II, viola, continuo (cello, violone)
The earliest surviving manuscript of the concerto can be dated to 1734; it was made by Bach's son Carl Philipp Emanuel 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.
In the second half of the 1720s, Bach had already written versions of all three movements of the concerto for two of his cantatas with obbligato organ as solo instrument: the first two movements for the sinfonia and first choral movement of Wir müssen durch viel Trübsal in das Reich Gottes eingehen, BWV 146 (1726); and the last movement for the opening sinfonia of Ich habe meine Zuversicht, BWV 188 (1728). In these cantata versions the orchestra was expanded by the addition of oboes.
Like the other harpsichord concertos, BWV 1052 has been widely believed to be a transcription of a lost concerto for another instrument. Beginning with Wilhelm Rust and Philipp Spitta, 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. 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; Ferdinand David made one in 1873; Robert Reitz 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, Werner Breig suggested amendments based on the obbligato organ part in the cantatas and BWV 1052a.