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Both relate the work to performances by Bach of concerted movements for organ and orchestra in
Dresden and Leipzig. Wolff also details why the violinistic figuration in the harpsichord part does not demonstrate that it is a transcription from a previous violin part; for one thing, the "extended and extreme passagework" in the solo part "cannot be found in any of Bach's violin concertos"; for another, he points to other relevant Bach keyboard works that "display direct translations of characteristic violin figuration into idiomatic passagework for the keyboard."
20:
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549:, a friend and teacher of Mendelssohn as well as a fellow devotee of Bach, gave the first performance of the concerto in London in 1836 at a benefit concert, adding one flute and two clarinets, bassoons and horns to the orchestra. In a letter to Mendelssohn, he disclosed that he intended the woodwind section to have the "same position in the Concerto as the organ in the performance of a Mass".
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Bach then proceeds to juxtapose passages in the key of D minor with passages in A minor: in the first movement this concerns the first 27 bars; and in the last the first 41 bars. These somewhat abrupt changes in tonality convey the spirit of a more ancient modal type of music. In both movements the
388:
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
240:
and
Gregory Butler, published independently conducted research that led each to conclude that the original form of BWV 1052 was an organ concerto composed within the first few years of Bach's tenure in Leipzig. (Previous scholarship often held that Bach composed the original in Weimar or Cöthen.)
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sections Bach adds unexpected features: in the first movement what should be the last ritornello is interrupted by a brief perfidia episode building up to the true concluding ritornello; similarly in the last movement, after five bars of orchestral ritornello marking the beginning of the
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and contained only the orchestral parts, the cembalo part being added later. This version is known as BWV 1052a. The definitive version BWV 1052 was recorded by Bach himself in the autograph manuscript of all eight harpsichord concertos BWV 1052–1058, made around 1738.
277:
Bach's first harpsichord in D minor, BWV 1052 is in three movements, marked
Allegro, Adagio and Allegro. It is scored for harpsichord and Baroque string orchestra (2 violins, viola, cello and continuo). BWV 1052 has similarities with Vivaldi's highly virtuosic
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has speculated that the copies of the orchestral parts made in 1734 (BWV 1052a) might have been used for a performance of the concerto with Carl
Philipp Emanuel as soloist. There have been several reconstructions of the putative violin concerto;
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creates another equally dramatic effect by interrupting the relentless minor-key passages with statements of the ritornello theme in major keys. Jones describes these moments of relief as providing "a sudden, unexpected shaft of light".
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which, when they recur later, become increasingly virtuosic and eventually merge into brilliant filigree demisemiquaver figures—typical of the harpsichord—in the final extended cadenza-like episode before the concluding ritornello.
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it "conveys a sense of huge elemental power". This mood is created in the opening sections of the two outer movements. Both start in the manner of
Vivaldi with unison writing in the ritornello sections.
216:, many scholars suggested that the original melody instrument was the violin, because of the many violinistic figurations in the solo part—string-crossing, open string techniques—all highly virtuosic.
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Throughout the first movement the harpsichord part also has several episodes with "perfidia"—the same half bar semiquaver patterns repeated over a prolonged period. Both outer movements are in an
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in 1917; and
Wilfried Fischer prepared one for Volume VII/7 of the Neue Bach Ausgabe in 1970 based on BWV 1052. In 1976, in order to resolve playability problems in Fischer's reconstruction,
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In the twenty-first century, however, Bach scholarship has moved away from any consensus regarding a violin original. In 2016, for example, two leading Bach scholars,
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It continues throughout the piece providing the foundations over which the solo harpsichord spins a florid and ornamented melodic line in four long episodes.
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The highly rhythmic thematic material of the solo harpsichord part in the third movement has similarities with the opening of the third
Brandenburg Concerto.
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violin concerto, RV 208, which Bach had previously transcribed for solo organ in BWV 594. It is considered one of Bach's greatest concertos: in the words of
1400:
Wolff, Christoph (2016). "Did J. S. Bach Write Organ
Concertos? Apropos the Prehistory of Cantata Movements with Obbligato Organ". In Dirst, Matthew (ed.).
1503:
208:
Like the other harpsichord concertos, BWV 1052 has been widely believed to be a transcription of a lost concerto for another instrument. Beginning with
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reported that
Moscheles "elicited such unequivocal testimonies of delight, as the quiet circle of the Ancient Concert subscribers rarely indulge in".
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sections of both movements are freely developed and highly virtuosic; they are filled with violinistic figurations including keyboard reworkings of
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Several hand copies of the concerto—the standard method of transmission—survive from the 18th century; for instance there are hand copies by
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sections are fairly closely tied to the ritornello material which is interspersed with brief episodes for the harpsichord. The central
1159:
Butler, Gregory (2016), "The Choir Loft as
Chamber: Concerted Movements by Bach from the Mid- to Late 1720s", in Matthew Dirst (ed.),
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Geschichte der Gewandhausconcerte zu Leipzig vom 25. November 1781 bis 25. November 1881: Im Auftrage der Concert-Direction verfasst
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subsequently described Moscheles' reorchestration as "very beautiful". The following year Moscheles performed the concerto at the
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section, the thematic material of the harpsichord introduces a freely developed 37-bar highly virtuosic episode culminating in a
1124:(in Italian). Vol. Le origini familiari, l'ambiente luterano, gli anni giovanili, Weimar e Köthen (1685–1723). Turin: EDT.
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performed the concerto at the same venue. In 1835 Felix Mendelssohn played the concerto in his first year as director of the
1294:"Verzeichnis der bis zum Jahre 1851 gedruckten (und der geschrieben im Handel gewesenen) Werke von Johann Sebastian Bach"
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In the second half of the 1720s, Bach had already written versions of all three movements of the concerto for two of his
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The subdominant tonality of G minor also plays a role in the outer movements, in the bridging passages between the
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has pointed out that the predominant keys in the outer movements centre around the open strings of the violin.
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also disagrees with the hypothesis that the works might have originally been a violin concerto. According to
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1950:
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222:
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84:
1232:
The Creative Development of Johann Sebastian Bach, Volume II: 1717–1750: Music to Delight the Spirit
1738:
667:
1307:
522:
521:. In the first decade of the 19th century the harpsichord virtuoso and great aunt of Mendelssohn,
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The earliest surviving manuscript of the concerto can be dated to 1734; it was made by Bach's son
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which is played in unison by the whole orchestra and the harpsichord in the opening ritornello.
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as solo instrument: the first two movements for the sinfonia and first choral movement of
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Johann Georg Schreiber, 1720: Engraving of Katherinenstrasse in Leipzig. In the centre is
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in Leipzig. There were further performances at the Gewandhaus in 1837, 1843 and 1863.
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The performance history in the nineteenth century can be traced back to the circle of
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Dass das Konzert die Bearbeitung eines Violinkonzert darstellt, ist unwahrscheinlich.
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suggested amendments based on the obbligato organ part in the cantatas and BWV 1052a.
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It is unlikely that the concerto represents the arrangement of a violin concerto.
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and an unknown scribe in the early 1750s. Its first publication in print was in
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section starts with the bariolage passage and lasts from bar 62 to bar 171, the
201:(1728). In these cantata versions the orchestra was expanded by the addition of
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1142:(1993). "Sur les traces de l'oeuvre pour orgue et orchestre de J.S. Bach".
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section in the first movement starts with repeated note bariolage figures:
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1366:"A Bach Cult in Late-Eighteenth-Century Berlin: Sara Levy's Musical Salon"
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for the last movement of the concerto, which was published posthumously.
460:
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1851:
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327:, a technique that relies on the use of the violin's open strings. The
186:
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1214:(1884). "Statistik der Concerte im Saale des Gewandhauses zu Leipzig"
1180:(1999). "Harpsichord Concertos". In Boyd, Malcolm; Butt, John (eds.).
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Wir mĂĽssen durch viel TrĂĽbsal in das Reich Gottes eingehen, BWV 146
113:
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577:
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571:
416:
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179:
160:, where the Collegium Musicum held weekly chamber music concerts
87:
conducted by Simon Schindler with Johannes Volker Schmidt (piano)
1150:(organ) and Le Parlement de Musique conducted by Martin Gester.
736:
680:, Les Folies Françoises, Patrick Cohen-Akenine; 2011; Cypres
525:, gave public performances of the concerto in Berlin at the
486:
1319:, Bach-Handbuch (in German), vol. 5/1, Laaber-Verlag,
202:
195:(1726); and the last movement for the opening sinfonia of
166:
Keyboard concertos by Johann Sebastian Bach § History
1580:
Sonatas for viola da gamba and harpsichord, BWV 1027–1029
109:
1254:
Ignaz Moscheles and the Changing World of Musical Europe
1144:
Johann Sebastian Bach: L'oeuvre pour orgue et orchestre
700:
588:
1636:
Canonic Sonata for oboe, violin and continuo, BWV 1040
28:
Keyboard Concerto No. 1 in D minor, BWV 1052
1948:
1575:
Six Sonatas for Violin and Harpsichord, BWV 1014–1019
566:
The concerto was first published in 1838 in Leipzig.
292:
712:
1532:
Sonatas and Partitas for Solo Violin, BWV 1001–1006
380:section of the final movement is in bars 1–84, the
368:section of the first movement is in bars 1–62, the
1181:
784:
748:
724:
1272:Johannes Brahms: A Research and Information Guide
772:
1972:
1163:, University of Illinois Press, pp. 76–86,
760:
1431:Wollny, Peter (2015). "Harpsichord Concertos".
559:with Bach's original string orchestration. The
533:and subsequently run by Mendelssohn's teacher
376:section lasts from bar 172 until the end; the
1938:List of compositions by Johann Sebastian Bach
1488:
1122:Frau Musika: La vita e le opere di J. S. Bach
1631:Sonata for two flutes and continuo, BWV 1039
1434:Johann Sebastian Bach: Harpsichord Concertos
993:
991:
529:, established in 1791 by the harpsichordist
427:The slow movement, an Adagio in G minor and
1679:Sinfonia for violin and orchestra, BWV 1045
419:) before the concluding 12 bar ritornello.
1495:
1481:
422:
1719:For two harpsichords in C minor, BWV 1060
1468:International Music Score Library Project
1464:Harpsichord Concerto in D minor, BWV 1052
1288:
1138:
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718:
1332:
576:
485:
217:
151:
1210:
1161:Bach Perspectives 9: Bach and the Organ
1021:
1973:
1430:
1158:
803:Concerto, d BWV 1052.1 at Bach Digital
790:
778:
490:The Singakademie in 1843 (Designed by
1744:Orchestral Suite in G minor, BWV 1070
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1379:American Academy of Arts and Sciences
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304:The last movement begins as follows:
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1661:Violin Concerto in E major, BWV 1042
1656:Violin Concerto in A minor, BWV 1041
1176:
730:
589:Selected recordings with harpsichord
272:
251:
106:Harpsichord Concerto in D minor
1404:. Bach Perspectives. Vol. 10.
13:
1981:Concertos by Johann Sebastian Bach
1666:Concerto for Two Violins, BWV 1043
637:Neues Bachisches Collegium Musicum
293:First and third movements: Allegro
198:Ich habe meine Zuversicht, BWV 188
95:Problems playing these files? See
18:
14:
2002:
1699:Keyboard concertos, BWV 1052–1065
1457:
581:Single-manual harpsichord at the
514:by the Kistner Publishing House.
1958:
1739:Orchestral Suites, BWV 1066–1069
1559:Partita for Solo Flute, BWV 1013
1374:Bulletin of the American Academy
1317:Bachs Orchester- und Kammermusik
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384:section in bars 84–224, and the
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537:. In 1824 Mendelssohn's sister
1452:. pp. 6–7. HMC 902181.82.
531:Carl Friedrich Christian Fasch
1:
1824:Everything's Gonna Be Alright
1230:Jones, Richard D. P. (2013),
694:
128:. In three movements, marked
1406:University of Illinois Press
745:, pp. 264–270, 372–375.
481:
142:Bach's harpsichord concertos
7:
1838:Jesu, Joy of Man's Desiring
1554:Cello Suites, BWV 1007–1012
10:
2007:
1714:No. 4 in A major, BWV 1055
1709:No. 2 in E major, BWV 1053
1704:No. 1 in D minor, BWV 1052
1446:Freiburger Barockorchester
1344:Cambridge University Press
1190:Oxford Composer Companions
1092:
654:Freiburger Barockorchester
163:
1933:
1887:
1789:
1753:
1729:
1646:
1567:
1524:
1339:Bach: A Musical Biography
1274:(2 ed.). Routledge.
504:Johann Friedrich Agricola
474:sections. More generally
85:Fulda Symphonic Orchestra
1315:Rampe, Siegbert (2013),
1256:, Boydell & Brewer,
1100:"Concerto, d BWV 1052.1"
668:Academy of Ancient Music
629:471754-2 (2002 re-issue)
556:Academy of Ancient Music
255:
1991:Compositions in D minor
1381:: 26–31. Archived from
1270:Platt, Heather (2012).
1236:Oxford University Press
1194:Oxford University Press
1112:; et al. 16 April 2020.
961:, pp. 258–259, 267
937:, pp. 258–259, 267
913:, pp. 258–259, 267
889:, pp. 258–259, 267
865:, pp. 258–259, 267
841:, pp. 258–259, 267
613:CBS Masterworks Records
423:Second movement: Adagio
1878:A Whiter Shade of Pale
1859:Sheep may safely graze
1424:10.5406/j.ctt18j8xkb.8
1308:Breitkopf & Härtel
607:, The London Strings,
585:
583:Bach House in Eisenach
499:
262:
161:
23:
1986:Harpsichord concertos
1872:Trio Sonata, BWV 525a
1685:Brandenburg Concertos
1517:Johann Sebastian Bach
674:; 1999; L'Oiseau Lyre
633:Christine Schornsheim
580:
535:Carl Friedrich Zelter
489:
415:(for an extemporised
155:
140:, it is the first of
126:Johann Sebastian Bach
22:
1896:Bach's Greatest Hits
1818:Bach-Busoni Editions
1764:The Musical Offering
1621:in E major, BWV 1035
1616:in E minor, BWV 1034
1610:in C major, BWV 1033
1605:in A major, BWV 1032
1588:in B minor, BWV 1030
1252:Kroll, Mark (2014),
688:Bach Collegium Japan
508:Christoph Nichelmann
442:time, is built on a
172:Carl Philipp Emanuel
1924:Switched-On Bach II
1910:Jazz Sebastian Bach
1798:Air on the G String
709:, pp. 368–375.
672:Christopher Hogwood
623:The English Concert
492:Carl Theodor Ottmer
1408:. pp. 60–75.
1402:Bach and the Organ
1310:. pp. 84–113.
1299:Bach-Jahrbuch 1906
1040:, pp. 265–266
973:, pp. 268–270
949:, pp. 268–270
925:, pp. 268–270
901:, pp. 268–270
877:, pp. 268–270
853:, pp. 268–270
829:, pp. 268–270
817:, pp. 258–259
664:Christophe Rousset
645:Brilliant Classics
641:Burkhard Glaetzner
586:
500:
225:made one in 1873;
162:
148:Historical context
24:
1946:
1945:
1326:978-3-89007-455-9
1203:978-0-19-866208-2
1140:Cantagrel, Gilles
627:Archiv Produktion
599:Leonhardt-Consort
570:later composed a
519:Felix Mendelssohn
273:Musical structure
270:
269:
144:, BWV 1052–1065.
112: 1052, is a
83:Performed by the
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60:
42:
1998:
1963:
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1917:Switched-On Bach
1772:The Art of Fugue
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1519:
1508:orchestral works
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1466:: Scores at the
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1687:, BWV 1046–1051
1672:Triple Concerto
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1599:major, BWV 1031
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1584:Flute Sonatas
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1537:Partita No. 1
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1512:transcriptions
1500:
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1470:
1459:
1458:External links
1456:
1455:
1454:
1450:Harmonia Mundi
1442:Andreas Staier
1428:
1414:
1397:
1358:
1353:978-1316531389
1352:
1330:
1325:
1312:
1290:Schneider, Max
1286:
1281:978-1135847081
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1263:978-1843839354
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1118:Basso, Alberto
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719:Cantagrel 1993
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684:Masaaki Suzuki
681:
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658:Harmonia Mundi
650:Andreas Staier
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619:Trevor Pinnock
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1627:Trio Sonatas
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1388:on 2016-03-04
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1306:(in German).
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1304:Bach-Jahrbuch
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660:HMC 902181.82
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643:; 1990–1992;
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561:Musical World
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1903:Back to Bach
1901:
1894:
1771:
1763:
1703:
1684:
1671:
1433:
1401:
1390:. Retrieved
1383:the original
1372:
1338:
1316:
1298:
1271:
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1231:
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1183:
1160:
1143:
1121:
1110:Bach Archive
1105:Bach Digital
1103:
1072:
1057:
1045:
1033:
1022:Dörffel 1884
1017:
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978:
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476:Jones (2013)
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286:Jones (2013)
281:Grosso mogul
279:
276:
263:
256:
247:Bach Digital
243:Peter Wollny
235:
231:Werner Breig
227:Robert Reitz
210:Wilhelm Rust
207:
196:
190:
177:
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137:
133:
129:
120:and Baroque
105:
103:
94:
1790:Adaptations
1779:discography
1154:. CAL 9720.
1148:André Isoir
1108:. Leipzig:
1079:, pp.
791:Wollny 2015
779:Butler 2016
605:Igor Kipnis
444:ground bass
118:harpsichord
1975:Categories
1852:Lady Lynda
1774:, BWV 1080
1766:, BWV 1079
1746:(doubtful)
1674:, BWV 1044
1612:(doubtful)
1601:(doubtful)
1392:2018-04-12
1377:(Spring).
1178:Butt, John
1131:8870630110
1077:Platt 2012
1064:, p.
1062:Basso 1979
1038:Kroll 2014
1024:, p.
1010:Kroll 2014
998:Wolff 2005
983:Rampe 2013
971:Rampe 2013
959:Jones 2013
947:Rampe 2013
935:Jones 2013
923:Rampe 2013
911:Jones 2013
899:Rampe 2013
887:Jones 2013
875:Rampe 2013
863:Jones 2013
851:Rampe 2013
839:Jones 2013
827:Rampe 2013
815:Jones 2013
767:Wolff 2016
755:Wolff 2016
743:Rampe 2013
707:Rampe 2013
695:References
615:M2YK 45616
543:Gewandhaus
364:form: the
97:media help
69:3. Allegro
33:1. Allegro
1812:Ave Maria
1648:Concertos
1184:J.S. Bach
731:Butt 1999
523:Sara Levy
482:Reception
325:bariolage
184:obbligato
51:2. Adagio
1805:Alphabet
1596:♭
1568:Ensemble
1510:by, and
1364:(2005).
1336:(2016).
1292:(1907).
1225:Leipzig.
1152:Calliope
1120:(1979).
656:; 2013;
625:; 1981;
611:; 1971;
402:In both
180:cantatas
114:concerto
1514:after,
1093:Sources
572:cadenza
417:cadenza
413:fermata
138:Allegro
130:Allegro
1951:Portal
1888:Albums
1731:Suites
1422:
1412:
1350:
1323:
1278:
1260:
1242:
1200:
1167:
1128:
134:Adagio
1755:Fugal
1692:No. 5
1547:No. 3
1542:No. 2
1438:(PDF)
1420:JSTOR
1386:(PDF)
1369:(PDF)
1218:, in
539:Fanny
203:oboes
187:organ
182:with
1866:They
1593:in E
1525:Solo
1506:and
1410:ISBN
1348:ISBN
1321:ISBN
1276:ISBN
1258:ISBN
1240:ISBN
1216:p. 3
1198:ISBN
1165:ISBN
1126:ISBN
1026:p. 3
512:1838
470:and
212:and
136:and
116:for
104:The
1845:Joy
1085:548
1081:270
124:by
110:BWV
1977::
1448:.
1444:,
1418:.
1371:.
1346:.
1342:.
1302:.
1296:.
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1234:,
1196:.
1192:.
1188:.
1102:.
1083:,
1066:68
990:^
686:,
670:,
666:,
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639:,
635:,
621:,
597:,
472:A′
409:A′
386:A′
374:A′
362:A′
249:,
205:.
132:,
108:,
1953::
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1796:"
1496:e
1489:t
1482:v
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1395:.
1356:.
1284:.
1223:.
1206:.
1134:.
1028:.
805:.
781:.
769:.
721:.
498:)
468:B
435:4
404:B
382:B
378:A
370:B
366:A
360:–
358:B
356:–
354:A
329:B
321:B
317:A
99:.
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