Johann Sebastian Bach: Drei Konzerte (ohne Ripieno)
Re-transcriptions after BWV 1060, BWV 1063 and BWV 1064
Already in 1869 Wilhelm Rust surmised that Johann Sebastian Bach’s concertos for one to four harpsichords and strings were not original compositions, but rather arrangements of his own concertos and those of other composer’s for one or more melody instruments. This hypothesis was accepted by Bach researchers and – especially after 1945 – put into more tangible form.
In contrast to the concertos for one harpsichord and strings, no autographs have been preserved for Concertos BWV 1060, 1063, and 1064. That is to say, reconstructions of these three concertos for two or three melody instruments can only be made with a thorough understanding of Bach’s arranging technique. That a reconstruction involves a number of uncertainties is obvious.
The present reconstructions assume – in contrast to all hitherto published reconstructions – that the ripieno was first added during the arrangement for two or three harpsichords. This may well be the first printed edition of BWV 1063, and the first of BWV 1064 in the key of C Major
Re-transcription by Hans Bergmann
Concerto in c-Minor for Oboe, Violin and Basso continuo, after BWV 1060 [without indication] - Andante - Allegro
Concerto in d-Minor for 3 Violins and Basso continuo, after BWV 1063
[without indication] - Allegro
Concerto in C-Major for 3 Violins und Basso continuo, after BWV 1064
[without indication] - Andante - Allegro