The concerto transcriptions of Johann Sebastian Bach
date from his second period at the court in Weimar
(1708–1717). Bach transcribed for organ and
harpsichord a number of Italian and Italianate
concertos, mainly by Antonio Vivaldi, but with others
by Alessandro Marcello, Benedetto Marcello, Georg
Philipp Telemann and the musically talented Prince
Johann Ernst of Saxe-Weimar. It is thought that most of
the transcriptions were probably made in 1713–1714.
Their publication by C.F. Peters in th...(+)
The concerto transcriptions of Johann Sebastian Bach
date from his second period at the court in Weimar
(1708–1717). Bach transcribed for organ and
harpsichord a number of Italian and Italianate
concertos, mainly by Antonio Vivaldi, but with others
by Alessandro Marcello, Benedetto Marcello, Georg
Philipp Telemann and the musically talented Prince
Johann Ernst of Saxe-Weimar. It is thought that most of
the transcriptions were probably made in 1713–1714.
Their publication by C.F. Peters in the 1850s and by
Breitkopf & Härtel in the 1890s played a decisive role
in the Vivaldi revival of the twentieth century.
Despite the undeniable support he received from the
Wilhelmsburg, Bach must have developed closer personal
ties to the Red Palace. The young Duke Ernst August,
who played both violin and trumpet and who was known
for his active acquisition of musical instruments and
performing materials for his large music library, paid
Bach in 1711-12 for giving keyboard lessons to his page
Adam von Jagemann (who also received dance instruction
from Bach's colleague and landlord Weldig). The duke's
twelve-year-old half-brother, Prince Johann Ernst, was
taught the violin as a small child and, from 1707 on,
studied keyboard and composition with Johann Gottfried
Walther, the Weimar town organist and distant relative
of Bach's (in 1708, Walther wrote an instruction
manual, Praecepta der masicalischen Composition, for
the prince and presented it to him as a nameday gift).
Bach later transcribed four of the prince's
compositions, for organ and harpsichord (BWV 592, 595,
982, and 987)." Carl Philipp Emanuel Bach reported to
Forkel that along with Prince Leopold of Cothen and
Duke Christian of Weissenfels, "Duke Ernst August in
Weimar . . . particularly loved him, and rewarded him
appropriately?". Whether or not the warmer relationship
with Ernst August ultimately had a negative impact on
Wilhelm Emu's attitude toward Bach, a sizable salary
supplement for his final Weimar years was covered by
the younger duke's treasury.'; Bach's double function
as court organist and chamber musician reflects his
versatility and expertise as a performer, but
increasingly as a composer, too. As a member of the
court capelle, he belonged to the group of "joint
servants" and was therefore employed by both dukes and
paid by the joint treasury. In 1708-9, Bach's first
year, the capelle consisted of twelve mostly full-time
members".
In this, the Keyboard Concerto no. 14 in D Minor (BWV
987) Bach created a transcription after after one of
the 6 Violin Concertos, Op.1, by Prince Johann Ernst of
Saxe-Weimar.
Source: Wikipedia
(https://en.wikipedia.org/wiki/Concerto_transcriptions_
for_organ_and_harpsichord_(Bach))
Although originally written for Harpsichord. I created
this Arrangement of the Concerto in D Minor (BWV 987)
for Viola & Concert (Pedal) Harp.
