The music on this album raises at least two intriguing questions: First, are these concertos original Bach creations? Secondly, should they be played on modern pianos. The two issues are in fact closely linked by the idea of transcription.
Four of the keyboard concertos recorded here derive either from works originally composed by Bach for other instruments (this is true of the Concerto in C minor, BWV 1062 for two harpsichords – a transcription of the celebrated and exceptional Concerto in D minor for two violins, BWV 1043), or from works by Bach of which we are more or less aware, but whose initial versions have not survived. This applies to the Concerto in C major, BWV 1061 and the Concerto in C minor, BWV 1060.
As for the Concerto in A minor, BWV 1065 for four harpsichords, it is a reworking of the tenth concerto from Vivaldi’s L’Estro armonico, op.3, for four violins.
All the questions and analysis really does not matter; what does matter is how wonderful the music is. And that we are listening and enjoying it more that 300 years after these pieces were created!
Here is David Fray, pianist and conductor, telling us more:
