In the first movement Bach creates another equally dramatic effect by interrupting the relentless minor-key passages with statements of the ritornello theme in major keys.In three movements, marked Allegro, Adagio and Allegro, it is the first of Bachs harpsichord concertos, composed between 1738 and 1739.The definitive version BWV 1052 was recorded by Bach himself in the autograph manuscript of all eight harpsichord concertos BWV 10521058, made around 1738.In these cantata versions the orchestra was expanded by the addition of oboes.
Beginning with Wilhelm Rust and Philipp Spitta, many scholars suggested that the original melody instrument was probably the violin, because of the many violinistic figurations in the solo partstring-crossing, open string techniquesall highly virtuosic. Williams (2016) 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 violin concerto; Ferdinand David made one in 1873; Robert Reitz in 1917; and Wilfried Fischer prepared one for Volume VII7 of the Neue Bach Ausgabe in 1970 based on BWV 1052. In 1976, in order to resolve playability problems in Fischers reconstruction, Werner Breig suggested amendments based on the obbligato organ part in the cantatas and BWV 1052a. In 2016, for example, two leading Bach scholars, Christoph Wolff and Gregory Butler, both published independently conducted research that led each to conclude that the original form of BWV 1052 was an organ concerto. He abandoned the next entry BWV 1059 after only a few bars to begin setting down BWV 1052 with a far more comprehensive approach to recomposing the original than merely adapting the part of the melody instrument. It is scored for harpsichord and Baroque string orchestra (2 violins, viola, cello and continuo). BWV 1052 has similarities with Vivaldis highly virtuosic Grosso Mogul violin concerto, RV 208, which Bach had previously transcribed for solo organ in BWV 594. It is one of Bachs greatest concertos: in the words of Jones (2013) it conveys a sense of huge elemental power. Both start in the manner of Vivaldi with unison writing in the ritornello sections. Both start in the manner of Vivaldi with unison writing in the ritornello sectionsthe last movement begins as follows. These somewhat abrupt changes in tonality convey the spirit of a more ancient modal type of music. In both movements the A sections are fairly closely tied to the ritornello material which is interspersed with brief episodes for the harpsichord. The central B sections of both movements are freely developed and highly virtuosic; they are filled with violinistic figurations including keyboard reworkings of bariolage, a technique that relies on the use of the violins open strings. Both outer movements are in an A B A form: the A section of the first movement is in bars 162, the B section starts with the bariolage passage and lasts from bar 62 to bar 171, the A section lasts from bar 172 until the end; the A section of the final movement is in bars 184, the B section in bars 84224, and the A 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.
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