1. History

2. Models
    After Vivaldi  From L'estro armonico  Concertos circulating as manuscript  After other Venetian composers  Benedetto Marcello's Op. 1 No. 2  Alessandro Marcello's Oboe concerto  After Telemann  After Prince Johann Ernst of Saxe–Weimar  After unidentified models 

3. Bach's transcriptions
    Transcriptions for organ, BWV 592–596  Concerto in G major, BWV 592  Concerto in A minor, BWV 593  Concerto in C major, BWV 594  Concerto in C major, BWV 595  Concerto in D minor, BWV 596  Transcriptions for harpsichord, BWV 592a and 972–987  Concerto in G major, BWV 592a  Concerto in D major, BWV 972  Concerto in G major, BWV 973  Concerto in D minor, BWV 974  Concerto in G minor, BWV 975  Concerto in C major, BWV 976  Concerto in C major, BWV 977  Concerto in F major, BWV 978  Concerto in B minor, BWV 979  Concerto in G major, BWV 980  Concerto in C minor, BWV 981  Concerto in B-flat major, BWV 982  Concerto in G minor, BWV 983  Concerto in C major, BWV 984  Concerto in G minor, BWV 985  Concerto in G major, BWV 986  Concerto in D minor, BWV 987 

4. Reception

5. References

6. Sources

7. Further reading

8. Manuscripts

9. External links

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.

Around 1715 Johann Bernhard Bach, Johann Sebastian's second cousin, copied 12 of the concerto transcriptions in a single manuscript. This manuscript, shelf mark P 280 in the Berlin State Library, starts with the harpsichord transcriptions BWV 972–981, followed by the organ transcription BWV 592, and ends with BWV 982. The sequence of the concertos in this manuscript is possibly as intended by the composer. For the organ transcriptions there is no known sequence that may go back to Bach's time. P 330 is Bach's autograph of BWV 596, written around 1714–17. Wilhelm Friedemann Bach later wrote on this manuscript that it was one of his own compositions, copied by his father. In the 20th century the assertion by the son was shown to be incorrect, and the transcription was attributed to the father.^[3][4][5]

The publication of these transcriptions by C.F. Peters in the 1850s and by the Bach Gesellschaft in the 1890s played a decisive role in the Vivaldi revival of the twentieth century.

History

Bach's concerto transcriptions reflect not only his general interest in and assimilation of musical forms originating in Italy, in particular the concertos of his Venetian contemporary Antonio Vivaldi, but also the particular circumstances of his second period of employment 1708–1717 at the court in Weimar.

During his first brief period in Weimar in 1703 Bach was employed as a court violinist for seven months by Johann Ernst III, Duke of Saxe-Weimar, who ruled jointly with his elder brother Wilhelm Ernst, Duke of Saxe-Weimar. Wilhelm Ernst's Lutheran piety contrasted with his younger brother's alcoholism. On Johann Ernst's death in 1707, he was succeeded as coregent by his elder son Ernst August, who lived with his younger stepbrother, Prince Johann Ernst, outside the ducal Wilhelmsburg in the Rotes Schloss. A talented amateur musician, from an early age Prince Johann Ernst had been taught the violin by the court violinist Gregor Christoph Eilenstein. Johann Ernst studied the keyboard with Bach's distant cousin Johann Gottfried Walther, after he became organist at the Stadtkirche in Weimar in 1707. The following year, when Bach himself was appointed as organist in Weimar in the ducal chapel or Himmelsburg, he not only had at his disposal the recently renovated chapel organ but also the organ in the Stadtkirche. In the Wilhelmsburg, Wilhelm Ernst had already revived the court orchestra, of which Bach eventually became Concertmaster in 1714. As well as music-making in the Wilhelmsburg, Bach was almost certainly involved in the parallel more secular musical events in the Rotes Schloss organised by August Ernst and Johann Ernst. Harpsichords were available to Bach at both venues.{{sfn|Boyd|2001|page=37}}{{sfn|Bach|2010|page=23}}^[6]

After the death of their father in 1683, Wilhelm Ernst and his younger brother Johann Ernst had become the co-ruling Dukes of Saxe-Weimar. Wilhelm Ernst resided in the main palace, the Wilhelmsburg, while his brother occupied the nearby {{illm|Rotes Schloss (Weimar)|lt=Rotes Schloss|commons|Category:Rotes Schloss (Weimar)}} as Duke Johann Ernst III. In 1703 Bach had served for a few months as a violinist in Johann Ernst's orchestra. When Johann Ernst died in 1707 he left two sons: his successor Ernst August and, from his second marriage, Prince Johann Ernst. By that time Duke Wilhelm Ernst had become, all but in name, the only ruler of the Duchy. In 1708 Bach applied before the Duke, and entered into service as organist and chamber musician, on the expense of both the Wilhelmsburg and Rotes Schloss courts. He tutored Ernst August, who, on attaining majority in 1709, became the co-ruling Duke. His half-brother had even more musical talents: as a youngster he had learned to play the violin from his valet Gregor Christoph Eilenstein. Bach's cousin Johann Gottfried Walther, who had become organist at Weimar's town church in 1707, taught the Prince keyboard, and, from 1713, composition.{{sfn|Wolff|2001}}

Early works like BWV 912a and BWV 967, probably composed before 1707, also display concerto-like elements. The first documented evidence of Bach's engagement with the concerto genre can be dated to around 1709, during his second period in Weimar, when he made a hand copy of the continuo part of Albinoni's Sinfonie e concerti a 5, Op. 2 (1700). Earlier compositions had been brought back to Weimar from Italy by the deputy Kapellmeister, Johann Wilhelm Drese, during his stay there in 1702–1703. In 1709 the virtuoso violinist Johann Georg Pisendel visited Weimar: he had studied with Torelli and is likely to have acquainted Bach with more of the Italian concerto repertoire. In the same year Bach also copied out all the parts of the double violin concerto in G major, TWV 52:G2, of Georg Philipp Telemann, a work that he might have acquired through Pisendel. Bach would also have known Telemann well then since he was court musician at Eisenach, Bach's birthplace. Telemann's concerto for solo violin, TWV 51:g1, transcribed by Bach for harpsichord as BWV 985, comes from the same series of Eisenach concertos as the double violin concerto; moreover, as explained in {{harvtxt|Zohn|2008}}, there is evidence that the slow movement of Telemann's oboe concerto TWV 51:G2, also from the series, was borrowed and adapted by Bach for the opening sinfonia of the cantata Ich steh mit einem Fuß im Grabe, BWV 156 and the slow movement of the harpsichord concerto in F minor, BWV 1056, both dating from his period in Leipzig. Telemann also had a documented social connection with Bach: in March 1714 he was godparent at the baptism in Weimar of Bach's second son Carl Phillip Emanuel.{{sfn|Jones|2007|pages=140–141}}{{sfn|Bach|2010|page=24}}{{sfn|Zohn|2008|pages=124, 193–214}}{{sfn|Hirschmann|2013|pages=22–23}}^[6]

Later in July 1713, Prince Johann Ernst returned from Utrecht after studying there for 2 years. A keen amateur violinist, he is likely to have brought or sent back concerto scores from Amsterdam, probably including the collection L'estro armonico, Op.3 of Vivaldi, published there in 1711. Once back in Weimar, he studied composition with Walther, concentrating on the violin concerto. In July 1714, however, poor health forced him to leave Weimar to seek medical treatment in Bad Schwalbach: he died a year later at the age of nineteen. A number of his concertos were published posthumously by Telemann.{{sfn|Jones|2007|pages=140–141}}{{sfn|Bach|2010|page=24}}^[6]

Johann Ernst's enthusiasm for the concerto fitted well with Bach's own interests. It was under these circumstances that Bach, as composer and performer, made his virtuosic concerto transcriptions for organ (BWV 592–596) and for harpsichord (BWV 592a and 972–987). Although Bach served as Concertmaster in Weimar from 1714–1717, when he is presumed to have composed his own instrumental concertos, the only surviving works in Italian concerto-form from this period are his transcriptions of works by other composers. Of these, the main body were by Vivaldi, with others by Telemann, Alessandro and Benedetto Marcello and Johann Ernst himself. At the same time, Bach's cousin Walther also made a series of organ transcriptions of Italian concertos: in his autobiography, Walther mentions 78 such transcriptions; but of these only 14 survive, of concertos by Albinoni, Giorgio Gentili, Giulio Taglietti, Telemann, Torelli and Vivaldi. Bach and Walther arranged different sets of concertos: Bach favoured the more recent ritornello form, less prevalent in the earlier concertos transcribed by Walther.{{sfn|Jones|2007|pages=141–142}}{{sfn|Bach|2010|page=24}}

Schulze has further suggested that during his two-year period studying in the Netherlands, Prince Johann Ernst is likely to have attended the popular concerts in the Nieuwe Kerk in Amsterdam where the blind organist Jan Jakob de Graaf performed his own transcriptions of the most recent Italian concertos.

It is possible that this could have led to Johann Ernst to suggest similar concerto transcriptions to Bach and Walther. Other circumstantial evidence concerning music-making in Weimar is provided by a letter written by Bach's pupil Philipp David Kräuter in April 1713. Asking for permission to stay longer in Weimar, he states that Prince Johann Ernst,

Kräuter's letter ties in with the organ repairs by Trebs made between June 1713 and May 1714. Commentators have found Schulze's arguments persuasive, but nevertheless point out that not all the transcriptions need have been made in the period from July 1713 to July 1714 when the Prince was back in Weimar. While this could be true for the simpler harpsichord transcriptions, some of the more virtuosic organ transcriptions could date from later, possible composed as a memorial to the prince, after his untimely death.{{sfn|Williams|2003|pages=203–204}}

Published records of Bach's life include his Nekrolog or obituary, written in 1754 by his son Carl Philipp Emanuel Bach and former pupil Johann Friedrich Agricola, and the 1802 biography of Johann Nikolaus Forkel. The Nekrolog contains the famous statement about the Duke, Wilhelm Ernst, encouraging Bach as an organist-composer, quoted at the start of this section. In the often quoted passage from his biography, Forkel wrote (The translation in the text follows Terry's translation with some slight modifications):{{sfn|Forkel|1920|pages=70–71}}{{sfn|Talbot|1993|pages=2–3}}

Although Forkel's account is generally acknowledged to be oversimplified and factually inaccurate, commentators agree that Bach's knowledge and assimilation of the Italian concerto form—which happened partly through his transcriptions—played a key role in the development of his mature style. In practical terms, the concerto transcriptions were suitable for performance in the different venues in Weimar; they would have served an educational purpose for the young prince as well as giving him pleasure.{{sfn|Jones|2007|page=235}}{{sfn|Williams|2003|pages=203–204}}{{sfn|Breig|1997b|page=164}}{{sfn|Boyd|2001|pages=80–81}}

Although no precise dating of the concerto transcriptions is possible, combining a careful scientific analysis of surviving manuscripts—including their watermarks—with a knowledge of documented events in Bach's life has given a clearer idea of when they might have been written: it is generally thought that most were probably written in the period 1713–1714, but that some could have been written later. The transcriptions themselves became known through a variety of sources. The two most significant for dating purposes are the autograph manuscript of the organ transcription BWV 596; and the hand copies of the organ transcription BWV 592 and the harpsichord transcriptions BWV 972–982 made by Bach's second cousin Johann Bernhard Bach from Eisenach, who is known to have visited Weimar in May 1715. These include all the transcriptions of the Venetian concertos (those by Vivaldi and the Marcello brothers). The remaining organ transcriptions come from copies made in Leipzig by Bach's family and circle: these include his eldest son Wilhelm Friedemann Bach, whose organ repertoire included the transcriptions; his pupil Johann Friedrich Agricola; and Johann Peter Kellner. The other harpsichord transcriptions BWV 983–987 are contained in a collection of manuscripts of Kellner ("Kellner's Miscellany"), copied by himself and others.{{sfn|Bach|2010|pages=24–25}}{{sfn|Williams|2016}}{{sfn|Schulenberg|2006|pages=118–119}}

Models

There are, or have been, attribution issues regarding some of the models Bach used for his keyboard transcriptions:

• The model for BWV 974 has been attributed to Antonio Vivaldi, Benedetto Marcello and Alessandro Marcello. In the second half of the 20th century the oboe concerto which was the model for Bach's transcription became attributed to Alessandro Marcello again —as it had been in its 1717 printed edition— through research of scholars such as Eleanor Selfridge-Field.^[7][8][9]
• The model for BWV 979 has been attributed to Vivaldi and to Giuseppe Torelli. Listed as No. 10 in the Anhang (Appendix) of the Ryom-Verzeichnis (RV), it was generally attributed to Torelli. Federico Maria Sardelli argued against the attribution to Torelli, and in favour of an attribution to Vivaldi, in an article published in 2005. Consequently, the concerto was relisted as RV 813. The composition originated before 1711: for instance its seven movements and its second viola part are not compatible with Vivaldi's later style.^[10][11][12]
• No models have been identified for BWV 977, 983 and 986. Stylistically BWV 977 is more Italianate than BWV 983 and 986. David Schulenberg supposes an Italian model for BWV 977, and German models for the other two concertos.^[5]

After Vivaldi

Bach transcribed seven concertos by Antonio Vivaldi for solo harpsichord (RV 230, 265, 299, 310, 316, 381 and 813), and three for solo organ (RV 208, 522 and 565).^[13]

From L'estro armonico

Bach transcribed two concertos of Antonio Vivaldi's Op. 3, L'estro armonico for organ (BWV 593 and 597), and three concertos of that collection for unaccompanied harpsichord (BWV 972, 976 and 978):^[14]

• After Vivaldi's Op. 3 No. 3 (Violin Concerto in G major, RV 310): Concerto in F major, BWV 978
• After Vivaldi's Op. 3 No. 8 (Concerto in A minor for two violins and strings, RV 522): Concerto in A minor, BWV 593
• After Vivaldi's Op. 3 No. 9 (Violin Concerto in D major, RV 230): Concerto in D major, BWV 972, and earlier version BWV 972a
• After Vivaldi's Op. 3 No. 11 (Concerto in D minor for two violins, cello and strings, RV 565): Concerto in D minor, BWV 596
• After Vivaldi's Op. 3 No. 12 (Violin Concerto in E major, RV 265): Concerto in C major, BWV 976

Later Bach would arrange Vivaldi's Op. 3 No. 10 (RV 580) to a concerto for four harpsichords and strings (BWV 1065).^[13]

Concertos circulating as manuscript

Bach realised his other transcriptions of concertos by Vivaldi after versions circulating as manuscript. Later versions of some of these concertos by Vivaldi were published in his Op. 4 and 7:

• After Vivaldi's Violin Concerto in B-flat major (later version published as Op. 4 No. 1, RV 383a): Concerto in G major, BWV 980 (harpsichord)^[14]
• After Vivaldi's Violin Concerto in G minor, RV 316 (later version published as Op. 4 No. 6, RV 316a): Concerto in G minor, BWV 975 (harpsichord)^[14]
• After Vivaldi's Violin Concerto in G major (later version published as Op. 7 No. 8, RV 299): Concerto in G major, BWV 973 (harpsichord)^[14]
• After Vivaldi's Violin Concerto Grosso Mogul in D major, RV 208 (later version published as Op. 7 No. 11, RV 208a): Concerto in C major, BWV 594 (organ)^[14]
• After Vivaldi's Violin Concerto in D minor, RV 813 (formerly RV Anh. 10 often attributed to Torelli):^[10] Concerto in B minor, BWV 979 (harpsichord)

After other Venetian composers

Apart from the concertos after models by Antonio Vivaldi (including one formerly attributed to Torelli), Bach also transcribed concertos by the Venetian brothers Alessandro and Benedetto Marcello. Benedetto was a more prolific composer than his elder brother Alessandro.

Benedetto Marcello's Op. 1 No. 2

Benedetto Marcello's Op. 1, containing twelve concerti à cinque, was published in 1708. The second concerto in that collection, in E minor, had a violino principale in its first two movements.

• BWV 981 – Concerto in C minor, after Benedetto Marcello's Concerto Op. 1 No. 2

Alessandro Marcello's Oboe concerto

Bach based his transcription of Marcello's oboe concerto on a lost manuscript that was circulating before the concerto was published in 1717.

• BWV 974 – Concerto in D minor, after Alessandro Marcello's Oboe Concerto in D minor

After Telemann

BWV 985 is a Concerto in G minor for unaccompanied harpsichord, after Georg Philipp Telemann's {{illm|Violin Concerto in G minor, TWV 51:g1 (Telemann)|scores|Violin Concerto, TWV 51:g1 (Telemann, Georg Philipp)|lt=Violin Concerto in G minor, TWV 51:g1}}.^[15]

BWV Anh. 213 is a lost Concerto in F major for solo organ, after an unidentified concerto by Georg Philipp Telemann.

After Prince Johann Ernst of Saxe–Weimar

Prince Johann Ernst of Saxe-Weimar's Op. 1 was published posthumously, some time after Bach had provided solo harpsichord arrangements for two out of six concertos contained in that bundle:

• After Johann Ernst's Op. 1 No. 1: Concerto in B-flat major, BWV 982
• After Johann Ernst's Op. 1 No. 4: Concerto in D minor, BWV 987

Concerto in G major, after Johann Ernst's {{illm|2=scores|1=Concerto in G major (Johann Ernst of Saxe-Weimar)|3=Violin Concerto in G major (Johann Ernst Prinz von Sachsen-Weimar)|lt=Violin Concerto in G major}}:

• BWV 592: pedaliter version
• BWV 592a: manualiter version

Concerto in C major after Johann Ernst's {{illm|2=scores|1=Violin Concerto in C major (Johann Ernst of Saxe–Weimar)|3=Violin Concerto in C major (Johann Ernst Prinz von Sachsen-Weimar)|lt=Violin Concerto in C major}}:

• BWV 984: harpsichord version
• BWV 595: organ version (first movement only)

After unidentified models

There is no extant model for a few of Bach's concerto transcriptions for harpsichord:

• BWV 977 – Concerto in C major
• BWV 983 – Concerto in G minor
• BWV 986 – Concerto in G major

Bach's transcriptions

Transcriptions for organ, BWV 592–596

These transcriptions for organ have been dated to 1713–1714. They are scored for two manual keyboards and pedal.{{sfn|Williams|2003|pages=201–226}}

Concerto in G major, BWV 592

This concerto is a transcription of a concerto by Prince Johann Ernst of Saxe-Weimar.

Concerto in A minor, BWV 593

This concerto is a transcription of Antonio Vivaldi's double violin concerto, Op. 3 No. 8, RV 522.

Concerto in C major, BWV 594

This concerto is a transcription of Antonio Vivaldi's Grosso Mogul violin concerto, RV 208.

Concerto in C major, BWV 595

This concerto movement is a transcription of a composition by Prince Johann Ernst of Saxe-Weimar.

Concerto in D minor, BWV 596

This concerto is an transcription of Antonio Vivaldi's double violin concerto, Op. 3 No. 11, RV 565.

Transcriptions for harpsichord, BWV 592a and 972–987

Concerto in G major, BWV 592a

After a concerto by Prince Johann Ernst of Saxe-Weimar, and Bach's earlier organ transcription, BWV 592.

Concerto in D major, BWV 972

After Violin Concerto in D major Op. 3 No. 9, RV 230, by Antonio Vivaldi. There is an early version of the transcription, BWV 972a.

Concerto in G major, BWV 973

After Violin Concerto in G major, RV 299, by Antonio Vivaldi.

Concerto in D minor, BWV 974

After Oboe Concerto in D minor by Alessandro Marcello.{{sfn|Selfridge-Field|1990|loc=D935}}

Concerto in G minor, BWV 975

After Violin Concerto in G minor, RV 316, by Antonio Vivaldi.

Concerto in C major, BWV 976

After Violin Concerto in E major Op. 3 No. 12, RV 265, by Antonio Vivaldi.

Concerto in C major, BWV 977

After an unidentified model.

Concerto in F major, BWV 978

After Violin Concerto in G major Op. 3 No. 3, RV 310, by Antonio Vivaldi.

Concerto in B minor, BWV 979

After Violin Concerto in D minor, RV 813, by Antonio Vivaldi (formerly RV Anh. 10 attributed to Giuseppe Torelli).^[16][17]

Concerto in G major, BWV 980

After Violin Concerto in B-flat minor, RV 383 by Antonio Vivaldi.

Concerto in C minor, BWV 981

After Violin Concerto in C minor Op. 1 No. 2 by Benedetto Marcello.

Concerto in B-flat major, BWV 982

After Violin Concerto in B-flat major Op. 1 No. 1 by Prince Johann Ernst of Saxe-Weimar.

Concerto in G minor, BWV 983

After an unidentified model.

Concerto in C major, BWV 984

After the Violin Concerto in C major by Prince Johann Ernst of Saxe–Weimar (like BWV 595).

Concerto in G minor, BWV 985

After the Violin Concerto in G minor, TWV 51:g1, by Georg Philipp Telemann.

Concerto in G major, BWV 986

After an unidentified model.

Concerto in D minor, BWV 987

After Concerto Op. 1 No. 4 by Prince Johann Ernst of Saxe-Weimar.

Reception

The reception of the concerto transcriptions is reflected in their transmission: they were less widely disseminated than Bach's original organ or keyboard works and were only published in the 1850s during the mid-nineteenth century Bach revival. More significantly perhaps, the concerto transcriptions played a decisive role in the Vivaldi revival which happened only in the following century. The meteoric success of Vivaldi in the early eighteenth century was matched by his descent into almost complete oblivion soon after his death in 1741. In Great Britain, France and particularly his native Italy, musical taste turned against him and, when he was remembered, it was just through salacious anecdote. Only in Northern Germany, where his concertos had influenced a school of composers, was his legacy properly appreciated. The publication of Bach's transcriptions has been recognized by Vivaldi scholars as a decisive step in his revival. In fact the new edition of the concerto transcriptions published by the Bach-Gesellschaft in the 1890s and the ensuing controversy in assessing their authorship and that of the original concertos in the 1910s sparked a re-evaluation of Vivaldi and subsequently the rediscovery of his "lost" works.{{sfn|Bach|2010|pages=24–25}}{{sfn|Pincherle|1962}}{{sfn|Talbot|1993}}{{sfn|Brover-Lubovsky|2008}}

References

Sources

• {{citation|first=J.S.|last=Bach|editor-first=Pieter|editor-last=Dirksen|series=Complete Organ Works (Breitkopf Urtext)|title=Sonatas, Trios, Concertos| publisher= Breitkopf & Härtel|location=Wiesbaden|volume=vol.5 EB 8805|year=2010|ismn=979-0-004-18366-3}} [https://www.breitkopf.com/assets/pdf/15008_EB8805_PDF_EB8805_Einl.pdf Introduction] (in German and English) • [https://www.breitkopf.com/assets/pdf/15008_EB8805_PDF_EB8805Comm.pdf Commentary] (English translation—commentary in paperback original is in German)
• Malcolm Boyd. [https://books.google.com/books?id=XD0ThbL5luEC Bach.] Oxford University Press, 2006. {{ISBN|9780195307719}}
• {{citation|first=Malcolm|last= Boyd|title= Bach|series=Master Musician Series|publisher= Oxford University Press|year= 2007|isbn= 9780195307719|pages=80–83}}
• {{citation|title=The Cambridge Companion to Bach|year=1997a|editor=John Butt|editorlink=John Butt (musician)|first=Werner|last=Breig|chapter=The Instrumental Music|url=https://www.cambridge.org/core/books/the-cambridge-companion-to-bach/BB71E9799CBE6751307BE0ECBC24C132|isbn=9781139002158|pages=123–135}}
• {{citation|title=The Cambridge Companion to Bach|year=1997b|editor=John Butt|editorlink=John Butt (musician)|first=Werner|last=Breig|chapter=Composition as arrangement and adaptation|url=https://www.cambridge.org/core/books/the-cambridge-companion-to-bach/BB71E9799CBE6751307BE0ECBC24C132|isbn=9781139002158|pages=154–170}}
• Werner Breig, translated by Steward Spencer. "The instrumental music", pp. 123–135, and "Composition as arrangement and adaptation", pp. 154–170, in The Cambridge Companion to Bach, edited by John Butt. Cambridge University Press, 1997. {{ISBN|9780521587808}}
• {{citation|title=Tonal Space in the Music of Antonio Vivaldi|first=Bella|last= Brover-Lubovsky|publisher=Indiana University Press|year= 2008|isbn=0253351294}}
• {{citation|first=H. Joseph| last=Butler| title=Emulation and Inspiration: J. S. Bach’s Transcriptions from Vivaldi’s L’estro armonico|url=

http://www.thediapason.com/sites/thediapason.com/files/webDiap0811p19-21.pdf|journal=The Diapason|year= 2011|pages=19–21}}

• {{citation|first=Hans Theodore |last=David|first2=Arthur|last2=Mendel|first3=Christoph|last3=Wolff|title=The New Bach Reader|year=1998|edition=Revised|publisher=W.W. Norton|isbn=0393319563}}]
• {{citation|title=Johann Sebastian Bach: His Life, Art, and Work|first=Johann Nikolaus|last= Forkel|authorlink=Johann Nikolaus Forkel|editor=Charles Sanford Terry (historian)|editorlink=Charles Sanford Terry (historian)|year=1920|publisher= Harcourt, Brace and Howe}}
• {{GroveOnline|title=Johann Ernst, Prince of Weimar|author=Hanks, Sarah E.|access-date=4 January 2017|url=http://www.oxfordmusiconline.com/subscriber/article/grove/music/14348}}
• {{citation|last=Hirschmann|first=Wolfgang|title=Bach Perspectives, Volume 9: J.S. Bach and His Contemporaries in Germany|editor=Andrew Talle|

publisher=University of Illinois Press|year= 2013|isbn=0252095391|chapter='He Liked to Hear the Music of Others': Individuality and Variety in the Works of Bach and His German Contemporaries|pages=1–23}}

• {{citation|last=Jones|first=Richard|authorlink=Richard D. P. Jones|chapter=The keyboard works: Bach as teacher and virtuoso|pages=136–153|title=The Cambridge Companion to Bach|editor=John Butt|editorlink=John Butt (musician)|publisher= Cambridge University Press|year= 1997|isbn=9780521587808}}
• {{citation|last=Jones|first=Richard|authorlink=Richard D. P. Jones|title=The Creative Development of Johann Sebastian Bach: Music to Delight the Spirit, Volume I: 1695-1717|publisher= Oxford University Press|year= 2007|isbn=9780198164401|pages=140–153}}
• Richard D. P. Jones. The Creative Development of Johann Sebastian Bach: Music to Delight the Spirit, Volume I: 1695-1717. Oxford University Press, 2007. {{ISBN|9780198164401}}
• {{citation|last=Jones|first=Richard|authorlink=Richard D. P. Jones|title=The Creative Development of Johann Sebastian Bach: Music to Delight the Spirit, Volume II: 1717-1750|publisher=Oxford University Press|year= 2013|isbn= 9780191503849}}
• Richard D. P. Jones. The Creative Development of Johann Sebastian Bach: Music to Delight the Spirit, Volume II: 1717-1750. Oxford University Press, 2013. {{ISBN|9780191503849}}
• {{citation|first=Robert |last=Marshall|title=J.S. Bach as Organist|editor1=George Stauffer|editor2=Ernest May|year=1986|publisher=Indiana University Press|chapter=Organ or 'Klavier'? Instrumental prescriptions in the sources of Bach's keyboard works|pages=212–239}}
• {{citation|title=Vivaldi: Genius of the Baroque|first=Marc|last= Pincherle|authorlink=Marc Pincherle|translator=Christopher Hatch|publisher=W.W. Norton|year=1962|isbn=0393001687}}
• {{citation|first= David|last= Schulenberg|title= The Keyboard Music of J.S. Bach|publisher= Routledge|year= 2013|isbn= 9781136091469|pages=117–139}}, Updates (2016)
• David Schulenberg. [https://books.google.com/books?id=VaYCK7-In9YC The Keyboard Music of J.S. Bach.] Routledge, 2013. {{ISBN|9781136091469}}
• David Schulenberg. "Updates for The Keyboard Music of J. S. Bach" at {{url|http://faculty.wagner.edu/david-schulenberg/}}, 10 August 2016 (retrieved 9 December 2016)
• {{citation|first=Hans-Joachim|last=Schulze|authorlink=Hans-Joachim Schulze|chapter=J. S. Bachs Konzertbearbeitungen nach Vivaldi und anderen: Studien- oder Auftragswerke?|title=

Deutsches Jahrbuch der Musikwissenschaft für 1973–1977|location=Leipzig|year= 1978|pages= 80–100}}

• {{citation |first=Eleanor |last=Selfridge-Field |title=The Music of Benedetto and Alessandro Marcello: A Thematic Catalogue with Commentary on the Composers, Repertory, and Sources |publisher=Oxford University Press |year= 1990 |isbn=9780193161269 }}
• {{citation|last=Stevens|first=Jane R.|title=The Bach Family and the Keyboard Concerto: The Evolution of a Genre|year=2001|publisher=Harmonie Park Press}}
• {{citation|first=Luigi Ferdinando |last=Tagliavini|title=J.S. Bach as Organist|editor1=George Stauffer|editor2=Ernest May|year=1986|publisher=Indiana University Press|chapter=Bach's organ transcription of Vivaldi's 'Grosso Mogul' concerto|pages=240–255}}
• {{citation|title=Vivaldi|series=The Master Musicians|first=Michael|last= Talbot|edition=2nd|publisher=J.M. Dent|year=1993|isbn=0460861085}}
• {{citation|editor-first=Michael|editor-last=Talbot|editorlink= Michael Talbot (musicologist)|title=The Vivaldi Compendium|publisher= Boydell Press|year=2011|isbn=9781843836704}}
• Michael Talbot. [https://books.google.com/books?id=lYypmdoyPqYC The Vivaldi Compendium.] Boydell Press, 2011. {{ISBN|9781843836704}}
• {{citation|title=The Organ Music of J. S. Bach|first=Peter |last=Williams|edition=2nd|year=2003|publisher=Cambridge University Press|isbn=0-521-89115-9|pages=201–224}}
• Peter Williams. [https://books.google.com/books?id=3SfzUEWrDR0C The Organ Music of J. S. Bach.] Cambridge University Press, 2003. {{ISBN|9780521891158}}
• {{citation|first=Peter|last= Williams|title=Bach: A Musical Biography|publisher=Cambridge University Press|year= 2016|isbn=9781107139251}}
• Peter Williams. Bach: A Musical Biography. Cambridge University Press, 2016. {{ISBN|9781107139251}}
• {{citation|first=Christoph|last=Wolff|title=Bach: Essays on His Life and Work|publisher=Harvard University Press|year=1994|isbn=0674059263|page=263|chapter=Bach's Leipzig Chamber Music|url=http://em.oxfordjournals.org/content/13/2/165.short}} (a reprint of a 1985 publication in Early Music)
• {{citation|first=Christoph|last= Wolff|title=Johann Sebastian Bach: The Learned Musician|publisher= W. W. Norton|year= 2001|isbn= 9780393322569}}
• Christoph Wolff. Johann Sebastian Bach: The Learned Musician. W. W. Norton, 2001. {{ISBN|9780393322569}}
• {{citation|title=Music for a Mixed Taste: Style, Genre, and Meaning in Telemann's Instrumental Works|first=Steven|last= Zohn|publisher=Oxford University Press|year= 2008|isbn=0190247851}}

Further reading

• Sarah Elizabeth Hanks. The German Unaccompanied Keyboard Concerto in the Early 18th Century: Including Works of Walther, Bach, and Their Contemporaries. University of Iowa, 1972 (dissertation).
• Federico Maria Sardelli. "Le opere giovanili di Antonio Vivaldi", pp. 45–78” in Studi vivaldiani 5, 2005. {{link language|it}}
• Jean-Claude Zehnder. "Giuseppe Torelli und Johann Sebastian Bach: Zu Bachs Weimarer Konzertform", pp. 33–95 in Bach-Jahrbuch 77, edited by Hans-Joachim Schulze and Christoph Wolff. Merseburger, 1991. {{link language|de}}

Manuscripts

• 25448 MSM at Conservatoire royal de Bruxelles ({{RISM|702002232}}): Fascicles [https://www.bach-digital.de/receive/BachDigitalSource_source_00000221 3] (BWV 972a) and [https://www.bach-digital.de/receive/BachDigitalSource_source_00000222 4] (BWV 981) at Bach Digital website
• D-DS Mus. ms. 66 at {{illm|Universitäts- und Landesbibliothek Darmstadt|de}} (BWV 974; {{RISM|450001735}}; [https://www.bach-digital.de/receive/BachDigitalSource_source_00002746 D-DS Mus. ms. 66] at Bach Digital website)
• D-LEb Peters Ms. 8 at {{illm|Stadtbibliothek Leipzig|de}}/Bach Archive: Fascicles [https://www.bach-digital.de/receive/BachDigitalSource_source_00003407 28] (BWV 984) and [https://www.bach-digital.de/receive/BachDigitalSource_source_00003408 29] (BWV 981) at Bach Digital website
• D-LEb Peters Ms. 11 at {{illm|Stadtbibliothek Leipzig|de}}/Bach Archive: (BWV 592; [https://www.bach-digital.de/receive/BachDigitalSource_source_00003413 D-LEb Peters Ms. 11] at Bach Digital website)
• D-LEm Poel. mus. Ms. 29 at {{illm|Stadtbibliothek Leipzig|de}} (BWV 592a, 973 and 983–4; [https://www.bach-digital.de/receive/BachDigitalSource_source_00003480 D-LEm Poel. mus. Ms. 29] at Bach Digital website)
• D-LEu N.I.5137 and 5138 at Leipzig University Library (BWV 594; RISM Nos. [https://opac.rism.info/search?id=200020992 200020992] and [https://opac.rism.info/search?id=200020991 200020991]; [https://www.bach-digital.de/receive/BachDigitalSource_source_00003500 D-LEu N.I.5137] and [https://www.bach-digital.de/receive/BachDigitalSource_source_00003501 5138] at Bach Digital website)
• Mus.ms. Bach P 280 at Berlin State Library (BWV 592 and 973–982; {{RISM|467300717}}; [https://www.bach-digital.de/receive/BachDigitalSource_source_00001222 D-B Mus. ms. Bach P 280] at Bach Digital website)
• Mus.ms. Bach P 286 at Berlin State Library ({{RISM|467300057}}): Fascicles [https://www.bach-digital.de/receive/BachDigitalSource_source_00001237 6] (BWV 595) and [https://www.bach-digital.de/receive/BachDigitalSource_source_00001238 7] (BWV 594) at Bach Digital website
• Mus.ms. Bach P 330 at Berlin State Library (Bach's autograph of BWV 596; {{RISM|467033000}}; [https://www.bach-digital.de/receive/BachDigitalSource_source_00001340 D-B Mus. ms. Bach P 330] at Bach Digital website)
• Mus.ms. Bach P 400b and 400c at Berlin State Library (BWV 593 and 594; RISM Nos. [https://opac.rism.info/search?id=467300036 467300036] and [https://opac.rism.info/search?id=467300037 467300037]; [https://www.bach-digital.de/receive/BachDigitalSource_source_00001347 D-B Mus. ms. Bach P 400b] and [https://www.bach-digital.de/receive/BachDigitalSource_source_00001348 400c] at Bach Digital website)
• Mus.ms. Bach P 801 (28) at Berlin State Library ("Concerto di Marcello", BWV 981; {{RISM|467300247}}; [https://www.bach-digital.de/receive/BachDigitalSource_source_00001772 D-B Mus. ms. Bach P 801, Fascicle 28] at Bach Digital website)
• Mus.ms. Bach P 804 at Berlin State Library ({{RISM|467300254}}): Fascicles [https://www.bach-digital.de/receive/BachDigitalSource_source_00001801 4] (BWV 974), [https://www.bach-digital.de/receive/BachDigitalSource_source_00001811 15] (BWV 976), [https://www.bach-digital.de/receive/BachDigitalSource_source_00001824 28] (BWV 985), [https://www.bach-digital.de/receive/BachDigitalSource_source_00001827 31] (BWV 592), [https://www.bach-digital.de/receive/BachDigitalSource_source_00001830 34] (BWV 987), [https://www.bach-digital.de/receive/BachDigitalSource_source_00001831 35] (BWV 983), [https://www.bach-digital.de/receive/BachDigitalSource_source_00001842 46] (BWV 986), [https://www.bach-digital.de/receive/BachDigitalSource_source_00001848 52] (BWV 984), [https://www.bach-digital.de/receive/BachDigitalSource_source_00001850 54] (BWV 973), [https://www.bach-digital.de/receive/BachDigitalSource_source_00001851 55] (BWV 972) and [https://www.bach-digital.de/receive/BachDigitalSource_source_00001852 56] (BWV 977) at Bach Digital website

External links

• At IMSLP website:
  • BWV 592 and BWV 592a: Violin Concerto in G major (Johann Ernst Prinz von Sachsen-Weimar)
  • Organ Concerto in A minor, BWV 593 (Bach, Johann Sebastian) and Concerto for 2 Violins in A minor, RV 522 (Vivaldi, Antonio)
  • Organ Concerto in C major, BWV 594 (Bach, Johann Sebastian)
  • Organ Concerto in C major, BWV 595 (Bach, Johann Sebastian) and Violin Concerto in C major (Johann Ernst Prinz von Sachsen-Weimar)
  • Organ Concerto in D minor, BWV 596 (Bach, Johann Sebastian) and Concerto in D minor, RV 565 (Vivaldi, Antonio)
  • 16 Konzerte nach verschiedenen Meistern, BWV 972–987 (Bach, Johann Sebastian), Violin Concerto in D major, RV 230 (Vivaldi, Antonio), Violin Concerto in G major, RV 299 (Vivaldi, Antonio), Oboe Concerto in D minor, S.Z799 (Marcello, Alessandro), Violin Concerto in G minor, RV 316a (Vivaldi, Antonio), Violin Concerto in E major, RV 265 (Vivaldi, Antonio), Violin Concerto in G major, RV 310 (Vivaldi, Antonio), Violin Concerto in B-flat major, RV 383a (Vivaldi, Antonio) and Violin Concerto, TWV 51:g1 (Telemann, Georg Philipp)
  • 12 Concerti Grossi, Op.1 (Marcello, Benedetto), L'estro armonico, Op.3 (Vivaldi, Antonio), La stravaganza, Op.4 (Vivaldi, Antonio), 12 Concerti, Op.7 (Vivaldi, Antonio) and 12 Concerti a 5 (Various)

• Vertical migration
• VerticalNet
• Vertical penetration
• Vertical pipe
• Vertical Politics Institute
• Vertical Press
• Vertical (publisher)
• Vertical Publishing
• Vertical queue
• Vertical Race
• Vertical race
• Vertical ramp
• Vertical rays of the sun
• Vertical Replenishment
• VerticalResponse
• Vertical retrace interval
• Vertical roller mill
• Vertical root fracture
• Vertical search engine
• Vertical seat
• Vertical shaft impactor
• Vertical Shoot Positioned Trellis
• Vertical/Short Takeoff and Landing
• Vertical situation warning system
• Vertical slash