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The harpsichord concertos, BWV 1052–1065, are concertos for harpsichord, strings and continuo by Johann Sebastian Bach. There are seven complete concertos for a single harpsichord (BWV 1052–1058), three concertos for two harpsichords (BWV 1060–1062), two concertos for three harpsichords (BWV 1063 and 1064), and one concerto for four harpsichords (BWV 1065). Two other concertos include solo harpsichord parts: the concerto BWV 1044, which has solo parts for harpsichord, violin and flute, and ''Brandenburg Concerto'' No. 5 in D major, with the same scoring. In addition there is a nine-bar concerto fragment for harpsichord (BWV 1059) which adds an oboe to the strings and continuo. All of Bach's harpsichord concertos (with the exception of the 5th ''Brandenburg Concerto'') are thought to be arrangements made from earlier concertos for melodic instruments probably written in Köthen. In many cases, only the harpsichord version has survived. ==Compositional history== From 1729 to 1741, Bach was director of the ''Collegium musicum'' in Leipzig, a student musical society, founded by Georg Philipp Telemann in 1703 and run before Bach by Balthasar Schott. The ''Collegium musicum'' often gave performances at Zimmermann's coffee house. It was for these occasions that Bach produced his harpsichord concertos, among the first concertos for keyboard instrument ever written. It is thought that the multiple harpsichord concertos were heard earlier than those for one harpsichord, perhaps because his sons C. P. E. Bach and W. F. Bach (both excellent harpsichord players) were living at home until 1733 and 1734, respectively. It is likely that Johann Ludwig Krebs, who studied with Bach until 1735, also played harpsichord in the ''Collegium musicum''. The concertos for one harpsichord, BWV 1052–1059, survive in an autograph score (now in the Staatsbibliothek Berlin, ''Mus. ms. Bach P 234'') which is not a fair copy but a draft, or working score, and has been dated to about 1738. Bach may of course have played the works much earlier, using the parts from an original melody-instrument concerto and extemporising a suitable harpsichord version while playing. Bach's harpsichord concertos were, until recently, often underestimated by scholars, who did not have the convenience of hearing the benefits that historically informed performance has brought to works such as these. For instance Albert Schweitzer believed "()he transcriptions have often been prepared with almost unbelievable cursoriness and carelessness. Either time was pressing or he was bored by the matter." Recent research has demonstrated quite the reverse to be true; he transferred solo parts to the harpsichord with typical skill and variety. Bach's interest in the harpsichord concerto form can be inferred from the fact that he arranged every suitable melody-instrument concerto as a harpsichord concerto, and while the harpsichord versions have been preserved the same is not true of the melody-instrument versions. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Keyboard concertos by Johann Sebastian Bach」の詳細全文を読む スポンサード リンク
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