Concertos BWV 1041-1045, 1052-1065
General Discusssions - Part 1

Instrumental Concertos, Reconstructions, Movements

William L. Hoffman wrote (Decenmber 28, 2019):
Some of Bach's most rewarding works are 24 surviving concertos and some 38 in various alternative versions which are still being studied for their forms and transcriptions. In the past half century, Bach scholars and instrumentalists have provided reconstructions from existing concertos, as well as from individual movements often found in his third cycle of sacred cantatas in 1726 and other sources (https://en.wikipedia.org/wiki/List_of_concertos_by_Johann_Sebastian_Bach#BWV_1059R). This great legacy of instrumental music was part of the new Bach scholarship which began with exhaustive critical commentaries in the 1950s when Bach scholars also began to date exactly his works, primarily the vocal music through scientific methods. Meanwhile, the orchestral music involving almost entirely three-movement concertos was thought to have originated when Bach was Capellmeister at Cöthen (1717-1723), primarily in the diverse set of six Brandenburg Concertos of 1721, which set Bach's standards, as well as various violin concertos.

Bach scholars in Germany in the 1950s assumed that the earliest melody concertos were composed for violin because the adaptations of all three violin concertos, BWV 1041-43, originally dated to Cöthen, were all later adapted into harpsichord concertos by the composer as BWV 1058, 1054 and 1062 respectively. There were other concertos dated to Cöthen that prominently feature the violin, notably the Brandenburgs Nos. 1-5. In addition, the virtuoso violin-like writing in the harpsichord concerto adaptations c.1738, especially BWV 1052, suggested original Cöthen violin concertos although no original manuscripts are extant.

Since then, the re-dating of Bach's works toppled the scholarly silos into which Bach's music had been compartmentalized as Bach scholars began to explore the still vague activities such as his directorship of the Leipzig Collegium musicum between the spring of 1729, when he ceased to compose and present sacred cantatas, to the summer of 1737, and resumed again from the end of October 1739 until at least 1741. The later 1730s hiatus may have been due to the impending Reformation jubilee festival in 1739, marking the bicentennial of the region's acceptance of the Lutheran Confession, when Bach returned to sacred music with the parody composition of the four Lutheran Masses, BWV 233-236, the Easter oratorio trilogy of the Resurrection, Ascension and Pentecost, and the publication of his Clavierübung III, German organ Mass and Catechism.

14 Harpsichord Concertos

All told, Bach composed at least 14 concertos for harpsichord, BWV 1052-65 (https://www.bach-cantatas.com/NVD/BWV1052-1065.htm). The basis of these concerto studies is the omnibus collection of eight solo harpsichord concertos dating to c.1738, BWV 1052-59, in an autograph composing copy, which shows that Bach transcribed for solo clavier previously-composed concertos for melody instruments (keyboard, violin or oboe) for performance with the Collegium musicum as well as elsewhere in Dresden and other locales. Recent scholarship has found that Bach earlier began arranging six multiple harpsichord concertos, BWV 1060-65, about 1730, observes Bach scholar Werner Breig.¹ These half-dozen concertos, whose sources were presumed to be previously existing works, involves three for two harpsichords, two for three harpsichords, and one for four harpsichords, the last an arrangement of Vivaldi's Concerto for four violins, Op. 3, No. 10 (RV 580), since Bach had no concerto available of his own for four instruments to be transcribed. This initial Bach performance of weekly concerts at Zimmermann's coffee house or gardens may have involved him and three students, his sons Friedemann and Emmanuel, and Johann Ludwig Krebs, Breig suggests (Ibid.). Bach also composed a trio Concerto for harpsichord, flute and violin (https://en.wikipedia.org/wiki/Keyboard_concertos_by_Johann_Sebastian_Bach#Concerto_in_A_minor,_BWV_1044), as well as the Brandenburg Concerto No. 5 in D Major, BWV 1050, for harpsichord, flute and violin (https://en.wikipedia.org/wiki/Keyboard_concertos_by_Johann_Sebastian_Bach).

Particularly noteworthy among Bach scholarship are the three violin concertos, BWV 1041-43, originally dated to Cöthen but around the Bach tercentenary of 1985 they "could have originated around 1730 in a first flush of enthusiasm for the Collegium gatherings that matched the intense period of enthusiasm for Leipzig sacred cantatas following 1723," says Nicholas Kenyon.² "This conclusion is partly due to the concision and maturity of the music" of the two solo concertos, BWV 1041-2, which "explore limited material and limited sonorities," unlike the diversity of the Brandenburg Concertos, "with inventive power." Also, the Double Violin Concerto in D minor, BWV 1043, "is one of the tautest and most concentrated of all Bach's works, with a sublime central movement that will surely last as long as music lasts," says Kenyon (Ibid.: 158).

Harpsichord Concerto Sources

The following is an accounting of various concerto arrangements of the Harpsichord Concertos for a variety of instruments (https://en.wikipedia.org/wiki/List_of_concertos_by_Johann_Sebastian_Bach#Reconstructions) with the first six as a set, BWV 1051-6: Concerto BWV 1052 (https://www.youtube.com/watch?v=sGHgLvb5PYE), derived from Cantata 146/1, 2 and Cantata 188/1 are arranged as concertos for violin (https://www.youtube.com/watch?v=LWHbdei8RDI), organ (https://www.youtube.com/watch?v=zQOmAPOxHGA), recorder (or flute or oboe), cello, double bass; Concerto BWV 1053 (https://www.youtube.com/watch?v=9Af05K0ZHR0) from Cantata 169/1, 5 and Cantata 49/1 are concertos for oboe (https://www.youtube.com/watch?v=ODiVDEk5Cuk), violin (https://www.youtube.com/watch?v=cFEOFnlg6Z0), organ (https://www.youtube.com/watch?v=n2Jwp3EWQeI), recorder (https://www.youtube.com/watch?v=3VPi_PBNNuU), soprano sax (https://www.youtube.com/watch?v=4-XoNnkXYMk), viola, cello, double bass; Concerto BWV 1054 (https://www.youtube.com/watch?v=V-Cgx-XokvY) is a reconstruction of Violin Concerto BWV 1042 (https://www.youtube.com/watch?v=ascdQJ6HGpc); Concerto BWV 1055 (https://www.youtube.com/watch?v=lx1WmooWXWw) may be original or a transcription of a lost concerto for oboe d'amore (https://www.youtube.com/watch?v=8p86QCWOA-0) or violin with arrangements for organ (https://www.youtube.com/watch?v=xXHid8-2_7U) , viola, viola d'amore, cello, double bass; and Concerto BWV 1056 (https://www.youtube.com/watch?v=1fZFfOw0Sz4) from a lost violin concerto with the slow movement Arioso from Cantata 156/1, in popular concerto arrangements for flute (https://www.youtube.com/watch?v=I5XY5Ee6RpI), violin (https://www.youtube.com/watch?v=nAptkfOEiMY), oboe (https://www.youtube.com/watch?v=OZRUE71F98o), cello and double bass.

The other Harpsichord Concertos, BWV 1057-65, are: Concerto BWV 1057 (https://www.youtube.com/watch?v=_abEuZWVEsM) is a transcription of the Fourth Brandenburg Concerto, BWV 1049 (https://www.youtube.com/watch?v=zHyzQf38F6w); Concerto BWV 1058 (https://www.youtube.com/watch?v=FUOPqQ1z-NQ) is a transcription of the Violin Concerto, BWV 1041 (https://www.youtube.com/watch?v=A4bUCMV2oCE); Concerto BWV 1059 is based on a transcription of thee movements from Cantata 35/1, 2, and 5 and is reconstructed as concertos harpsichord (https://www.youtube.com/watch?v=vMOJshXKkVI) or organ (https://www.youtube.com/watch?v=FBqvu7JcbjY), oboe (https://www.youtube.com/watch?v=FII7K1_WzBE) or violin, flute, recorder, cello, double bass; Concerto for Two Harpsichords, https://www.youtube.com/watch?v=OBKu4uCLbNoBWV 1060 (https://www.youtube.com/watch?v=dDrCB1GA_Wo), is derived from an earlier concerto for violin and oboe (https://www.youtube.com/watch?v=dDrCB1GA_Wo), now the most popular setting, and has been reconstructed as concerto two violins, violin (or oboe) and harpsichord, two cellos, two basses; Concerto for Two Harpsichords, BWV 1061, is an original composition in two versions, with strings (authenticity questioned) and the earlier version for two harpsichord alone without strings, BWV 1061a, dated to 1732 (https://www.bach-digital.de/receive/BachDigitalSource_source_00002492 ; Concerto for Two Harpsichords, BWV 1062 (https://www.youtube.com/watch?v=lhHtNUg-rTg), is an arrangement of the extant Double Violin Concerto, BWV 1043 (https://www.youtube.com/watch?v=teHzIUqs7uU); Concerto for Three Harpsichords, BWV 1063 (https://www.youtube.com/watch?v=XfBUQ9Y-nus), may be based on a lost concerto for violin, oboe and flute (arr. Christopher Hogwood, https://www.youtube.com/watch?v=IVcZaolzwkU); the Concerto for Three Harpsichords, BWV 1064, is probably Bach's transcription in a copy from 1738-41 (https://www.bach-digital.de/receive/BachDigitalSource_source_00000434, https://www.youtube.com/watch?v=xP_QX3PCOks) of a lost concerto for three violins (https://www.youtube.com/watch?v=PUnDjDUUglU) in various reconstructions, others are for three cellos, or three basses; and Concerto for Four Harpsichords, BWV 1065 (https://www.youtube.com/watch?v=BlJB18lVW2I), is Bach's c.1730 transcription of Vivaldi's Concerto for Four Violins, Op. 2, No. 10 (RV580), https://www.youtube.com/watch?v=SY3Kxf7ZTeI&list=RDTOAhdk8NHn8&index=1, https://www.bach-digital.de/receive/BachDigitalSource_source_00002563).

Bach probably had performed the 14 harpsichord concertos from 1730 on and finally created a manuscript collection beginning with the first six solo works as a set with his introductory inscription, "J. J." (Jesu Juva, Jesus help) and rounded off with "Finis. S. D. G (End, Soli Deo gloria). "Apart from the six Brandenburg Concertos, this set of harpsichord concertos is the only self-contained cycle of concertos to be assembled by Bach himself," says Breig (Ibid.: 167). To these six Bach created a seventh, a transcription of the c.1730 Violin Concerto in a Minor, BWV 1041 (https://www.bach-digital.de/receive/BachDigitalWork_work_00001243). Bach then continued with a fragment of a ninth clavier concerto in d minor, BWV 1059 (https://www.bach-digital.de/rsc/viewer/BachDigitalSource_derivate_00003592/db_bachp0234_page106.jpg). Bach ceased arranging but the music also is the beginning of the opening sinfonia to 1726 sacred Cantata 35, "Geist und Seele wird verwirret" (Soul and spirit are thrown into confusion), previously a concerto for obbligato organ, three oboes and strings (https://www.youtube.com/watch?v=Rtiu_bHv_xc). The cantata source also has a first aria with alto, organ and orchestra in Siciliano style, which presumably was the second movement (https://www.youtube.com/watch?v=5pif8kuWfYM). Another sinfonia opens part 2, a presto for organ obbligato and orchestra (https://www.youtube.com/watch?v=K8SHVeU9dIU). The first published reconstruction from Cantata 35 was Gotthold Frotscher's "Violin Concerto in D minor," BWV 1059R, in 1951.³ This music serves as a model for other arrangements found in sacred cantatas which may have originated as concerto movements.

Concerto Reconstructions

Serious attempts to reconstruct the presumed originals started in 1970 when Wilfried Fischer at Tübingen published five "Lost Solo Concertos in Reconstructions" (Bärenreiter https://www.baerenreiter.com/en/shop/product/details/BA5034_41/), NBA VII/7, with Violin Concerto in D minor, BWV 1052R; Violin Concerto in G minor, BWV 1056R; Concerto for Three Violins in D major, BWV 1064R; Oboe d'Amore Concerto in A major, BWV 1055; and the Oboe-Violin Double Concerto, BWV 1060, the most popular arrangement. Three of these arrangements (BWV 1052R, 1056R, and 1064R) are found on a recording (Amazon.com). "Discovering that Bach arranged his own works and performed them in other than their original form must have been shocking for an epoch which, like the nineteenth century, believing in the originality, uniqueness and authenticity of a work of musical art," says Andreas Bomba.⁴ This so-called second-hand music, borrowings, or self-plagiarism was first countered in the 1850s onward by Wilhelm Rust, editor of the Bach Gesellschaft Ausgabe, saying: "Even in its earliest forms, it proves to be the consummate expression of a consummate Self, with organic vitality. With a marked character the While is retained. The conversion manifests, rather in a theological sense, a reincarnation or resurrection in which we can identify the former self unimpaired, albeit transfigured and fulfilled. A new spirit, new senses and organs have been added to it and its countenance recast to highest perfection" (BGA 17: XV).

"Discovered in the early catalogs of the Leipzig publisher Breitkopf & Härtel were citations of an oboe concerto, listed in the 1763 catalog, and a double concerto for oboe anviolin, listed in the 1764 edition," says Michael Feldman.⁵ "It was clear that these were lost copies of the original versions of two of the remaining harpsichord concertos." "The sometimes speculative work of reconstructing the original versions of the concerti has gone on for at least 100 years, since none of the other originals has ever appeared in an autograph or copy. A major new burst of activity was associated with a seminar in Tübingen which took place in 1957 for the purpose of creating and updated complete works edition of these works." Further, "the main problems which faced Bach as a transcriber are analogous to those facing the translator," says Simon Heighes.⁶ "How far should the original be preserves and what concessions should be made to suit the new idiom? In all his transcriptions Bach was as literal as possible in his transference of material. There were never any structural changes, nor did he rewrite the orchestral parts in any significant way."

Further Concerto Reconstructions, Assemblages

The earliest concerto reconstruction, BWV 1052R, which dates back 1850, is no longer considered authentic in the Bach Werke Verzeichnis works catalogue BWV³ (https://en.wikipedia.org/wiki/List_of_compositions_by_Johann_Sebastian_Bach) to be published in 2020. Other harpsichord concerto reconstructions for violin, oboe or other instrument — BWV 1053R, 1055R, 1056R, 1059R, 1060R, 1063R and 1064R — are nominally designated "BWV Deest" (lacking designation) in the new BWV catalogue. Recent reconstructions include BWV 1053R for oboe d'amore (arr. Hans Holliger), BWV 1053R for viola (arr. Wolfram Christ), BWV 1059 for harpsichord (arr. Igor Kipnis), BWV 1059a for organ (arr. André Isoir), BWV 1059R for oboe (arr. Marcel Ponseele), BWV 1063R for oboe flute, violin (arr. Neville Marriner), and BWV 1064R (arr. Christopher Hogwood). In addition are reconstructions and assemblages by oboist Albrecht Mayer (https://www.bach-cantatas.com/NVP/Mayer-A.htm) and others: BWV 1056 R for oboe or violin; viola concerto reconstruction, BWV 169, 49, 1053/3 (arr. Wolfram Christ); 1064R for 2 violins and viola; English Horn Concerto after Cantata 54 (arr. Mayer); Oboe Concerto after Cantatas 105, 170, 149; and Oboe d'Amore Concerto after BWV 209. Organist André Isoir recorded organ concerto arrangements of BWV 1052a, 1053a 1059a (https://www.discogs.com/Johann-Sebastian-Bach-André-Isoir-Le-Parlement-De-Musique-Direction-Martin-Gester-LŒuvre-Pour-Orgu/release/1000613).

The noted flutist James Galway has provided several reconstructions as flute concertos (https://www.bach-cantatas.com/NVD/BWV1030-1035-Gen3.htm): Flute Sonata BWV 1032 in C Major (https://www.youtube.com/watch?v=ICFHXSAhrPY&list=OLAK5uy_n30SMAjPCv6INLEe48NlqzyilGGICbw8E&index=8), the "(Triple) Concerto for Flute, Violin, Harpsichord, Strings and Continuo in A Minor," BWV 1044, https://www.youtube.com/watch?v=vBd9wRJ68Po&list=OLAK5uy_n30SMAjPCv6INLEe48NlqzyilGGICbw8E&index=11; (Keyboard) Concerto No. 5 in F Minor, BWV 1056 (https://www.youtube.com/watch?v=HzEy9vJlYWM), Concerto in E Minor, BWV 1059/35 (https://www.youtube.com/watch?v=H9qp8go0sBw), Trio Sonata No. 2 in G, BWV 1039 (https://www.youtube.com/watch?v=6GFt9D78YQs). Jean Pierre Rampal recorded a transcription of the Violin Concerto No. 1 in A minor, BWV 1041 (https://www.youtube.com/watch?v=NpFz9p102g0). Also, the Brandenburg Concerto No. 4 in G Major, BWV 1049 is scored for two flutes (https://www.youtube.com/watch?v=UTmgYDDfOU4), and the Brandenburg Concerto No. 5 in D Major, BWV 1050(a), is scored for flute, violin and harpsichord (https://www.youtube.com/watch?v=gtAdBjZhfA4).

Bach intentionally composed from an early time instrumental works such as concertos and sonatas for keyboard as well as violin, notably Brandenburg Concertos Nos. 1-5, particularly favoring the violino piccolo pitched a third higher. He only occasionally composed ensemble works with oboe, found initially in concertino in the Brandenburg Concertos Nos. 1 (three oboes) and 2 (one oboe) and perhaps the early versions of the Four Orchestral Suites, BWV 1066-9 from Cöthen or earlier using the French trio of two oboes and bassoon. In Leipzig, Bach "was able now, with a distance of years, to published reusable works from his time at Cöthen; much here needed modification, adaptation to the new circumstances and conventions," says Peter Wollny.⁷ "From this has come the understandable desire to reveal the original versions of these works and, as far as possible, reconstruct them for modern performance. Such a project demands an element of courage in dealing with the numerous questions that arise and the few concrete indications. As long as the musical result remains plausible and no dogmatic positions are taken up, this seems a legitimate procedure, to bridge over the gaps in surviving sources – it is, nevertheless, always necessary to bear in mind that we will never know with absolute certainty how the original versions of Bach’s harpsichord concertos looked."

Obbligato Oboe, Organ, Other Movements

Following the reconstruction of putative early violin concertos, some Bach scholars also suggested that these works may have been composed originally for oboe as an alternative to the violin. "Even the celebrated Bach [concerto] reconstructions of the twentieth century were essentially adaptations and new arrangements," says Harald Ritter.⁸ "In transcribing these new oboe concertos we've undertaken nothing very different from what was done more than 50 years ago in order to recreate some of the best-loved Bach concertos." Bach first used the single oboe in the early cantatas and systematically in his cantata orchestra in Leipzig particularly in festive works, says Ulrch Prinz, with a pair in ripieno bolstering the violins and the chorus sopranos as well as in the four-part chorales.⁹ "All imaginable ways of using the oboe as an obbligato instrument in arias (and recitatives) are to be found, in three- to five-par writing, with the strings or with the whole orchestra," he says. Bach also used the solo oboe and oboe d'amore as an obbligato instrument in arias such as the alto "Schäme dich, o Seele, nicht" (Do not be ashamed,O Soul), in 1723 Cantata 147 for the Visitation Feast (https://www.youtube.com/watch?v=dsyz_a7Jgfk) and the alto "Saget, saget mir geschwinde" (Tell me, tell me quickly) from the Easter Oratorio of 1725 (https://www.bach-cantatas.com/Texts/BWV249-Eng3.htm), the soprano "Sehet, Jesus hat die Hand" (See, Jesus had the hand) from the 1727 Matthew Passion (https://www.youtube.com/watch?v=CJcQD5qkTTg&list=RDCJcQD5qkTTg&start_radio=1&t=69)., and the alto "Qui sedes ad dexteram Patris" (Who sits at the right hand of the Father) from the 1749 B-Minor Mass (https://www.youtube.com/watch?v=lYPQ52px1Ns).

One area still to be pursued is the organ obbligato movements found primarily in the third sacred cantata cycle of 1726 as to BWV 35/1, 49/1, 52/1, 146/1, 169/1, and 188/1 in Leipzig, possibly composed for talented young son Friedemann to perform. Early Bach scholars had supposed that these movements originated in Cöthen as music from lost concertos which Bach had salvaged. Recent research of Christoph Wolff,¹⁰ which began in 1991 with findings that the violin concertos, BWV 1041-3, dated to 1730 in Weimar not to Cöthen, was followed in 2016 with his thesis, still not fully ratified, that Bach initially composed the first two harpsichord concertos, BWV 1051 and 1053, originated in Weimar as early as 1715 as organ concertos not as violin concertos composed in Cöthen, despite their utilizing “specific violin manners like bariolage [string crossings with double stops] as points of departure for the development of virtuoso keyboard figuration,” he says. The two organ concertos “would be likely candidates for the Dresden Programs of September 1725,” says Wolff (Ibid.: 64), and with their adaptive movements found in 1726 in Cantatas 47/2 (https://www.youtube.com/watch?v=tKNHiSBO73w), 49/1,2, 70/3 (146/1,2,7, 169/1,3,5 and 188/1. Other music includes the organ obbligato movements of BWV 170/3, 5 and 29/1 (https://www.youtube.com/watch?v=wksoe1iKz5c) as well an aria with violin obbligato, BWV 120/4 (https://www.youtube.com/watch?v=-C82pkS3OiA).

Other orchestral works which may be adaptations from earlier concertos are the 1723 opening chorus of Cantata 75 (https://www.youtube.com/watch?v=1pBSKWQXFSM) with vocal insertion and Cantata 76 opening chorus (https://www.youtube.com/watch?v=1pBSKWQXFSM, Another opening sinfonia without organ obbligato is Cantata 42 (https://www.youtube.com/watch?v=BJxH_6A6UJ8) of 1725, perhaps from a violin concerto dating to 1718. The Sinfonia in F Major, BWV 1045 (https://www.bach-digital.de/receive/BachDigitalSource_source_00001682), dated 1742-46, was originally thought to be the opening movement of a lost violin concerto, with added trumpets and drums (https://www.youtube.com/watch?v=1qCzYxrpqhM). Bach may have used the Sinfonia to introduce a festive cantata for one or more special services celebrating the Peace Treaty of the Second Silesian War in Leipzig, January 1, 1746.

Postlude: Bach obviously relished the opportunity to recast concertos for a particular instrument into another version for a different instrument, similar to creating new wine in old bottles or old wine in new bottles. Bach's genius lay in the original melody and harmony, which seemed idiomatic for that particular instrument, but which could be assimilated into a new context with changes only in interpretive factors such as phrasing, embellishments, and dynamic adjustments. While virtually no early autograph versions are extant, it is obvious that Bach during a succeeding period of twenty years (1725-45) continually engaged in a process of reexamining the music in order to cast it in new light or environment.

FOOTNOTES

¹ Werner Breig, "Composition as arrangement and adaptation," in The Cambridge Companion to Bach, ed. John Butt (Cambridge: Cambridge University Press, 1997: 166); Breig edited the 2001 NBA VII/7 edition of the Cembalo Concertos (https://www.baerenreiter.com/en/shop/product/details/BA5090_41/).
² Nicholas Kenyon, "Violin Concertos" in Bach the Music, Bach 333, the J. S. Bach New Complete Edition (Berlin: Deutsche Grammophon, 2018: 151), https://www.bach333.com/en/; information earlier found in Kenyon's "Instrumental Music," in BACH: Faber Pocket Guide to Bach (London: Faber, 2011, 353), https://www.faber.co.uk/9780571233274-the-faber-pocket-guide-to-bach.html.
³ Gotthold Frotscher "Violin Concerto in D minor," BWV 1059R, [Halle (Saale): Mitteldeutscher Verlag, 1953]; [Leipzig: Edition Peters: Collection Litolff, [19--], Pl. no.: V 1065; Publisher's No.: 5609 Collection Litolff]; http://www.bach-cantatas.com/Arran/OT-Frotscher-G.htm; Frotscher biography, http://www.bach-cantatas.com/Lib/Frotscher-Gotthold.htm.
⁴ Andreas Bomba, "With organic vitality and a marked character: Bach's reconstructed violin concertos," 2000 liner notes, Eng. trans. Dr. Miguel Carazo & Associates (https://www.bach-cantatas.com/NVP/Poppen-C.htm#O3).
⁵ Michael Feldman, "Four Concerto for various instruments," 1988 liner notes Amazon.com.
⁶ Simon Heighes, "J. S. Bach Violin and Oboe Concertos" (BWV 1052, 1055, 1056, 1060; arr. Wilfried Fischer), 1994 liner notes http://www.flyinginkpot.com/1999/01/inkpot68-classical-music-reviews-j-s-bach-violin-oboe-concertos-bwvs-1052555660-wallfishrobsonoae-virgin-veritas/.
⁷ Peter Wollny, "J. S. Bach Oboe Concertos" (BWV 1053, 1055, 1056, 1059 and 1060), Eng. trans. Keith Anderson, 1997 liner notes, https://www.naxos.com/mainsite/blurbs_reviews.asp?item_code=8.554169&catNum=554169&filetype=About%20this%20Recording&language=English.
⁸ Harald Ritter, "Voices of Bach: Works for Oboe, Choir & Orchestra," Eng. trans. Richartd Evidon, 2009 liner notes, https://www.bach-cantatas.com/NVP/Mayer-A.htm#Arrang: T-2, "Voices of Bach."
⁹ Ulrich Prinz, "oboe," in Oxford Composer Companions: J. S. Bach, ed. Malcolm Boyd (New York: Oxford University Press, 1999: 326).
¹⁰ Christoph Wolff, “Did J. S. Bach Write Organ Concertos?,” in Bach and the Organ, ed. Matthew Dirst, Bach Perspective 10, American Bach Society (Urbana Ill: University of Illinois Press, 2016: 67); Wolff's earlier studies are "Bach's Leipzig Chamber Music" in Bach: Essays on His Life and Music (Cambridge MA: Harvard University Press, 1991: 228); and "The Organ and Bach's Cantatas," Bach: Essays (321).

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To come: Orchestral dance settings as suites, concertos, and adaptations; music of the Bach family and others.