It is my hope that this paper will clarify a number of points previously overlooked, while making it easier for oboists to give better renditions of all nine of these truly fabulous works. I suspect that the majority of oboists attempt to analyze the movements of these concertos during the practicing and perfecting of the individual phrases in the solo oboe part. In my own experience I have found that because these works are so very complicated, such a process only leads to confusion. I know for a fact that many of my students completely give up on any analysis, and just try to blow through these concertos as 'musically' as possible, hoping that I will fix up what is not working. After all, isn't there already enough for them to work on with reeds, intonation, and a fickle instrument ?

I have found it best to initiate all work on concertos from a full score at the keyboard, marking off the various sections, especially those which are heard again, such as ritornelli or recapitulations of an episode. In that way, when I eventually play such sections on the oboe I am able to work out similar phrasing for identical material, or, if need be, vary it for fuller expression.

1. Solo Concertos in the Venetian Style

Being a student of the 19th-century concerto and an oboist who has at one time or another performed each of the five so-called 'reconstructions' of the oboe concertos composed by Johann Sebastian Bach, I was doubly intrigued by Prof. Stevens' observations. I mentioned to her at the time that redundancy in the orchestral parts of Bach's concertos can also be observed in the Brandenburg Concerto No. 2, implying that this work was not a concerto in the usual sense, but, in fact, a 'sonata A cinque' for trumpet, recorder, oboe, violin, and continuo to which Bach had later added two violins, viola, and violone. Perhaps Prof. Stevens had observed only the 'tip of the iceberg' among Bach's concerto production when she made her initial observations, and perhaps the time had come for a complete review of Bach's 22 concertos. In my opinion, the best starting point would be to first understand the relationship of these works to the ideas contained in the 20 intabulations (for organ and harpsichord) of Venetian-style concertos which Bach had made at the ducal court of Weimar.2

For this reason first I made analyses of the 20 intabulated concertos (BWV 972-987 and BWV 592-596) and then drew up a list of criteria against which all of these works could be checked. These criteria included such concepts as original and intabulated keys, original instrumentation, number of movements, their order, meter and tempo, and all possible aspects of the structure of each movement. This work actually went quite fast, taking only about six weeks of my time.

I then analyzed Bach's own output of 22 concertos and utilized the identical criteria against. which to check each section of every concerto. This task ran about six months, since at the same time I was comparing the results of this work with those I had earlier gleaned from the intabulated concertos. The prime idea was to discern what new or unusual departures from the 20 intabulated concertos were taken by Bach in his own concertos. This presupposes that the 20 intabulations made at Weimar around the years 1713-1714 were Bach's 'primer' for learning about the Venetian style firsthand. At the time when Bach undertook these Intabulations, there were no detailed theoretical sources with which he might consult, so the idea of primer-intabulations seemed plausible.3

Unfortunately, there was no way to definitely know which additional Venetian concertos might have influenced Bach's procedures. For example, the intabulated works on the whole are quite ordinary in their original scorings, but Antonio Vivaldi, whose works form almost half of these Intabulations, did compose concertos with orchestrations as rich as the Brandenburg Concertos. Although none of these items were intabulated by Bach, it would seem that he must have been aware of such colorful concertos.

There are also three additional concertos in which the finale is composed as a sonata, although the first movement is of the usual type with the string body generating the ritornello. These are:

Concerto for Two Violins and Orchestra, BWV 1043

Concerto for Flute, Violin, Harpsichord, and Orchestra, BWV 1044 By the way, this concerto is an arrangement of two earlier works: the Prelude and Fugue in A Minor, BWV 894, and the central movement of the Organ Sonata in D Minor, BWV 527.

Brandenburg Concerto No. 5, BWV 1050

There are at least three concertos which were originally conceived for unaccompanied harpsichord or harpsichords:

Concerto nach italianischen Gusto, BWV 971

Concerto in C Major for Two Harpsichords, BWV 1061

Concerto in C Major or for Three Harpsichords, BWV 1064

Among the most perplexing concerti, insofar as original solo instrumentation is concerned, are the eight for a single harpsichord and orchestra. Two are arrangements of the well-known Violin Concertos in A Minor and E Major, while a third is an arrangement of Brandenburg Concerto No. 4. Of the remaining five, much conjecture has been made. The first in the series has been reconstructed for violin, the fourth for oboe d'amore, and the remaining three for oboe. The evidence is shaky in all cases, and it could well be that these five works should also be included among those originally conceived for unaccompanied harpsichord or harpsichords.

The same might be true for the Concerto in C Minor for Two Harpsichords and Orchestra, BWV in 1060 and the Concerto in D Minor for Three Harpsichords and Orchestra, BWV 1063. The first of these is often heard with oboe and violin in the solo roles, while Arnold Schering at one time suggested flute, violin, and oboe as the original solo instruments for the latter work. The fact that Bach arranged the Concerto in D Minor for Two Violins and Orchestra as a Concerto in C Minor for Two Harpsichords and Orchestra is the reason why many have been led into this belief, rather than the obvious fact, arising from the redundancy of the orchestral parts, that the two aforementioned concertos were probably originally designed for unaccompanied harpsichords.

The Six Sonatas for Organ, BWV 525-530 are keyboard concertos, too, but none among them are entitled 'concerto' in the manuscripts which have come down to us.

I should now like to discuss in detail each of the nine concertos by Bach which are played by today's oboists.

Possible Prototype: Concerto for Oboe and Orchestra in F Major or Eb Major

This concerto is often played, after a suggestion by Donald Tovey, with the oboe d'amore as soloist. Leon Goossens was among the first of the 20th-century oboists to play it in this version.

Second Movement

Although set in ritornello form, this movement includes a two-measure ostinato which makes up the entirety of the outer ritornellos; it is also heard twice in both Episodes II and III. For the most part, the pervading rhythm in the orchestra is rather plain, but the dotted triple division of the siciliano can be found in a few spots during Ritornelli I, II, and IV. The soloist, on the other hand, is given an intricate ornamental melody to play during the three episodes.

Concerto for Oboe, Violin, and Orchestra in C Minor

Concerto A due Cembali concertati, due Violini, Viola e Continuo di J. S. Bach

Concerto for Violin, Flute, Oboe, and Orchestra in D Minor

III. Special Aspects of Bach's Slow Movements

Ritornello Form is found in 13 of Bach's 22 concertos. Among these 13, 1 noticed the following special procedures:

2 [Giuseppe Torelli I Concerto in B Minor
3 Antonio Vivaldi, Op. 7, Book 2, No. 2
3 [Benedetto Marcello] Concerto in C Major
3 Georg Philipp Telemann, Violin Concerto in G Minor
4 ●Alessandro Marcello, Oboe Concerto in D Minor
4 Antonio Vivaldi, Op. 4, No. 6
4 Benedetto Marcello, Op. 1 No. 2
4 Duke Johann Ernst, Op. I No. 1
4 Duke Johann Ernst, Concerto in C Major
4 ●[Georg Philipp Telemann] Concerto in G Major
5 Antonio Vivaldi, Op. 3, No. 9
5 Antonio Vivaldi, Op 3, No. 12
5 Antonio Vivaldi, Op. 3, No. 3
5 Antonio Vivaldi, Op. 4, Book 1, No. 1
5 Duke Johann Ernst, Op. I No. 4
5 Duke Johann Ernst, Concerto in G Major
5 Antonio Vivaldi, Op. 7, Book 2, No. 5
7 Antonio Vivaldi, Op. 3, No. Il
8 Anonymous, Concerto in G Minor
8 Antonio Vivaldi, Op. 3, No. 8

Number of Ritornelli in First Movements: Bach's Own Concertos

The range of ritornelli in the first movements of Bach's own concertos runs from 4 through 20 . This is quite an increase when one considers the intabulations which ranged from 2 through 8. The most-utilized number of ritornelli in Bach's own works is 5 and 6, while the composers of the intabulated concertos were inclined to utilize 4 or 5 ritornelli. A list of the number of ritornelli in the first movements of the Bach concertos follows. With the exception of the Oboe concertos under consideration, these works are given by BWV number only:

4 BWV 10625
●Easter Oratorio Concerto, BWV 249a
5 BWV 971
5 BWV 1044
5 BWV 1052
6 BWV 1045
6 BWV 1049
6 BWV 1051
6 ●Oboe Concerto in F Minor, BWV 1056
6 BWV 1058
6 BWV 1061
6 BWV 1064
7 BWV 1048
7 ●Concerto for Violin, Flute, and Oboe, BWV 1063
8 ●Brandenburg Concerto No. 1, BWV 1046
8 ●Oboe d'Amore Concerto in A Major, BWV 1055
9 BWV 1050
10 ●Oboe Concerto in D Minor, BWV 1059
11 ●Concerto for Violin and Oboe, BWV 1060
14 [5 + 4 + 5] ●Oboe Concerto in F Major, BWV 1053
15 ●Brandenburg Concerto No. 2, BWV 1047
20 [9 + 2 + 9] BWV 1042

Of the 11 slow movements in ritornello form intabulated by Bach, eight maintain a single episode surrounded by 2 ritornelli. Two contain 3 ritornelli, while a single example would have contained 4 ritornelli, had not the initial one been deleted. In the 13 concertos composed by Bach himself which utilize ritornello form for the structure of the slow movement, 4 ritornelli [vs. 2 in the intabulations] is the most common set-up, but there are examples with ritornelli ranging as high as 7 and 8.

The number of ritornelli in the final movements of Bach's 20 intabulations ranges from 3 through 6, with the most- utilized numbers being 3 and 5. This is different from the initial allegro movements of these same works where the range of ritornelli ran from 2 to 8, the most-utilized numbers being 4 and 5. In Bach's own concertos the range in the finales runs from 4 through 13 [vs.intabulations: 3 through 6]. The most-utilized number of ritornelli are 6 and 7 [vs. intabulations: 3 and 5].

These figures demonstrate that Bach generally utilized a higher number of ritornelli in each member of the fast-slow- fast sequence of movements than did the composers of concertos which he had intabulated. Bach's utilization of da capo ritornello form in the first movements of the ●Oboe Concerto in F Major and the Violin Concerto in E Major brought the number of ritornelli in his first movements to unprecedented heights of 14 and 20 ritornelli respectively. Even without the da capo structure Bach was able to compose 15 ritornelli into the first movement of .Brandenburg Concerto No. 2. The highest number found among the first movements in his twenty intabulations was 8, so even the 9, 10, and I I ritornelli contained in the first movements of Brandenburg Concert, No. 5, the ●Oboe Concerto in D Minor and the ●Concerto for Violin and Oboe respectively are unusual.

On the other hand, the first movement of the Concerto for Two Violins in D Minor has but four ritornelli. The first movements of the ●Easter Oratorio Concerto, the Italian Concerto, the Concerto for Flute, Violin, and Harpsichord, and the D Minor Harpsichord Concerto each contain five ritornelli. These numbers are more in keeping with the proportions one finds among the concertos of the Venetian composers which Bach, at first, utilized as models.

Based upon the number of ritornelli found in the finales of Bach's intabulations which range from 3 to 6 with 3 and 5 being favored, the utilization of 7, 8, and 9 ritornelli in Bach's own finales should be considered unusually high numbers, and 13, in the ●F Major Oboe Concerto, extraordinary. Clearly, Bach preferred these large numbers of ritornelli since 10 among his 19 finales in ritornello form contain 7 or more ritornelli. Only one example of a large number of ritornelli exists among the intabulations: when the repeats are taken in the finale of ●Alessandro Marcello's Oboe Concerto, the number of ritornelli doubles from 6 to 12.

VI. A Few Words on the Number of Episodes

Of course, the number of episodes is dependent upon the number of ritornelli which enclose them. Movements with four ritornelli contain three episodes, and those with five contain four. Those are the two most common combinations among the twenty initial fast movements intabulated by Bach; as we already know, Bach often utilized a large number of ritornelli in his first movements, and there resulted a corresponding plethora of episodes.

In the latter part of the 18th century and early years of the 19th, four ritornelli surrounding three episodes became the standard formula in first movements of concertos and in some of their finales. In such works, Ritornello III might be dropped in order to cause Episode 11 to move directly into Episode III which was often a recapitulation of Episode 1. It would appear that J. S. Bach was not part of the 'mainstream' which led to such structures. Only the first movement of the Concerto for Two Violins and Orchestra contains three episodes, but it lacks the recapitulation feature in Episode Ill. On the other hand, the finales of ●BWV 1047, BWV 1049, and BWV 1061 also contain three episodes. Of these, the finale of BWV 1049, Brandenburg Concerto No. 4, includes a modified recapitulation of Episode I in Episode Ill by virtue of its overall arch technique; and BWV 1061, the C Major Concerto for Two Harpsichords contains a partial recapitulation of Episode I within Episode III.

 

VII. Bach's Utilization of Tonality Clusters in Ritornello Form

Clusters of the same tonality for consecutive ritornelli is an an idea found among the 20 intabulations made by Bach. As might be expected, this same concept is quite common within Bach's own concertos. The tonality progressions for each of the initial movements of his nine oboe concertos is given on the following lists.

Progression of Ritornello Tonalities for Bach's Initial Movements in Major Keys

Oboe Concerto in F Major: I-I-V-vi-I | | ii-IV-vi-vi | | I da capo: I-I-V-vi-I

Oboe d'Amore Concerto in A Major: I-V-V-ii-vi-iii-I-I

Brandenburg Concerto No. 1 in F Major: I-V-vi-V-ii-I-V-I

Brandenburg Concerto No. 2 in F Major: I-I-V-V-V-vi-vi-I-IV-V-ii-ii-iii-I-I

Easter Oratorio Concerto: I-I-iii-I-I

Progression of Ritornello Tonalities for Bach's Initial Movements in Minor Keys:

Oboe Concerto in F Minor: i-III-iv-iv & III-V-i

Oboe Concerto in D Minor: i-Ill-v-v-iv & VI-V of VI & VI-i-i-i-i

Concerto for Violin and Oboe in C Minor: i-i | | III-III-v-i | | V of III-V of III-i-V | | i

[The partitioning indicates recapitulation.]

Concerto for Violin, Flute, and Oboe in D Minor: i & v-i III iv-iv-i-i

VIII Bach's Utilization of Ritornelli Containing Soloistic Sections

Among the 20 concertos which were intabulated by Bach, four contain ritornelli with soloistic sections in their initial fast movements. All four of these are compositions by Antonio Vivaldi. In addition, five of the finales in this series utilize the same concept; three of these are by Vivaldi.

The first movements of Bach's 22 concerti utilize the soloistic idea in the ritornello as follows:

6 initial movements are of the 'ensemble' type in which the soloists are integral to the creation of all ritornelli.

3 concertos were composed for harpsichord(s) without orchestra so the question of soloistic sections is actually irrelevant.

Of the remaining 13 initial movements, I I contain ritornelli with soloistic sections. In the oboe concertos this presents a major obstacle to performance since the oboe player usually relies upon the ritornelli as places to rest the embouchure.

Concerning Bach's 19 finales in ritornello form:

9 finales are of the 'ensemble' type in which the soloists are integral to the creation of all ritornelli.

3 concertos were composed for harpsichord(s) without orchestra so the question of soloistic sections is irrelevant.

Of the remaining 7 finales, 5 contain ritornelli with soloistic sections. Again, essential resting places in oboe concertos are thereby removed.

IX. Recapitulation of Episodic Material

Half of the initial fast movements contained among the 20 intabulated concertos involve the episodes in some sort of recapitulation of thematic material. In one such example, Johann Ernst's Violin Concerto in Bb Major, Op. 1, No. I [BWV 982], Theme 2 of Episode I is recapitulated in Episode III. This same movement contains but four ritornelli and three episodes, exactly like the rather standardized first movements of concertos appearing after mid-18th century. All the more interesting is the fact that Theme 2 is transposed from its appearance in the dominant during Episode I to the tonic in Episode III; again this is precisely what occurs on a much larger scale later on in the 18th century.

Only 5 of the 14 intabulated finales utilize recapitulation; and the majority of the slow movements under discussion have but a single episode. Of the three which contain more, only one has a recapitulation.

Of the 22 concertos composed by Bach, only the first movements of .BWV 1055, the A Major Oboe d'Amore Concerto, and BWV 1044, an arrangement of the Prelude and Fugue in A Minor, do not utilize recapitulation of episodic material. Among the 19 finales in ritornello form, only 2 do not use it. Of the 13 slow movements, it occurs in 8. Clearly, recapitulation is of major importance in Bach's concertos; his flexibility in handling this concept is astounding.

For example:

In the first movement of Brandenburg Concerto No. 5 which has 8 episodes, Episode II appears at the end of Episode IV; Episode I is included within Episode VI; Episode V (part) is included within Episode VII; and Episode IV (part) is included within Episode VIII.

In the third movement of the .C Minor Concerto for Violin and Oboe which has 6 episodes, Ritornello II through Episode III return as Ritornello IV through Episode V. In addition there is a recapitulation of materials from Episodes I and II in Episodes IV and VI. In the latter two episodes all the material of the former two episodes is drawn upon, but the material of both Episodes I and II is split in half, and a different half from each of those episodes is utilized to build up each of Episodes IV and VI.

X. Concluding Words

The forgoing discussion on the structure of the 22 concertos composed by Johann Sebastian Bach, nine of which include the oboe as a soloist, shows that these fabulous works did not lay the groundwork upon which the concertos of Carl Philipp Emanuel Bach and Johann Christian Bach were to be built, structures upon which Mozart and Beethoven would later draw. The outer movements of concertos composed by that generation grew from the four-ritornello style practiced by Antonio Vivaldi, while those of Johann Sebastian were, for the most part, inspired by the concertos of Vivaldi and his Venetian contemporaries which utilized far greater numbers of ritornelli in the outer movements.

In a word, Johann Sebastian created longer concerto movements by composing large numbers of ritornelli into them, capitalizing upon the concept of tonality clusters for this purpose. His utilization of episodic recapitulation under such conditions was remarkably fluid. Composers after his time sought to increase the length of Vivaldi's four-ritornello outer movement style by lengthening its three episodes. In order to accomplish this it was often necessary to provide many additional themes, particularly repetitious closing themes annexed from binary form where their traditional use assisted in establishing the tonality at the end of the two large sections. These same closing themes were eventually utilized for unbelievable virtuosic display by the time this type of concerto reached the hands of composers working in Vienna and Paris at the end of the 18th century. J. S. Bach's fluid recapitulation of episodic material could not easily be matched by the composers which followed him by virtue of the restricted number of episodes which had come into use. In time, the result was a more rigid practice of recapitulation, particularly among the Viennese group, where one could count on the materials of Episode I reappearing in Ritornello III.

Of course, Wolfgang Amadeus Mozart tried every possibility to try to overcome such restrictions, recapitulating materials from Ritornello I and Episode I within Episode Ill. The Parisians led by Giovanni Battista Viotti, were not totally immune from the problem either, but sought to minimalize rigidity by recapitulating within Episode Ill only the material of Episode I which had originally appeared in the dominant.

The central episode of ritornello form caused the greatest problem of all for composers working in the latter part of the 18th century, for many felt that modulation had to be maximized in this section. J. S. Bach, on the other hand, through the usage of large numbers of engaging ritornelli in several related keys, had been able to take his time in each episode, since there was never any such pressure to modulate so vicariously. And this is the core of understanding the difference between the concertos of the elder Bach and the type composed by his sons, especially those of Johann Christian and his greatest imitator, Wolfgang Amadeus Mozart. For Johann Sebastian, the joy of hearing and recognizing a magnificent ritornello again and again through many keys reigned supreme, whereas for J. C. Bach and Mozart, the highlights of the individual outer movements were centered in the closing themes, the central modulating episode [development], and especially in the recapitulation of material from Ritornello I, Episode I and Episode II into Episode III.

Present-day oboists working on the Bach concertos can greatly enrich their understanding of these nine works through studying them in the manner I have outlined above. The concentrated work on the oboe which is necessary to maximize the beauty of each phrase will be made all the more enjoyable if the player realizes exactly where such phrases fit into the whole of the work and where identical ideas are presented in other concertos by this great composer.

 

END NOTES

1 Jane Stevens, "J. S. Bach's Harpsichord Concertos: A Question of Genre", paper read at the November 1990 meeting of the American Musicological Society in Oakland, California.

2 Two works were intabulated twice bringing the actual number to 22.

3 it still would be several years before Johann Joachim Quantz3 would describe the inner workings of the concerto in his Versauch einer Anweisung die Flote traversiere zu spielen (Berlin, 1752) pp. 293-308.

4 BWV 1065: Antonio Vivaldi, Op. 3, No. 10 for four violins and orchestra: this an arrangement made by Bach for four harpsichords and orchestra which has been transposed from the original key of b minor to a minor. I suspect that it might have been originally conceived as an intabulation for four harpsichords. The data on this work is not included among that for the 20 intabulations.

5 Johann Sebastian Bach's Werke, Vol. 17, Kammermusik, vol. 2, ed. Wilhelm Rust (Leipzig: Bach-Gesellschaft, 1869; reprinted Mineola, NY: Dover Publications, 1985) pp. 41-74. The orchestration includes violino 1, violino II, viola and continuo in addition to the cembalo.

6 The organ part is noted in C major. The orchestration includes two oboes, taille, and the usual strings.

7 The organ part is notated in D major. The orchestration includes oboe d'amore and the usual strings.

8 Johann Sebastian Bach, Concerto F-dur fur Oboe, Streicher und B.C., ed. Hermann Tottcher & Gottfried Muller (Hamburg: Musikverlag Hans Sikorski, 1955) Klavierauszug Ed. Nr. 337 K. Johann Sebastian Bach, Concerto in D-dur I& Oboe d'amore, Streicher und Basso continuo, ed Arnold Mehl & Friedemann Winkelhofer (Adliswil, Switzerland: Edition Kunzelmann, 1983) GM 921; full score Octavo Edition 10208.

Three Bach organ concertos have been reconstructed from church cantatas and harpsichord concertos [BWV 1052, BWV 1053, BWV 1059] by R. J. Schureck and recorded as: Johann Sebastian Bach, Organ Concertos, Peter Hurford organist, Northern Sinfonia conducted by Richard Hickox (London: Argo, 1988). Oboist, Stephen Hammer has recorded BWV 1053 in Eb major: J. S. Bach, Oboe Concertos, Stephen Hammer, oboe & oboe d'amore and the Bach Ensemble directed by Joshua Rifkin (Minneapolis: Pro Arte Digital, 1983) PAD 153. Also included are BWV 1055 and BWV 1059.

9 The Violin Concerto in E Major was later arranged by Bach for harpsichord [BWV 10541; in that version the key has been changed to D major.

10 The finale of Brandenburg Concerto No. 5 needs to be reviewed in this regard; the initial movement of Brandenburg Concerto No. 4 appears at first to be constructed in the da capo style, but the substantial section which repeats at the end of the movement is simply the complete ritornello.

11 Johann Sebastian Bach's Werke, Vol. 17, Kammermusik, vol. 2, ed. Wilhelm Rust (Leipzig: Bach-Gesellschaft, 1869; reprinted Mineola, NY: Dover Publications, 1985) pp. 101-124. The orchestration includes violino 1, violino II, viola and continuo in addition to the cembalo.

A modern edition of the reconstruction for oboe d'amore and orchestra: Johann Sebastian Bach, Konzert in Adur fur Oboe d'amore. Streicher und Basso continuo (Basel: Barenreiter, 1988). This publication is derived from the volume of concerto reconstructions in the Neue Bach Ausgabe (VII/7) edited by Wilfred Fischer in 1970.

There is also an arrangement for English Horn or bassoon: Johann Sebastian Bach, Concerto in F Major, ed. Alan Hawkins (Lawrence, Kansas: Bocal Music, 1990), and a version for oboe: Johann Sebastian Bach, Konzert C-dur fur Oboe, Streicher und B.c., ed. Walter Hausler (Hamburg: Edition Sikorski, 1977).

12 Johann Sebastian Bach: Neue Ausgabe Samtlicher Werke, Series VII: Orchesterwerke, Vol 7, Verschollene Solokonzerte in Rekonstructione, ed. Wilfried Fischer (Kassel: Barenreiter, 1970) p. 33-56.

13 Johann Sebastian Bach's Werke, Vol. 17, Kammermusik, vol. 2, ed. Wilhelm Rust (Leipzig: Bach-Gesellschaft, 1869; reprinted Mineola, NY: Dover Publications, 1985) pp. 125-140. The orchestration includes violino I, violino II, viola and continuo in addition to the cembalo.

14 Johann Sebastian Bach: Neue Ausgabe Samtlicher Werke, Series VII: Orchesterwerke, Vol 7, Verschollene Solokonzerte in Rekonstructione, ed. Wilfried Fischer (Kassel: Barenreiter, 1970) p. 59-72.

15 Johann Sebastian Bach, Konzert fur Oboe, Streicher und Basso continuo in G-moll, reconstruction by Winfried Radeke (Wiesbaden: Breitkopf & Hartel, 1970).

16 Johann Sebastian Bach's Werke, Vol. 17, Kammermusik, vol. 2, ed. Wilhelm Rust (Leipzig: Bach-Gesellschaft, 1869; reprinted Mineola, NY: Dover Publications, 1985) p. xx. The orchestration includes oboe, violino I, violino II, viola and continuo in addition to the cembalo.

For reconstructing the first movement: Johann Sebastian Bach's Werke, Vol. 7 (Leipzig: Bach-Gesellschaft) pp. 173-189. This is the Sinfonia for the Prima Parte for Geist und Seele wird verwirret BWV 35.

For reconstructing the second movement: Johann Sebastian Bach's Werke, Vol. 32 (Leipzig: Bach-Gesellschaft) pp. 99-100; this is the Sinfonia for Ich steh' mit einem Fuss im Grabe BWV 156. Also the following contains the revised version of the end of this movement as it is utilized in the reconstruction BWV 1059: Harpsichord Concerto in F Minor BWV 1056.

For reconstructing the third movement: Johann Sebastian Bach's Werke, Vol. 7 (Leipzig: Bach-Gesellschaft) pp. 206-212. This is the Sinfonia for the Secunda Parte for Geist und Seele wird verwirret BWV 35.

A modern reconstruction for oboe as the soloist: Johann Sebastian Bach, Concerto D Moll fur Oboe. Streicher und Basso Continuo, ed. Arnold Mehl (Adliswil, Switzerland: Edition Kunzelmann, 1983).

17 J. S. Bach, Oboe Concertos, Stephen Hammer, oboe & oboe d'amore and the Bach Ensemble directed by Joshua Rifkin (Minneapolis: Pro Arte Digital, 1983) PAD 153.

18 Johann Sebastian Bach's Werke, Vol. 21, Part 2, Kammermusik, Vol. 5, ed. Wilhelm Rust (Leipzig: BachGesellschaft, 1874) p. 3; The orchestration includes violino I, violino II, viola and continuo in addition to the two solo harpsichord parts.

Johann Sebastian Bach, Erstes Konzert fur zwei Klaviere in C-moll. [Leipzig: Breitkopf & Hartel], reprinted Miami, Florida: Edwin Kalmus & Company, Inc.)

Johann Sebastian Bach, Konzert C -moll fur Violine, Oboe und Klavier, ed. Max Seiffert (Frankfurt: C. F. Peters Corporation, 1920).

Johann Sebastian Bach, Konzert D-moll fur Violine. Oboe und Streichorchester, ed Max Schneider (Leipzig: Breitkopf & Hartel, 1924).

19 The latest reconstruction of this work is found in: Johann Sebastian Bach: Neue Ausgabe Samtlicher Werke, Series VII: Orchesterwerke, Vol 7, Verschollene Solokonzerte in Rekonstructione, ed. Wilfried Fischer (Kassel: Barenreiter, 1970) p. 75-100. The key chosen by the editor is c minor.

20 Both of these concertos might have originally been scored for oboe as the soloist.

21 Jan La Rue, Guidelines Style for Analysis (New York: W. W. Norton, 1970), Chapter VII, p. 153 ff.

22 Johann Sebastian Bach's Werke Vol. 31, Part 3, Kammermusik, Vol. 7, ed. Paul Graf Waldersee (Leipzig: BachGesellschaft, 1885) p. 3; The orchestration includes violino I, violino II, viola and continuo in addition to the three solo harpsichord parts.

23 Bach Jahrbuch, Vol. 9, ed. Arnold Schering, Arnold Schering, "Beitrage zur Bachkritik" (Leipzig: Breitkopf & Hartel, 1912), pp. 124-133.

24 Johann Sebastian Bach's Werke, Vol. 19, Kammermusik, Vol. 3, ed. Wilhelm Rust (Leipzig: Bach-Gesellschaft, 1871; reprinted New York: Dover Publications, 1976) pp. 1-28. The continuo contains a violone grosso.

25 Johann Sebastian Bach's Werke, Vol. 31, Part 1, Orchesterwerke, ed. Alfred Dorffel (Leipzig: Bach-Gesellschaft, 1885) pp. 96-111.

26 Johann Sebastian Bach's Werke, Vol. 19, Kammermusik, Vol. 3, ed. Wilhelm Rust (Leipzig: Bach-Gesellschaft, 1871; reprinted New York: Dover Publications, 1976) pp. 29-52.

27 Johann Sebastian Bach's Werke, Vol. 21, Part 3, ed. Wilhelm Rust (Leipzig: Bach-Gesellschaft, 1874) pp. 3-36. This is the Oster-Oratorium "Kommt, eilet und laufet".