Concerto for three harpsichords in C, BWV 1064

Without qualification, J. S. Bach (1685-1750) ranks among the most important and prolific writers of keyboard music, including not only solo organ and harpsichord works but also a dozen concertos. The concertos stem from his years in Cöthen (1717-23) where Bach directed several instrumental ensembles. In previous seasons, we have heard his concertos for one, two, and four harpsichords. Now we enjoy the C-major Concerto for Three Harpsichords, BWV 1064, one of only two he wrote for that particular scoring. Like several other concertos for multiple harpsichords, it is probable that this work either began as a concerto for three violins or is, in fact, a transcription of such a violin concerto now lost.
I think it is surprising that Bach did not write more concertos for three solo instruments. Music of all eras, but especially baroque music, is based on harmonic sequence, in which a phrase is stated and then repeated immediately at a new pitch level. The optimal number of occurrences of a phrase seems to be three: original statement followed by two sequential echoes, before something different breaks the pattern. Two occurrences are not enough to show the sequence at work, and four begins to sound banal and mechanistic. Three-fold occurrences work perfectly when one has three soloists to consider, and the opening movement of BWV 1064 shows such sequential writing to good effect. Moreover, three-voice counterpoint also strikes a nice balance: two voices being a touch underdeveloped, four voices bordering on impenetrability. Thus, this Concerto for Three Harpsichords occupies a kind of “Goldilocks zone.”
The slow movement derives its mournful mood from the frequent half-step “sigh” figures in the main theme. These become more important to establishing the emotional tone, especially once Bach starts to modulate into other keys (which have different tonal colors). The final returns to the vigorous style of the opening Allegro. It is held together by the sections of full ensemble, but Bach has clearly lavished great care on the solo cadenzas, of which there are—not surprisingly—three. Each soloist gets a moment to shine, beginning with the harpsichord #3, followed by the virtuosic #2, and finally the harmonically daring #1. Like Goldilocks, you will determine which of the three feels just right.

(c) Jason Stell