Concerto for three harpsichords in d, BWV 1063

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 D-minor Concerto for Three Harpsichords, BWV 1063, 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.
This concerto starts with a strong unisono statement by all parts. And unlike some other examples in the genre, the keyboard soloists do not overshadow or brush aside the accompanying string players. Even the conventional solo episodes, which feature the three harpsichords in different styles of virtuosic display, are heavily punctuated by strings. The central movement is a fluid siciliano—one of Bach’s most successful forms, with its characteristic dotted rhythm in triple meter. And where the first movement largely integrated the strings and keyboards, this portion concludes with extensive cadenza for just harpsichords. A common cadential gesture segues into the finale, in which the main theme carries a charming syncopation. As many listeners may be expecting, the finale also celebrates Bach’s brilliant ease with writing fugue. The fugue breaks off at various points, and at those moments the cello provides rhythmic impulse moving the music ever onward. From such movements, Bach has earned the reputation of writing music that seems to progress inevitably, to have an inner logic that animates the form from within.

(c) Jason Stell