Concerto in F, BWV 1057

Though the harpsichord was critical to Baroque ensemble texture, forming a part of the so-called “continuo” section that accompanied the leading melody, the instrument gradually emerged to become an important leading voice itself. In both respects Johann Sebastian Bach (1685-1750) raised the harpsichord to a pinnacle of development. Listeners may know his dozens of solo keyboard collections (like the Well-Tempered Clavier or Goldberg Variations), but Bach also wrote numerous concertos for one, two, three, and even four harpsichords.
The Concerto in F, BWV 1057, reuses material Bach had previously created for the fourth Brandenburg Concerto written before or around 1721. The Brandenburg featured two recorders and solo violin. Bach retains the prominent recorder parts but rescores solo violin and continuo material for the solo harpsichord in BWV 1057. Indeed, there is substantial new material for harpsichord that did not exist in Brandenburg No. 4, and the textural possibilities on offer—given the keyboard’s polyphonic and chordal richness—are suitably explored. Bach’s themes are delightful, ranging from the lilt of an opening triple-meter Allegro to a tender, withdrawn minor-mode Adagio. But what scholars find endlessly fascinating is the way Bach’s transformation of the earlier concerto for violin and recorders shows his working method and a conscious effort to elevate solo harpsichord to a position far above its previous, purely supporting role.

(c) Jason Stell