The A major concerto for harpsichord was recognized by Sir Donald Tovey as early as 1936 as being suited exactly to the range and musical capabilities of the oboe d’amore if the extra keyboard figurations were removed. Once transcribed, the work explores the d’amore’s various tessituras to great advantage, from the very first entry on the instrument’s lowest note through to the extended passages at the top of the register in the last movement (marked Allegro ma non tanto). More recent research into the manuscript of the harpsichord concerto shows clearly how the original melodic line was embellished to produce the characteristic harpsichord figurations. Although there must of course be occasional doubts, mostly in the first movement, regarding exact readings of the original solo part, this reconstruction (based largely on that in the Neue Bach-Ausgabe
) can probably be considered to match closely Bach’s original concerto.
from notes by Robert King © 1988