Johann Sebastian Bach
Harpsichord Concerto no. 3 D major BWV 1054
It is almost impossible to tell from listening to them that Bach’s extremely popular concerti for harpsichord were probably his own transcriptions of solo concerti which had originally been composed for violin or a woodwind instrument. While in many cases the original model is unknown, this is not true in the case of the D major Concerto BWV 1054, which was written in 1738 as an arrangement of the E major Violin Concerto BWV 1042. Once again Bach succeeds in conjuring a brilliant and idiomatic keyboard work from the violin part. Not only because of this, but also principally due to its lively and cheerful outer movements, BWV 1054 belongs among the highlights of Bach’s rich compositional output. The piano reduction comprises the solo part together with a very playable piano reduction prepared by Johannes Umbreit for practical use.
About the Composer
Johann Sebastian Bach
For many musicians he is “the Alpha and Omega of all music” (Max Reger). Except for operas, Bach composed masterpieces for every ensemble and genre of his age. His catalogue of works contains almost 1,100 entries, including the great Passions of St. Matthew and St. Johan, the Goldberg Variations, the Brandenburg Concerti, or hundreds of singular cantatas. As organist in Mühlhausen and Weimar he creates primarily organ compositions, concerti, and works of chamber music. Later, as music director in Köthen and for the decades he serves as cantor in Leipzig, he composes chiefly sacred vocal compositions and keyboard works. His later, contrapuntally complex compositions exert an enormous influence on the compositional styles and practices of later generations.
About the Authors
Maren Minuth (Editor)
Maren Minuth, born in 1993, read musicology and media studies at the University of Regensburg, followed by a Masters in musicology at the Ludwig Maximilian University of Munich (LMU) while simultaneously studying culture and music management at the Hochschule für Musik und Theater in Munich; received a scholarship from the Max Weber Programme and the Studienstiftung des deutschen Volkes.
2017–2022 academic assistant in the editorial department of G. Henle Publishers; since 2022 copy editor at the publishing house
Norbert Müllemann (Editor)
Dr. Norbert Müllemann, born in 1976 in Cologne, studied musicology, German philology and philosophy at the University of Cologne whilst at the same time studying the piano at the Music Conservatory in Cologne.
In 2004 he began working at G. Henle Publishers as an intern. In 2005 he became a junior editor, whilst at the same time starting his doctorate at the Ludwig-Maximilians-Universität in Munich. He completed it in 2008 with a thesis entitled “Handschriften Frédéric Chopins bis 1830. Studien zur Authentizität, Datierung und Werkgenese”. Since 2008 Müllemann has been an editor at the publishing house, becoming editor-in-chief in 2017 and Head of Publishing in 2024. He has edited numerous Urtext editions for the publisher with a particular focus on the works of Frédéric Chopin.
Johannes Umbreit (Piano reduction)
He is on the jury of different international competitions and has been invited to several international music festivals. Umbreit was a teacher for almost ten years at the Musikhochschule in Munich and at the same time a lecturer for chamber music and piano accompaniment at the Richa
Michael Schneidt (Fingering)
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