The keyboard concertos, BWV 1052–1065, are concertos for harpsichord (or organ), strings and continuo by Johann Sebastian Bach. There are seven complete concertos for a single harpsichord (BWV 1052–1058), three concertos for two harpsichords (BWV 1060–1062), two concertos for three harpsichords (BWV 1063 and 1064), and one concerto for four harpsichords (BWV 1065). Two other concertos include solo harpsichord parts: the concerto BWV 1044, which has solo parts for harpsichord, violin and flute, and Brandenburg Concerto No. 5 in D major, with the same scoring. In addition, there is a nine-bar concerto fragment for harpsichord (BWV 1059) which adds an oboe to the strings and continuo. Most of Bach's harpsichord concertos (with the exception of the 5th Brandenburg Concerto) are thought to be arrangements made from earlier concertos for melodic instruments probably written in Köthen. In many cases, only the harpsichord version has survived. They are among the first concertos for keyboard instrument ever written.

The keyboard concertos, BWV 1052–1065, are concertos for harpsichord (or organ), strings and continuo by Johann Sebastian Bach. There are seven complete concertos for a single harpsichord (BWV 1052–1058), three concertos for two harpsichords (BWV 1060–1062), two concertos for three harpsichords (BWV 1063 and 1064), and one concerto for four harpsichords (BWV 1065). Two other concertos include solo harpsichord parts: the concerto BWV 1044, which has solo parts for harpsichord, violin and flute, and Brandenburg Concerto No. 5 in D major, with the same scoring. In addition, there is a nine-bar concerto fragment for harpsichord (BWV 1059) which adds an oboe to the strings and continuo. Most of Bach's harpsichord concertos (with the exception of the 5th Brandenburg Concerto) are thought to be arrangements made from earlier concertos for melodic instruments probably written in Köthen. In many cases, only the harpsichord version has survived. They are among the first concertos for keyboard instrument ever written.

The concerto transcriptions of Johann Sebastian Bach date from his second period at the court in Weimar (1708–1717). Bach transcribed for organ and harpsichord a number of Italian and Italianate concertos, mainly by Antonio Vivaldi, but with others by Alessandro Marcello, Benedetto Marcello, Georg Philipp Telemann and the musically talented Prince Johann Ernst of Saxe-Weimar. It is thought that most of the transcriptions were probably made in 1713–1714. Their publication by C.F. Peters in the 1850s and by Breitkopf & Härtel in the 1890s played a decisive role in the Vivaldi revival of the twentieth century. Johann Sebastian Bach was a court musician in Weimar from 1708 to 1717. He wrote most, if not all, of his concerto transcriptions for organ (BWV 592–596) and for harpsichord (BWV 592a and 972–987) from July 1713 to July 1714. Most of these transcriptions were based on concertos by Antonio Vivaldi. Other models for the transcriptions included concertos by Alessandro Marcello, Benedetto Marcello, Georg Philipp Telemann and Prince Johann Ernst of Saxe-Weimar. Around 1715 Johann Bernhard Bach, Johann Sebastian's second cousin, copied 12 of the concerto transcriptions in a single manuscript. This manuscript, shelf mark P 280 in the Berlin State Library, starts with the harpsichord transcriptions BWV 972–981, followed by the organ transcription BWV 592, and ends with BWV 982. The sequence of the concertos in this manuscript is possibly as intended by the composer. For the organ transcriptions there is no known sequence that may go back to Bach's time.

The concerto transcriptions of Johann Sebastian Bach date from his second period at the court in Weimar (1708–1717). Bach transcribed for organ and harpsichord a number of Italian and Italianate concertos, mainly by Antonio Vivaldi, but with others by Alessandro Marcello, Benedetto Marcello, Georg Philipp Telemann and the musically talented Prince Johann Ernst of Saxe-Weimar. It is thought that most of the transcriptions were probably made in 1713–1714. Their publication by C.F. Peters in the 1850s and by Breitkopf & Härtel in the 1890s played a decisive role in the Vivaldi revival of the twentieth century. Johann Sebastian Bach was a court musician in Weimar from 1708 to 1717. He wrote most, if not all, of his concerto transcriptions for organ (BWV 592–596) and for harpsichord (BWV 592a and 972–987) from July 1713 to July 1714. Most of these transcriptions were based on concertos by Antonio Vivaldi. Other models for the transcriptions included concertos by Alessandro Marcello, Benedetto Marcello, Georg Philipp Telemann and Prince Johann Ernst of Saxe-Weimar. Around 1715 Johann Bernhard Bach, Johann Sebastian's second cousin, copied 12 of the concerto transcriptions in a single manuscript. This manuscript, shelf mark P 280 in the Berlin State Library, starts with the harpsichord transcriptions BWV 972–981, followed by the organ transcription BWV 592, and ends with BWV 982. The sequence of the concertos in this manuscript is possibly as intended by the composer. For the organ transcriptions there is no known sequence that may go back to Bach's time.

The keyboard concertos, BWV 1052–1065, are concertos for harpsichord (or organ), strings and continuo by Johann Sebastian Bach. There are seven complete concertos for a single harpsichord (BWV 1052–1058), three concertos for two harpsichords (BWV 1060–1062), two concertos for three harpsichords (BWV 1063 and 1064), and one concerto for four harpsichords (BWV 1065). Two other concertos include solo harpsichord parts: the concerto BWV 1044, which has solo parts for harpsichord, violin and flute, and Brandenburg Concerto No. 5 in D major, with the same scoring. In addition, there is a nine-bar concerto fragment for harpsichord (BWV 1059) which adds an oboe to the strings and continuo. Most of Bach's harpsichord concertos (with the exception of the 5th Brandenburg Concerto) are thought to be arrangements made from earlier concertos for melodic instruments probably written in Köthen. In many cases, only the harpsichord version has survived. They are among the first concertos for keyboard instrument ever written.

The keyboard concertos, BWV 1052–1065, are concertos for harpsichord (or organ), strings and continuo by Johann Sebastian Bach. There are seven complete concertos for a single harpsichord (BWV 1052–1058), three concertos for two harpsichords (BWV 1060–1062), two concertos for three harpsichords (BWV 1063 and 1064), and one concerto for four harpsichords (BWV 1065). Two other concertos include solo harpsichord parts: the concerto BWV 1044, which has solo parts for harpsichord, violin and flute, and Brandenburg Concerto No. 5 in D major, with the same scoring. In addition, there is a nine-bar concerto fragment for harpsichord (BWV 1059) which adds an oboe to the strings and continuo. Most of Bach's harpsichord concertos (with the exception of the 5th Brandenburg Concerto) are thought to be arrangements made from earlier concertos for melodic instruments probably written in Köthen. In many cases, only the harpsichord version has survived. They are among the first concertos for keyboard instrument ever written.

The keyboard concertos, BWV 1052–1065, are concertos for harpsichord (or organ), strings and continuo by Johann Sebastian Bach. There are seven complete concertos for a single harpsichord (BWV 1052–1058), three concertos for two harpsichords (BWV 1060–1062), two concertos for three harpsichords (BWV 1063 and 1064), and one concerto for four harpsichords (BWV 1065). Two other concertos include solo harpsichord parts: the concerto BWV 1044, which has solo parts for harpsichord, violin and flute, and Brandenburg Concerto No. 5 in D major, with the same scoring. In addition, there is a nine-bar concerto fragment for harpsichord (BWV 1059) which adds an oboe to the strings and continuo. Most of Bach's harpsichord concertos (with the exception of the 5th Brandenburg Concerto) are thought to be arrangements made from earlier concertos for melodic instruments probably written in Köthen. In many cases, only the harpsichord version has survived. They are among the first concertos for keyboard instrument ever written.

This is a list of compositions by Johann Christian Bach. The opus numbers are taken from Ernest Warburton's The Collected Works of Johann Christian Bach.

This is a list of compositions by Johann Christian Bach. The opus numbers are taken from Ernest Warburton's The Collected Works of Johann Christian Bach.

The organ concertos of Johann Sebastian Bach are solo works for organ, transcribed and reworked from instrumental concertos originally composed by Antonio Vivaldi and the musically talented Prince Johann Ernst of Saxe-Weimar. While there is no doubt about the authenticity of BWV 592–596, the sixth concerto BWV 597 is now probably considered to be spurious. Composed during Bach's second period at the court in Weimar (1708–1717), the concertos can be dated more precisely to 1713–1714. Bach also made several transcriptions of Vivaldi's concertos for single, two and four harpsichords from exactly the same period in Weimar. The original concertos were picked from Vivaldi's Op.3, L'estro armonico, composed in 1711, a set of twelve concertos for one, two and four violins. The publication of these Bach transcriptions by C.F. Peters in the 1850s and Breitkopf & Härtel in the 1890s played a decisive role in the Vivaldi revival of the twentieth century. There are six organ concertos:

This is a list of compositions by Johann Christian Bach. The opus numbers are taken from Ernest Warburton's The Collected Works of Johann Christian Bach.

This is a list of compositions by Johann Christian Bach. The opus numbers are taken from Ernest Warburton's The Collected Works of Johann Christian Bach.

This is a list of compositions by Johann Christian Bach. The opus numbers are taken from Ernest Warburton's The Collected Works of Johann Christian Bach.

This is a list of compositions by Johann Christian Bach. The opus numbers are taken from Ernest Warburton's The Collected Works of Johann Christian Bach.

This is a list of compositions by Johann Christian Bach. The opus numbers are taken from Ernest Warburton's The Collected Works of Johann Christian Bach.

This is a list of compositions by Johann Christian Bach. The opus numbers are taken from Ernest Warburton's The Collected Works of Johann Christian Bach.

This is a list of compositions by Johann Christian Bach. The opus numbers are taken from Ernest Warburton's The Collected Works of Johann Christian Bach.

This is a list of compositions by Johann Christian Bach. The opus numbers are taken from Ernest Warburton's The Collected Works of Johann Christian Bach.

A sinfonia concertante (IPA: [siɱfoˈniːa kontʃerˈtante]; also called symphonie concertante) is an orchestral work, normally in several movements, in which one or more solo instruments contrast with the full orchestra. It emerged as a musical form during the Classical period of Western music from the Baroque concerto grosso. Sinfonia concertante encompasses the symphony and the concerto genres, a concerto in that soloists are on prominent display, and a symphony in that the soloists are nonetheless discernibly a part of the total ensemble and not preeminent. Sinfonia concertante is the ancestor of the double and triple concerti of the Romantic period corresponding approximately to the 19th century.

This is a list of compositions by Johann Christian Bach. The opus numbers are taken from Ernest Warburton's The Collected Works of Johann Christian Bach.

A sinfonia concertante (IPA: [siɱfoˈniːa kontʃerˈtante]; also called symphonie concertante) is an orchestral work, normally in several movements, in which one or more solo instruments contrast with the full orchestra. It emerged as a musical form during the Classical period of Western music from the Baroque concerto grosso. Sinfonia concertante encompasses the symphony and the concerto genres, a concerto in that soloists are on prominent display, and a symphony in that the soloists are nonetheless discernibly a part of the total ensemble and not preeminent. Sinfonia concertante is the ancestor of the double and triple concerti of the Romantic period corresponding approximately to the 19th century.

A sinfonia concertante (IPA: [siɱfoˈniːa kontʃerˈtante]; also called symphonie concertante) is an orchestral work, normally in several movements, in which one or more solo instruments contrast with the full orchestra. It emerged as a musical form during the Classical period of Western music from the Baroque concerto grosso. Sinfonia concertante encompasses the symphony and the concerto genres, a concerto in that soloists are on prominent display, and a symphony in that the soloists are nonetheless discernibly a part of the total ensemble and not preeminent. Sinfonia concertante is the ancestor of the double and triple concerti of the Romantic period corresponding approximately to the 19th century.

Wolfgang Amadeus Mozart completed his Symphony No. 41 in C major, K. 551, on 10 August 1788. The longest and last symphony that he composed, it is regarded by many critics as among the greatest symphonies in classical music. The work is nicknamed the Jupiter Symphony, probably coined by the impresario Johann Peter Salomon. The autograph manuscript of the symphony is preserved in the Berlin State Library.

The Brandenburg Concertos (BWV 1046–1051) by Johann Sebastian Bach are a collection of six instrumental works presented by Bach to Christian Ludwig, Margrave of Brandenburg-Schwedt, in 1721 (though probably composed earlier). The original French title is Six Concerts avec plusieurs instruments, meaning "Six Concertos for several instruments". Some of the pieces feature several solo instruments in combination. They are widely regarded as some of the greatest orchestral compositions of the Baroque era.