Luogo e data di registrazione		Amsterdam (Holland) - 22/27 Ottobre 1962
	Registrazione: live / studio		studio
	Producer		Wolf Erichson
	Prima Edizione LP		Telefunken "Das Alte Werk" | SAWT 9424-B (Stereo) - AWT 9424-C (Mono) | 1 LP - durata 39' 01" | (p) 1963 | ANA Telefunken "Das Alte Werk" | SAWT 9424-B | 1 LP durata 39' 01" | (p) 1963 | ANA | Riedizione Telefunken "Das Alte Werk" | 6.41046 AS | 1 LP - durata 39' 01" | (p) 1963 | ANA | Riedizione Telefunken "Das Alte Werk" | SCA 25022-T/1-5 | 5 LPs - durata 212' 39" | (c) 1972 | ANA | (Sämtliche Cembalokonzerte)
	Edizione CD		Teldec Classics | LC 3706 | 8.35778 XD | 3 CDs - durata 76' 42" - 72' 00" - 63' 57" | (c) 1989 | ADD | (Sämtliche Cembalokonzerte)
	Cover		-
	Note		-

Bach's harpsichord concertos were composed at Leipzig where, beside his appointment as cantor at the St. Thomas School, from 1729 to 1736 he had taken on the direction of the Telemann Music Society and of the Collegium Musicum of the University. He must have had excellent keyboard performers at his disposal, for apart from the fact that he liked to play the leading harpsichord part himself, he expressed his predeliction for this keyboard instrument during those years in six concertos for more than one harpsichord. In his own family his sons Friedemann and Philipp Emanuel had also matured into good keyboard players, so that he could say proudly: “But altogether they are born musicians, and I can assure you that I can already form a concert, both vocal and instrumental, with my family”. This is still proved to us today by the “5 keyboard instruments, 2 violins, 3 violas, 2 ‘cellos and 1 gamba“ that have come down to us as part of Bach's possessions. Bach wrote seven concertos for one harpsichord, three for two, two for three and one for four harpsichords, letting their dominating solo parts be accompanied or supplemented by a string orchestra. In order to prepare them he returned to the instrumental concertos he had written during his years as a conductor at Köthen, and rewrote them as harpsichord concertos. The parts of the former solo instruments were retained note for note, appearing in the right-hand part for the harpsichord, while the left hand was given a second part that reinforces the musical argument. Each of these harpsichord concertos has three movements. The first and third movements are full of hearty, joyful music-making. The orchestra begins, in lively spirit, then giving the harpsichord opportunity to develop its theme. The soloists alternate with one another, and as in the ritornello of a rondo the orchestra takes up its theme again and again in between, thus leading the movement to its conclusion too. The second movement is always more contemplative. The surging tutti here comes to rest. The soloists play in duet with fervent feeling, imitating one another or exchanging parts while the orchestra only accompanies them. The refashioning of existing instrumental works for the more abstract and abundant sound of the harpsichord shows us particularly clearly Bach's mastery in rationally arranging the compositions for their new purpose and, in spite of the increased density of texture, in preserving the clarity and intelligibility of the musical thought. For these works are intended for playing by music lovers in the first place, and were performed not only in the family circle but also in coffee houses and gardens by the students, for the entertainment and pleasure of the guests. The short, concentrated themes pass through the works in a variety of guises, and as a result of their constant reappearance they remain familiar to the ear and retain the listener's attention. The Harpsichord Concerto in C minor (Bachwerke 1062) was written in 1736, and has evolved from the Concerto in D minor for two violins composed at Köthen in 1720. As mentioned above, the two solo violin parts appear in the right hand of the two harpsichord parts, while Bach otherwise adapts the work to suit the more arging character of the harpsichord's tone. The Concerto in C minor (BW 1060) was written in 1730, and has been adapted from the Köthen Concerto for Violin and Oboe in D minor. It is distinguished by its gay, energetic music-making and an Adagio consisting of a sensitive duet between the two harpsichords played throughout with only a pizzicato accompaniment. The Concerto in A minor (BW 1065) for Four Harpsichords dating from 1733 is an arrangement of the Concerto in B minor for Four Violins and String Orchestra by Antonio Vivaldi, whose works Bach liked so much that he already made keyboard reductions and arrangements of them early on in his career. The enjoyment of light-hearted music-making with which the Vivaldi work is pervaded also determines the manner in which it has been adapted for the harpsichord, although Bach's supreme art has increased the music’s intensity and left its unmistakeable stamp on the work. It has acquired a larger and more powerful character because a particular tension has been built into it, working up to a powerful dominant tension in E major in the Largo and not regaining the A minor basis of the whole work until the third movement, which then leads the work to a confident conclusion. Otto v. Irmer