Concerto for Three Harpsichords in C, BWV 1064 (composer's arrangement of a lost Concerto for Three Violins): String Orchestra, Solo Keyboard with Ensemble, Solo Harpsichord 3 Part

This concerto demonstrates Bach's compositional ingenuity at transforming instrumental works across different media. The three harpsichord concerto format is rare in the standard repertoire, offering string orchestras and harpsichordists an opportunity to explore Bach's understanding of keyboard-string dialogue in a work that combines the brilliance of the concerto grosso with the textural richness of three solo instruments.

The work balances the intimate dialogue of three harpsichord voices with the warm support of strings, creating a texture that is both intellectually intricate and emotionally direct. The slow movement offers genuine lyrical beauty, while the outer movements sparkle with the characteristic vigor of Bach's fast writing.

String orchestras with advanced harpsichordists looking to expand beyond the more familiar Bach keyboard concertos, as well as programs seeking chamber-scaled concerto grosso repertoire that showcases multiple soloists within an ensemble context.

• Balance the three harpsichord parts with the string ensemble so that each solo keyboard voice remains clearly audible without overwhelming the ripieno section. The concertino-ripieno relationship depends on textural clarity rather than volume.
• Maintain consistent articulation and phrasing across the string section; Bach's counterpoint will emerge naturally if each line has rhythmic precision and secure ensemble tuning.
• Shape the cantabile slow movement with careful attention to voice leading among the three harpsichord parts; let the string accompaniment provide gentle harmonic support without competing for attention.

Program this alongside other Bach concertos (the Double Violin Concerto or harpsichord concertos) to create a thematic exploration of the concerto grosso form, or use it as a centerpiece for a program highlighting keyboard-ensemble collaboration. Its moderate length and Baroque idiom also make it suitable for lecture-demonstrations on Bach's compositional techniques.

• Balancing multiple solo voices within an ensemble texture
• Reading and executing independent harpsichord lines in counterpoint
• Understanding the concerto grosso principle of concertino and ripieno groups
• Sustaining ensemble cohesion across Baroque phrase structures and figured bass accompaniment
• Interpreting Bach's voice-leading priorities through articulation and phrasing