Transcriptions were an important part of Johann Sebastian Bach’s oeuvre. For a composer who never took formal composition lessons, they were pathways to knowledge that allowed him to assimilate different styles and expand his musical horizons.

In this recording, the American Japanese harpsichordist Aya Hamada explores the role of the transcription in Bach’s work, bringing together the Italian Concerto, BWV 971, and the French Overture, BWV 831.

Although they were composed for a keyboard instrument, these pieces are characteristic of the ‘imaginary orchestral transcriptions’ that were prevalent in Bach’s output. They are paired here with the Toccata, BWV 912, which highlights the crucial dimension of improvisation in Bach’s music.

Finally, Aya Hamada offers a synthesis of these two approaches through Skip Sempé’s keyboard transcription of the Chaconne from the Partita, BWV 1004, which includes a lengthy improvisation transcribed by Sempé.

The Neuchâtel Museum’s Ruckers harpsichord is the perfect vehicle for this grandiose exploration of Bach’s keyboard artistry.