Bach Marcello - Adagio from the Concerto in D minor BWV 974 / Leonart live on the Organ-Truck

Live recording on the 26th of May on the Organ-Truck in Basel. Playing in front of a live audience and recorded the whole performance POV with a GoPro strapped to my chest.
Here's an excerpt of the concert in the second movement of the beautiful Bach-Marcello concerto!
Many thanks to Cameron Carpenter for his patronage, Martinu Festtage for the realisation of the project and to Rotary Distrikt 2000 for their backing of the Orgel-Truck!
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Bio:
Nenad Leonart is a musician based in Switzerland. He was born in Nis, Serbia, where he started to play piano when he was six years old. In 2001 he continued learning the piano with Robert Kolinsky at the Musikschule Konservatorium Zürich. He started early with public performances, as a soloist as well as a chamber musician and claimed several first prizes at the Schweizerischer Jugendmusikwettbewerb and at the Zürcher Musikwettbewerb.

After studying piano for two years with Konstantin Scherbakov at the ZHdK he moved his focus to old music and restarted his music studies on the harpsichord in Zurich with Michael Biehl. He graduated with honor his Bachelor of Arts and his Master Pedagogy studies and continues his studies in his second Master of Performance on the harpsichord. Since last year, he has started his own series of concerts in his home studio in Greifensee and he has moved into the music video production business.

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The Oboe Concerto in D minor, S D935, is an early 18th-century concerto for oboe, strings and continuo attributed to the Venetian composer Alessandro Marcello. The earliest extant manuscript containing Johann Sebastian Bach's solo keyboard arrangement of the concerto, BWV 974, dates from around 1715. As a concerto for oboe, strings and continuo its oldest extant sources date from 1717: that year it was printed in Amsterdam, and a C minor variant of the concerto, S Z799, was written down.

The Concerto in D minor, S D935, was published by Jeanne Roger in Amsterdam in 1717, as a Concerto a Cinque (concerto in five parts) for oboe (soloist), strings (two violin and one viola parts) and continuo composed by Alessandro Marcello. No publication date appears in the print: although the year of publication is, depending on author, sometimes given as "ca. 1714-1717" or "c.1716" it can be inferred from the consecutive testaments of the publisher's father (Estienne Roger) and from the sequence of publication numbers. The publication presents the melody lines unadorned, that is: it is left to the performing musician to embellish melodies with ornaments such as trills, mordents and grace notes. Alessandro Marcello published most of his works under a pseudonym (Eterio Stinfalico): the oboe concerto publication was an exception in that sense as it used his real name.

In his Weimar period (1708–17) Johann Sebastian Bach arranged several concertos by Venetian composers for solo keyboard, known as his Weimar concerto transcriptions. In July 1713 Prince Johann Ernst returned to Weimar from the Netherlands with several compositions by Italian masters, containing twelve concertos, as Bach apparently used this print for five of his solo keyboard arrangements. The Prince, who also composed Italianate concertos, presumably encouraged Bach to produce solo keyboard arrangements of such works.
Bach's manualiter arrangement, BWV 974, of the Marcello concerto was apparently not based on the Amsterdam edition, but must have been based on a (lost) manuscript version of the concerto that circulated before it was printed. The July 1713 to July 1714 timeframe may fit for the production of the arrangement of this concerto, although an earlier or later date is possible too. Bach's autograph of the solo keyboard arrangement is lost, but the arrangement was copied around 1715 by Bach's second cousin Johann Bernhard, as the third item in a manuscript containing 12 of Johann Sebastian's keyboard transcriptions of Italian and Italianate concertos. In 1739 Johann Bernhard's son Johann Ernst wrote a title page for this collection, suggesting that the collection contained Vivaldi arrangements for organ exclusively.
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