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 "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, most of them by
Antonio Vivaldi, 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. Vivaldi's
Op. 3, ''
L'estro Armonico'' had been published in Amsterdam in 1711, and there is little doubt that the Prince brought this edition, containing twelve concertos, to Weimar in 1713, 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. As the Prince left Weimar in July 1714 it is estimated that most of Bach's solo keyboard arrangements of Italian and Italianate concertos originated in the period from July 1713 to July 1714. That is, at least those arrangements that could be performed on a
harpsichord without
pedalboard, while the Weimar court
organ (which would be needed for arrangements including pedals such as BWV 592–597) would have been unavailable for undergoing repairs in this period. Another copy of Bach's arrangement indicates "Marcello" (without first name) as the composer of the original work, and J. S. Bach as the arranger. That copy, specifying harpsichord as the intended instrument for the arrangement, originated after Johann Bernhard's, but may have been copied from an earlier stage of Bach's arrangement. Another manuscript containing Bach's arrangement of Marcello's oboe concerto indicated "
J. S. B." as composer on the title page, without mentioning an earlier model, or its composer, for the composition. The ornamentation as indicated in Bach's keyboard version of the concerto works well on harpsichord, but is less suitable for performance on an early 18th-century oboe. Nonetheless Bach's ornamentation has been used for 20th-century publications of the oboe concerto – the ornamentation causes fewer problems when performed on a modern oboe. Editions of the D minor version of the oboe concerto with an ornamentation which is better in line with the possibilities of a baroque oboe have been proposed since the late 20th century. Another transcription of the concerto, as concerto a 5 for oboe, strings and continuo in C minor, is found in a 1717 manuscript. The type of errors in this manuscript seems to suggest that the transposition from D minor to C minor may have been produced by its scribes while copying. This manuscript writes the composer's name as "Marcello" without specifying a first name: as Alessandro's brother Benedetto was far better known as a composer by the name Marcello, later generations would interpret the title of the manuscript as referring to the better known of the "Marcello" composers. ==Movements==