15 FLORIAN NOACK After several years of transcriptions devoted exclusively to Russian music, I felt the urge to explore new horizons, to tackle repertory that presented new challenges and called for new ways of approaching the piano. This was also the moment when I met and began studying with Claudio Martínez Mehner, who, among a thousand other things that I owe to him, introduced me to the Baroque repertory and taught me to love it. That was how I came to transcribe Johann Sebastian Bach’s Concerto for four harpsichords BWV 1065, itself based on Antonio Vivaldi’s Concerto for four violins RV 580. So this is a transcription of a transcription. Not only did I find the challenge of adapting four harpsichords to a single piano exciting, but the example of Bach himself, who loftily reverses the roles by assigning to the harpsichords the role of soloist that Vivaldi had given to the strings, shows that, to my mind, the same work can exist under several different identities.
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