In Baroque period, the concerto development mainly focus on solo concerto. Composers choosed violin as the primary solo instrument. At that time, harpsichord was treated as the basso continuo instruments in orchestra. No harpsichord concerto is found at the beginning of the development of solo concerto. Johann Sebastian Bach was the first composer who used harpsichord as solo instrument for concerto.His harpsichord concerto in Weimar period foreshadow harpsichord concerto in Leipzig period. The harpsichord concertos of J.S.Bach borrowed materials from other composers` or his own solo concertos. This paper uses harpsichord concerto BWV1052 as example to investigate the way Bach changed the role of harpsichord from basso continuo to solo instrument. This paper includes three parts. First, the development of the solo concerto in the Baroque period is explored. The second part focuses on harpsichord concertos of J.S.Bach. Thirdly, examines how Bach borrowed his own materials from Cantata BWV146 to BWV1052, and the relationship among C.P.E.Bach`s harpsichord concerto BWV1052a, Wilfried Fischer `s Violin concerto reconstruction BWV1052 and BWV1052. Finally, a conclusion will be made.

Busoni was one of the most celebrated pianists of late nineteen century. Besides his wonderful performing, his virtuosic transcriptions of Bach compositions contribute to Romantic piano repertoire. Through years, the music of Bach still popular on stage, and inspires many composers transcribe his works to other instruments. In 1893, Busoni transcribed, for the piano, the famous Bach Chaconne for violin solo from the Partita No.2 in D minor and dedicated it to the pianist Eugen d'Albert. Today, among the numerous versions, Bach-Busoni Chaconne is most often performed. This thesis mainly discuss the arrangement of Bach-Busoni Chaconne, and divided three main directions. The first part, concentrated on background research and investigated on correlation between Busoni¡¦s and Bach¡¦s Chaconne in D minor. In second part, aimed at the analysis of texture in Bach- Busoni. In third part, discussed the features of the original works which Busoni inherited from Bach, and the differences between Busoni¡¦s work and Bach¡¦s original work. The differences are divided into the emphasis on sarabande, the imitate colors of the pipe organ with sound effects, the usage of octave, and different register. Busoni followed closely to Bach¡¦s original work; he not only added virtuosic passages, pedal usage, dynamic change, different register, but also gave expression terms to reach the result of imitate the quality of orchestra and pipe organ. The Chaconne in Busoni¡¦s hand became a piano piece with great Romantic spirit in it.