were arranged for harpsichord; two double violin concertos for organ (two keyboards and pedal); and one of the concertos for four violins was arranged for four harpsichords and orchestra. Four further keyboard arrangements appear in Anne Dawson's book, an English anthology dating from around 1720 of arrangements for clavichord, virginal or harpsichord prepared by an unknown hand. As points out, the fifth concerto Op.3, No.5, RV 519, is the unique concerto to have resulted in so many transcriptions: these are described in detail in . The concerto transcriptions by Bach were probably made in Weimar where he was employed as court organist and later concertmaster in the period 1708–1717. It is thought likely that many of the transcriptions were made in 1713/1714, when Bach would have had access to a copy of L'estro armonico brought back to Weimar by the young Prince Johann Ernst of Saxe-Weimar after a two-year stay in the Netherlands. Bach made harpsichord arrangements of three of the concertos for solo violin: Op.3, No.3, RV 310, arranged as BWV 978 Op.3, No.9, RV 230, arranged as BWV 972 Op.3, No.12, RV 265, arranged as BWV 976 He arranged two of the double violin concertos for the organ, scored for two manuals and pedal: Op.3, No.8, RV 522, arranged as BWV 593 Op.3, No.11, RV 565, arranged as BWV 596 There is a much later arrangement of one of the concertos for four violins as a concerto for four harpsichords and strings. It has been dated to Bach's period in Leipzig, probably in the late 1720s or early 1730s. Op.3, No.10, RV 580, arranged as BWV 1065 Bach's transcriptions were not widely disseminated. They were only published in the 1840s and 1850s by C. J. Peters in the editions prepared by Friedrich Konrad Griepenkerl—part of the nineteenth century "Bach revival". At that stage all of Bach's concerto transcriptions were described as "after Vivaldi", regardless of authorship. Problems with attribution were raised again by the new edition of the concerto transcriptions published by the Bach-Gesellschaft in the 1890s. The controversy that ensued in the 1910s in assessing their authorship and that of the original concertos sparked the Vivaldi revival, which involved a reevaluation of Vivaldi and the eventual rediscovery of his numerous "lost" works. Anne Dawson's Book, part of a bequest of baroque musical manuscripts now held in the Henry Watson Music Library in Manchester, contains arrangements for single-manual