Bach’s six Brandenburg Concerti were never conceived to be a set, as they were composed in different places at different times. It was not until the Margrave of Brandenburg’s commission that they came to be known as The Brandenburg Concertos. “Enchanted by Bach’s playing, he (Margrave Christian Ludwig, 1677-1734) asked him to compose some works for his orchestra.” [1] Similar to the Orchestral Suites, the six Brandenburg Concerti are scored for varying instruments according to the needs of the place for which they were composed.
Instrumentalist virtuosity is displayed on a less intense yet larger scale in the Brandenburg Concertos, a collection of six Concerts avec plusieurs instruments (concertos with several Instruments)-so called in the original score because the pieces feature the concerto genre in varying configurations of solo instruments. “Several instruments” actually understates the case, for Bach makes use, again in a systematic manner, of the widest imaginable spectrum of orchestral instruments. The modest title does not begin to suggest the degree of innovation exhibited in the daring combinations…Everyone of the six concertos set a precedent in its scoring, and every one was to remain without parallel. [2]
Instrumentalist virtuosity is displayed on a less intense yet larger scale in the Brandenburg Concertos, a collection of six Concerts avec plusieurs instruments (concertos with several Instruments)-so called in the original score because the pieces feature the concerto genre in varying configurations of solo instruments. “Several instruments” actually understates the case, for Bach makes use, again in a systematic manner, of the widest imaginable spectrum of orchestral instruments. The modest title does not begin to suggest the degree of innovation exhibited in the daring combinations…Everyone of the six concertos set a precedent in its scoring, and every one was to remain without parallel. [2]
Concerto No. 1 in F Major (BWV 1046), written in Cöthen, 1717 for two horns, three oboes, bassoon, and violino piccolo, accompanied by strings and continuo.
Concerto No. 2 in F Major (BWV 1047), written in Cöthen, 1717-18 for trumpet, flute, oboe, violin, accompanied by strings and continuo.
Concerto No. 3 in G Major (BWV 1048), written in Weimer, 1711-13 for strings, a nontet with continuo.
Concerto No. 4 in G Major (BWV 1049), written in Cöthen, 1720 for violino, two flutes, accompanied by strings and continuo.
Concerto No. 5 in D Major (BWV 1050), written in Cöthen, 1720-21 for flute and violin, accompanied by strings and continuo.
Concerto No. 6 in B-flat Major (BWV 1051), written in Weimer,1708-10 for viola da braccio I & II, and viola da gamba I & II, with cello, and cello continuo.
Written in the Italian style, the three movements of each concerto are divided fast-slow-fast, with the exception of No. 3. In concerto No. 3, there is no second movement, as it is left to the harpsichordist to improvise the movement. Bach seems to have been the first to use the keyboard instrument as a solo instrument. Also, in concerto No. 1 a fourth movement is added in the form of a Polonaise. [3]
“The study of Bach’s nuances in these works is a continual source of delight. They are all so simple, and yet so full and rich.” [4] This description by Schweitzer is one that reflects the genius of Bach. His usage of instruments and the taking of the French style beyond its simplistic style foreshadowed his concerti for multiple harpsichords. This author would like to think that this is where Mozart developed his vocal concertos found in his operas. Who would have thought that the six Brandenburg Concertos would have such an impact? One can assume they had this impact. This author believes this to be the case.
As with many of the available recordings of Bach, the most reliable, in terms of Baroque performance practice, seem to be those where the interpretations are natural and not contrived. Upon hearing various recordings one can hear this, in that there is a natural movement of the voices. The performers respond to each other and not just as solo lines above the accompaniment. This is Bach, these are interpretations that make one rise up, take notice and ask, “where is that beautiful sound coming from?” This author believes that this is where Mozart’s genius is derived, through the use of Bach’s multiple solos techniques. Bach, the definitive author of concerto style.
Concerto No. 2 in F Major (BWV 1047), written in Cöthen, 1717-18 for trumpet, flute, oboe, violin, accompanied by strings and continuo.
Concerto No. 3 in G Major (BWV 1048), written in Weimer, 1711-13 for strings, a nontet with continuo.
Concerto No. 4 in G Major (BWV 1049), written in Cöthen, 1720 for violino, two flutes, accompanied by strings and continuo.
Concerto No. 5 in D Major (BWV 1050), written in Cöthen, 1720-21 for flute and violin, accompanied by strings and continuo.
Concerto No. 6 in B-flat Major (BWV 1051), written in Weimer,1708-10 for viola da braccio I & II, and viola da gamba I & II, with cello, and cello continuo.
Written in the Italian style, the three movements of each concerto are divided fast-slow-fast, with the exception of No. 3. In concerto No. 3, there is no second movement, as it is left to the harpsichordist to improvise the movement. Bach seems to have been the first to use the keyboard instrument as a solo instrument. Also, in concerto No. 1 a fourth movement is added in the form of a Polonaise. [3]
“The study of Bach’s nuances in these works is a continual source of delight. They are all so simple, and yet so full and rich.” [4] This description by Schweitzer is one that reflects the genius of Bach. His usage of instruments and the taking of the French style beyond its simplistic style foreshadowed his concerti for multiple harpsichords. This author would like to think that this is where Mozart developed his vocal concertos found in his operas. Who would have thought that the six Brandenburg Concertos would have such an impact? One can assume they had this impact. This author believes this to be the case.
As with many of the available recordings of Bach, the most reliable, in terms of Baroque performance practice, seem to be those where the interpretations are natural and not contrived. Upon hearing various recordings one can hear this, in that there is a natural movement of the voices. The performers respond to each other and not just as solo lines above the accompaniment. This is Bach, these are interpretations that make one rise up, take notice and ask, “where is that beautiful sound coming from?” This author believes that this is where Mozart’s genius is derived, through the use of Bach’s multiple solos techniques. Bach, the definitive author of concerto style.
[1] Albert Schweitzer. J. S. Bach: English Translation by Ernest Newman. (New York: Dover Publications, Inc., 1966), Vol. I, p. 403.
[2] Christopher Wolf. Johann Sebastian Bach: The Learned Musician. (New York: W. W. Norton & Company, 2000), p. 232.
[3] Arthur Jacobs. Brandenburg Concertos, BWV 1046-1051. Lend me your Ears: A Guide to Orchestral Music-from Vivaldi to Bernstein. (New York: Avon Books, 1987), p. 33-34.
[4] Schweitzer, p. 407.
Bibliography
Bach, J. S. Brandenburg Concertos: Violin Concertos. Scottish Ensemble,
Jonathan Reese, conductor. VIRGIN CD 7243561403-2,1998.
Bach, Johann Sebastian. The Six Brandenburg Concertos and the Four
Orchestral Suites in Full Score. New York: Dover Publication, Inc., 1976.
Grout, Donald Jay and Claude V. Palisca. A History of Western Music.
New York: W. W. Norton & Com., 1996.
Jacobs, Arthur. Brandenburg Concertos, BWV 1046-1051. Lend me your Ears: A Guide to Orchestral Music-from Vivaldi to Bernstein. New York: Avon Books, 1987. Pp. 33-40.
Schweitzer, Albert. J. S. Bach: English Translation by Ernest Newman.
New York: Dover Publications, Inc., 1966. Vol. I.
Spitta, Philipp. Johann Sebastian Bach. New York: Dover Publications, Inc.
1951. Vol’s. 1 & 2.
Wolf, Christopher. J. S. Bach. The New Grove Dictionary of Music & Musicians.
Ed. Stanley Sadie. London: MacMillan, Ltd., 1980. Vol. 1, pp. 815-816.
Wolf, Christopher. Johann Sebastian Bach: The Learned Musician. New York:
W. W. Norton & Company, 2000.
[2] Christopher Wolf. Johann Sebastian Bach: The Learned Musician. (New York: W. W. Norton & Company, 2000), p. 232.
[3] Arthur Jacobs. Brandenburg Concertos, BWV 1046-1051. Lend me your Ears: A Guide to Orchestral Music-from Vivaldi to Bernstein. (New York: Avon Books, 1987), p. 33-34.
[4] Schweitzer, p. 407.
Bibliography
Bach, J. S. Brandenburg Concertos: Violin Concertos. Scottish Ensemble,
Jonathan Reese, conductor. VIRGIN CD 7243561403-2,1998.
Bach, Johann Sebastian. The Six Brandenburg Concertos and the Four
Orchestral Suites in Full Score. New York: Dover Publication, Inc., 1976.
Grout, Donald Jay and Claude V. Palisca. A History of Western Music.
New York: W. W. Norton & Com., 1996.
Jacobs, Arthur. Brandenburg Concertos, BWV 1046-1051. Lend me your Ears: A Guide to Orchestral Music-from Vivaldi to Bernstein. New York: Avon Books, 1987. Pp. 33-40.
Schweitzer, Albert. J. S. Bach: English Translation by Ernest Newman.
New York: Dover Publications, Inc., 1966. Vol. I.
Spitta, Philipp. Johann Sebastian Bach. New York: Dover Publications, Inc.
1951. Vol’s. 1 & 2.
Wolf, Christopher. J. S. Bach. The New Grove Dictionary of Music & Musicians.
Ed. Stanley Sadie. London: MacMillan, Ltd., 1980. Vol. 1, pp. 815-816.
Wolf, Christopher. Johann Sebastian Bach: The Learned Musician. New York:
W. W. Norton & Company, 2000.
No comments:
Post a Comment