"It is very unusual that a three-movement Baroque concerto should suddenly give way to a four-movement piece, as is the case here. Brandenburg Concerto No.5 in D Major, third movement, is in concerto grosso. What could that possibly be intended to mean? The second movement, described as "an improvisation of virtuoso electronic effects" is a manic cartoon soundtrack that invokes an intensely private trippy hallucination rather than anything to do with the nominal subject. (1) This work is the fifth of six concertos that Bach composed for Christian Ludwig, Margrave of Brandenburg. The reflective second movement (marked "affettuoso") displays a more subtle formal daring by suggesting the solo and tutti divisions of the outer movements through changes in intensity as the harpsichord overflows the bounds of accompaniment with rapid figures that thicken the texture and imply shifts in dynamics beyond those marked in the score. His foundation is composer Paul Hindemith, whose 1922-27 Kammermusik was a set of seven concertos intended to invoke the spirit of the Brandenburgs, and who insisted that Bach delighted in balancing the weight and sound of the stylistic media at his disposal rather than regarding the limited resources of his era as a hindrance. Since the Brandenburg Concertos were never meant to be played as a continuous set (which would have sidelined most of the players and exhausted the listeners), their order is of little import, although there was a certain logic for Bach's presentation copy to have led off with the most elaborate and to have ended each half of the set with the comfort of strings. While Cortot’s highly personal touches diverge further from our modern notions of authentic Baroque performance style than any other recording, the overall impression is one of constant vitality and discovery that still resonates through the many years. In his introduction to the Eulenburg edition of the scores, Arnold Schering notes that the concerto was not only the most popular form of instrumental music in the late Baroque era, but also the primary vehicle of expression for grand, sublime feeling, a role later to be assumed by the symphony. Incidentally, don't be fooled by their names into assuming that these were amateur ensembles – both were extraordinary groups of top-flight professionals who would come together to study and play over the summer – the cello section of the Marlboro Festival Orchestra included Mischa Schneider (of the Budapest Quartet), Hermann Busch (Busch Quartet) and David Soyer (Guarneri Quartet). The cohesion tends to be quite coarse and the horn and trumpet playing wildly inaccurate, but the players’ raw enthusiasm, far removed from the polished “professional” presentations of the next three decades, heralds the unruly (and authentic) sounds recaptured in more recent, historically-informed outings, as do the overall tempos (ten minutes faster than Busch’s). While most recordings use a modern trumpet, others take a variety of approaches. While hardly authentic, it's refreshingly chaste when compared to Stokowski's syrupy orchestral arrangements of other Bach works, including three organ Chorale Preludes, which filled out the original LP. The prominence of the violin in the outer movements, and the extreme difficulty of its part (more so than in Bach's three actual violin concertos), including delirious extended sequences of extremely rapid notes, has led some to consider the Fourth a violin concerto, although in the central andante it mostly plays with the ripieno violins to support the flutes. Yet, the Third is built upon subtle interplay within the deliberately restricted range of string sound, here discarded in favor of sharp contrasts among brash plinks, squawks and clarion outbursts of various strident waveforms, underpinned by overwhelming bass. Among those, I can wholeheartedly recommend the English Concert led by Trevor Pinnock (Archiv, 1982), I Musici (Philips, 1984), The Academy of Ancient Music led by Christopher Hogwood (Oiseau-Lyre, 1984), the Brandenburg Consort led by Roy Goodman (Hyperion, 1991), and the Boston Baroque led by Martin Pearlman (Telarc, 1993). Bach came from a family of successful musicians and was one of the most prominent composers of the Baroque period, writing six concertos … J.S. The second movement, labeled adagio, consists of two chords forming a bare Phrygian cadence of the type that often links a slow middle movement in the relative minor to a vivid major-key finale, but with an intriguing sense of open expectancy. Still others extend the effect by inserting a slow movement from one of Bach's other, and often more obscure, works. His orchestra was a group of advanced students (possibly augmented by faculty) at a conservatory he had founded in 1919 and the grooves of his records fairly burst with their ardent sense of exploration. Karl Geiringer calls it a "concerto symphony." Yet, the fact remains that the estate inventory neither cataloged the Brandenburgs nor even mentioned Bach, but rather included the scores in a bulk lot of 177 concertos while individually listing presumably more important works by Valentini, Venturini and Brescianello. This combination creates a really happy sound. 1 is a good example of a work inspired by the Italian instrumental composers Torelli, Albinoni, and Vivaldi. While using modern instruments and a piano rather than a harpsichord, the Busch Brandenburgs are no mere relics. First, we can look at the way in which the final movement of this concerto is organised, by using a simple tabular approach that shows the main thematic material and key centres. The mournful melody is not only traded in canon between the oboe and violino piccolo but descends all the way down into the bass to augment its standard role as pure accompaniment. Yet it was with an integral 1935 recording of all six that the Brandenburgs came into prominence. Brandenburg Concerto No. He characterized his approach as both academic and romantic. Far different are his 1950 Vienna Philharmonic concerts of the Third and Fifth Brandenburgs (Recital Records LP) – measured, solemn, richly romanticized and as far from idiomatic as can be imagined, seemingly closer to Wagner than anything Baroque. The lovely andante atypically employs the full ensemble, providing a richer foundation than the continuo that customarily accompanies the soloists in middle movements. Once set, though, tempos are held steadfast, reflecting both Koussevitzky’s view of music as a disciplined rite (an approach fully compatible with Bach’s religious inspiration) and Christopher Howell’s cogent observation that the old style of Bach playing featured an unforced swinging motion that over a long span gives a sense of timeless inevitability. In Brandenburg Concerto No. Bach presumably played the solo part himself; Philipp Spitta considered the part to have demanded finger dexterity that no one else possessed at the time. Taking advantage of the richer complement of musicians, the First and Third sound like they were played by far larger string sections than Busch or Cortot used, with solo parts doubled (or more), although the forces are pared back to customary size in the other concertos (and all the slow movements). The instrumentation, though, does present a fundamental problem. Despite its renown, the Busch series was not the first full set of Brandenburgs to be recorded by a single ensemble. BWV 1046 — Brandenburg Concerto No.1 in F major; BWV 1046a — Sinfonia in F major (early version of BWV 1046) BWV 1047 — Brandenburg Concerto No.2 in F major; BWV 1048 — Brandenburg Concerto No.3 in G major; BWV 1049 — Brandenburg Concerto No.4 in G major; BWV 1050 — Brandenburg Concerto No.5 in D major (early version: BWV 1050a) Several sets of original instrument recordings continued the trend by combining formidable scholarship with captivating performance. Although album art tends to be generic and "safe," surely the most bizarre association of all the Brandenburg recordings emerges from the CD by the Concerto Italiano led by Rinaldo Alessandrini (Naive CD), which pairs their fine, zesty performance with a shot of a deer peering out the window of parking garage ramp. He felt that Bach's music expressed all the feelings of the human soul, and considered the St. Matthew Passion to be the most sublime masterpiece in all of music. Koussevitzky's reading of Bach is of the “old school” – straightforward, persistent and smooth – yet modern, as he avoids romantic clichés with minimal vibrato, steady pacing and constant dynamics. The Fourth Brandenburg Concerto is unique in that it is the only of the six in which all instruments are used in all movements. 5 in D - First Movement: Opening Music; analysis and phony analysis; Shaw quote; music: Motif No. 1 in F major, BWV 1046, is the first of six great concertos which, taken in combination, add up the most complex and artistically successful failed job application in recorded history. Similarly, modern substitutions of deeper and more powerful modern instruments, including a double bass, unduly deepen the sonority and fuse the timbres. Rifkin agrees and salutes it as the most complex movement in the Brandenburgs and a stunning monument to Bach's virtuosity, as the fugal exposition and episodes align with the concerto's tutti and solo runs even as the contrasts among instruments reflect distinctions between free and subject-derived thematic material. The violin part in this concerto is extremely virtuosic in the first and third movements. The canonic basis of the second movement emerges more fully in the fugal finale, in which the harpsichord not only is a full participant an gigue begun by the violin and flute, but soon dominates the entire ensemble with dense 16th-note passages and trilled held notes. Download it once and read it on your Kindle device, PC, phones or tablets. Indeed, it creates so much rousing momentum that Bach slams on the breaks with sudden rests three times before the final surge in an effort to interrupt the flow and prepare for the finish. Common wisdom is that the Margrave never bothered to perform these fabulous works, and perhaps never even examined the score. In Italy, England and finally America, along with his son-in-law Rudolf Serkin, he became a fervent missionary for the eternal truths of German culture and planted and nurtured the spirit of Bach throughout the free world. The Brandenburg Concerto No. But beyond the details, Reiner's readings point the way to restoring a sense of sheer musicianship which, more than any other element, is all that is needed to convey the glory of Bach. Thus, Wilhelm Furtwängler sees Bach's music as symbolizing divinity by exuding supreme serenity, assurance, self-sufficiency and inner tranquility that transcends any personal qualities to achieve a perfect balance of its individual melodic, rhythmic and harmonic elements. The solo instruments used in the six Brandenburg Concertos are as follows: Brandenburg Concerto No. Yet Bach ingeniously creates a compelling and complex aural image of irresistible gaiety that arises out of and is enriched by its seemingly melancholy components. Klemperer seems as straight-forward as could be imagined, yet his trademark sobriety serves to demonstrate that these works are so filled with intrinsic merit as to need no extra interpretive help to communicate their message to modern listeners. Bach Brandenburg Concerto No.5; Bach Brandenburg Concerto No.5. This piece was composed by Johann Sebastian Bach in the late Baroque era (1720-1721). While the performance is somewhat routine, the occasional rough playing contributes to the spirit of adventure and there are a few especially nice touches, including a soft, sweet trumpet that blends well into the Second. (2) The tempo constantly changes throughout the Concerto no. As expressed by André Tubeuf in a deeply moving tribute, Busch left everything material behind, even his prized Stradivarius violin, yet took with him into exile something far more precious. The early version (without the violono piccolo) balances the solo oboe against all the violins for an earthier tone, but Smith, for one, cites the complex ornamentation in the score as suited for a single performer. The last of the Brandenburg Concertos is often considered the oldest, as its instrumentation conjures a 17th century English consort of viols, similar scoring had been used by Bach in his earlier Weimar cantatas, and its structure relies heavily upon both the ancient canon form and the conservative Baroque gesture of a chugging bass of persistent quarter-notes. Casals was one of the very few conductors, and certainly the first, to record the complete Brandenburgs twice – in 1950 with his Prades Festival Orchestra (Columbia LPs) and in 1964-6 with the Marlboro Festival Orchestra (Sony CDs). Although Aryan and thus not personally at risk, he was sickened over the rising tide of repression and emigrated, not quietly but with strident denunciations of the fascist regime, vowing to return only once all the Nazi leaders had been hanged. The Several Elements in Brandenburg Concerto No.4 by John Sebastian Bach. In the first movement the hunting horns (immediately recognizable as such) are introduced into art music, and this movement is one of Bach's most refined little pieces altogether. 1 sounds the most generic to me at its beginnings, but there are tiny details that pop out of the texture. Vivaldi and others who established the concerto grosso model used nuances of texture, tone coloration and novel figurations to contrast the ensemble's ritornello and the solo episodes. The third movement is the closest approach to a standard concerto format, although the violino piccolo, amid its florid solos, is given many emphatic slashing triple-stopped figures, perhaps struggling to assert itself. The three-fold basis for this notion is that the manuscript, which passed through private hands into a library, is in such fine condition as to suggest that it never was used, that Bach never received an acknowledgement (much less any reward), and that the works were considered so worthless that they were sold for a pittance upon the Margrave's death. 4, two recorders and solo violin are the soloists. Menuhin uses a softer piccolo trumpet, Harnoncourt a more mellow natural trumpet, Enesco and Casals a soprano saxophone, and Dart a hunting horn. William Mann felt that Bach's intent was to explore their different sonic coloration. A significant contrast is found in a far more pliant broadcast of the Brandenburg # 5 by the same orchestra only three years earlier under Frank Black with pianist Harold Samuel (Koch CD), thus attesting that Toscanini's only Brandenburg wasn't a rare lapse in preparation or taste but a conscious approach – and an unexpected disappointment, in strong contrast to his meltingly beautiful 1946 studio Air on the G String in which the lines blend exquisitely and each phrase swells with subtle dynamic inflection. In his Baroque Concerto Arthur Hutchings explains that this is hardly peculiar – despite subsequent acclaim, during his lifetime Bach was valued far more as a performer than as a composer, and his instrumental music was promptly forgotten once he attained his next (and final) post at Leipzig, where he focused again on religious music (although he did perform some concertos and orchestral Suites in the 1730s with the Collegium musicum, a fellowship of local amateurs and students). Even though Bach toiled as a humble servant who saw his music treated as a trivial passing relic, his brilliantly ingenious Brandenburg Concertos continue to enthrall countless performers and listeners nearly three centuries after he hopefully sent them off to the Margrave and then returned to his duties. There had been recordings of individual Brandenburg Concertos (the earliest seem to have been by Goosens and the Royal Albert Hall Orchestra in 1923 and Höberg and the Berlin State Opera Orchestra in 1925, both, curiously, of the Third). In October 1935 they recorded the complete Brandenburgs (as well as all four Suites for Orchestra). While often taken to mean a trumpet in F played a major fourth above its score notation, others point out that Bach never wrote any other part for such an instrument, that F is the natural key for horns rather than trumpets, and that an authentic copy of the score and parts by Penzel specifies use of either a trumpet or a hunting horn. The first movement (Allegro) uses both a ritornello structure as well as an ABA form, like we might expect in a da capo aria. 4 in G major. Nor can any hint be gleaned from the personnel available to Bach, as musicians routinely played several brass, wind or string instruments. Claudio Abbado conducts Bach's Brandenburg Concertos, Introduction to Bach's Brandenburg Concerto No. Perhaps as a function of its historical importance, in his accompanying notes, Harnoncourt took great pains to justify his efforts to recreate an authentic Baroque sound. J.S. In several recordings (Cortot, Goberman, Horenstein, Ristenpart, Karajan, I Musici) the harpsichordist ornaments the first or both chords with arpeggiated runs. All are crisp, brisk, perky and vividly recorded to highlight the fascinating sonority of the Baroque instruments and the tangible energy of the players. From the "Spiegelsaal" Castle Cöthen (Schloß Köthen)Freiburger Barockorchester0:10 I. Allegro7:11 II. In my opinion, this has medical reasons: the audiences of the Baroque era were much more passionate listeners, they were more deeply moved by what they heard, and I think that Bach wanted to calm the listener with a little suite after this exciting third movement. Thank you for your understanding. The notes to the Menuhin set (which boast of such recording "tricks" as miking the harpsichord from below in order to mask its characteristic extraneous noises) conclude with the absurd "hope that … we have presented a definitive recording that will outlast all the rest." Fortunately, that didn't happen, as the next decade brought a fabulous bounty that has immeasurably enriched our understanding of the Brandenburgs. Marlowe's measured harpsichord cadenza in the Fifth is enlivened with a striking change in register for the middle portion. Indeed, Boyd sees the instrumentation as an allegory of progress, as Bach elevates the then-newest member of the string family to prominent status while relegating the older viols to the background. The First Brandenburg Concerto is the one with the largest orchestral scoring, and the orchestra shows up a few peculiarities with respect to the instruments used: it is one of the first pieces in which the bassoon is treated as a solo instrument. The album notes assert a rightful place in a tradition begun by Mozart, who had arranged Bach fugues for string trio. Abundant Johann Sebastian Bach most likely completed his Brandenburg Concerto No. Richter, too, felt compelled to defend his historically-informed practices in companion notes, in which he emphasized the importance of phrasing in the sense of shaping and accentuating a theme and its counterpoint; as an example, he cites a sequence of four sixteenth notes that must be given sinew to prevent the notes from becoming mechanical and meaningless. Scholars must speculate to fill the many lapses in our knowledge of so much of Bach's music. The uncommon and sometimes radically different style of the Concentus musicus, as well as its exclusive use of historical instruments, secured the ensemble its international reputation. If the Busch set was a labor of affection and respect, then Cortot’s was one of heartfelt passion and adventure. Analysis Essay Concertos Brandenburg Bach. Also insightful were Abraham Veinus' The Concerto (Doubleday, 1945), Arthur Hutchings' The Baroque Concerto (Norton, 1965), Adam Carse's The History of Orchestration (Dover, 1964), Ronald Taylor's Furtwängler on Music (Scolar Press, 1991), and notes to the recordings of Busch (by André Tubeuf, EMI References LP 2C 151-43067/8), Sacher (by Karl Geiringer, Epic LP SC-6008), Pommer (by Hans-Joachim Schulze – Capriccio LP C 75058/1-3), Ristenpart (by Joshua Rifkin – Nonesuch LP HB-73006), Klemperer (by William Mann – Angel LP 3627B), Goberman (by Joseph Braunstein – Odyssey LP 32 26 0013), Hogwood (by Hogwood – Oiseau-Lyre CD 414 187) and Pinnock (by Hans Günter-Klein – DG Archiv CD 423 492-2), and the introductions to the individual Eulenburg scores (by Roger Fiske and Arnold Schering). 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