The Brandenburg Concertos - An Introduction
The distinction known today between chamber music and orchestral music was not known in Bach’s time. Music was either musica da camera (chamber music) or musica da chiesa (church music). The concerto being the most cultivated form of the former.
The Concertos BWV 1046-1051 (infamously known as the ‘Brandenburg Concertos’, a title given by Bach's biographer - the scores were discovered in the archives of Brandenburg) were written for the Brandenburg margrave Christian Ludwig while Bach stayed in Köthen. He was Kapellmeister there, in the service of prince Leopold, prince of Köthen. This period represents the second period of Bach’s concerto writing (The first was during the Weimar period, in which he wrote concerto transcriptions of other composers’ works.)
The Brandenburg Concertos are six extraordinary works, with Bach describing them in the score’s autograph-title page as ‘concertos for several instruments’ (In fact: “concerts avec plusieurs Instruments” – to suit the French style which was the fashion in Germany these days). The concertos clearly demonstrate how Bach adapted the ritornello style of Vivaldi’s first movements to his own style, enriching it with contrapuntal techniques not to be found in the much more straightforward Vivaldi.
The 1st Concerto in F major... is scored for 2 horns, 3 oboes, bassoon, violin, string and continuo. What a most unusual ensemble! But what is more unusual is the form itself. The concerto is written four movements (not following the tradition of the three-movement concerto), with Bach adding a French-style minuet to the three. The concerto is perhaps the most regal of the collection, and the formal majestic brassy entrance is not innocent of arousing this sentiment. The second movement is a nice slow string polonaise. Also noticeable in this concerto is the little solo-tutti contrast typical of the concerto style (predictably demonstrated by Vivaldi).
The 2nd Concerto comes also in F major, indicating that Bach was not intending the concertos to be a set. This concerto – perhaps one of the most popular in the group, deservedly so – is scored for trumpet, recorder, oboe, violin; again showing instrumental diversity. The concerto is the only one of the set which takes the “Concerto Grosso” form, the form associated with other Baroque composers such as Handel and Corelli. The first movement easily demonstrates this, where the themes are passed back and forth between the soloists. The exciting feature in the first movement is that it features brilliant high-pitched writing for the trumpet. Virtuosic; even until this day poses difficulties for the trumpeter. The trumpet generally seems to seize the main melody of the recurring theme but generously gives way to the recorder to do a sweet exchange with the violin before the eventual restatement of the opening phrase. The second movement is a beautiful mournful slow movement which requires singing violins to play the repeated ‘sigh’ motifs on top of a continuous bass of quavers, usually played by the harpsichord – while the trumpeter rests. The third movement then returns in a cheerful major mood, exhibiting a relentless forward rhythmic drive.
The 3rd Concerto is written in G major, and is very different from the first two in that it is scored for a uniform ensemble of strings (in nine parts), plus a basso continuo. The whole concerto’s atmosphere transports the listener to the ballrooms of European chateaus in the 1700s. The second movement of this concerto is unusual is that it consists of just two chords forming an imperfect cadence. This movement aroused endless discussions. These two chords are usually found at the end of a middle slow movement (as in the 4th concerto) allowing the opening of a faster third movement in major. However, it came here in the middle of the score written as just two chords. Modern performances tend to play a small improvisatory interlude ending with the written chords before commencing with the third.
The 4th Concerto (also in G major), probably the lightest of all concertos, boasts a joyous first movement in which the violin soloist competes with two recorders for the star-role. The second movement is a slow minor-keyed movement of a pensive mood which contrasts the merry outer movements.
The 5th Concerto (in D major) is one of the earliest examples of a concerto featuring the keyboard as the solo instrument. The first movement contains an elaborate long cadenza with highly virtuosic passages pointing out that Bach himself played the keyboard part. Pianists today are keen on recording this particular concerto due to its display of virtuoso keyboard skills. The second movement, is marked ‘affetuoso’ (meaning with affection) rightly so. The apparently simple and touching melody is built upon two distinct rhythmic motifs. The instruments exchange phrases in wonderful dialogue but, unlike the second movement of the 2nd concerto (which displays a similar mood), here the continuo is not heard. Bach then rebounds with a joyous third movement of an infectious rhythm. The keyboard also shines in this last movement.
The 6th Concerto (in Bb major) – scored for two violas, two viols, cello, violone and harpsichord continuo – may seem older in style than the previous concertos; maybe less accessible to a new listener still discovering these works because of the more complex polyphonic writing. The absence of violins gives the music a low-pitch sound contrasting with the brighter previous concertos. The finale is a fast gigue-like movement.
This was just a brief introduction to the famous Brandenburg Concertos. Bach frankly expressed his intention of ‘staying the remainder of his life’ in Köthen (only to be denied this wish by the death of his wife which stirred him deeply). It can therefore be concluded that he was most content with his stay in Köthen in the service of his employer, the music enthusiast. And this is clearly displayed in the Brandenburgs. With their major-key exuberance, they represent a more contemporary ‘secular’ Bach composing during the happiest period of his life in Köthen for ‘refreshment of the human spirit’.
In a later article, I will try to review the recommended albums (my personal favorites) for these lovely compositions, God willing.
