Brandenburger concertos

The Brandenburger concertos are a whole of six Concerto S of Johann Sebastian Bach (BWV 1046 to 1051), which count among most famous that it composed.

The qualifier of Brandenburger is in Philipp Spitta, which according to the Germanic use, refers to the dedicatee, the Margrave Christian Ludwig de Brandebourg.

Genesis of work

Context

The time is then with the conflict between Italian style, Italian concerto and French continuation . Apart from France, the type-setters do not make manners and illustrate themselves with an equal talent in the two styles.

The Brandenburger concertos fall under the Italian style (though that is not always also Net as we will see it), whereas the Suites for orchestra, the French Suites and the English Suites (and to a lesser extent the so named Partitas German continuations ) are attached to the French style.

The dedication

The manuscript of Berlin carries a dedication of the hand of Jean-Sebastien Bach to the margrave de Brandebourg (epistle written in French who was the language in force at the court of Berlin).

The order

At the beginning of 1719, Bach goes to Berlin with an original aim to acquire, in the name of the orchestra of Coethen, a large harpsichord near the Mietke factor. On this occasion, it meets the uncle of king de Prusse and margrave de Brandebourg, in front of whom, if we believe the epistle dédicatoire of it, it occurs, though in circumstances and formation which are unknown for us.

In addition to being the type-setter whom one knows, Bach was a fine virtuoso and recognized improviser, and without doubts, the margrave for little who he was music lover, had to be filled with wonder (without what Bach had not taken the risk to recall to its silent partner the some pleasure which he took).

A " Art of Concerto" ?

The writing

This sentence does not prove to us that Bach wrote any of the six concertos especially. Quite to the contrary, the varieties of form and orchestration of the six concertos would tend to make us lean for a compilation, and the precise study of the partitions leads the musicologists to diagnose a writing in the following order: 6 1 3 2 4 5, and which would be spread out between 1718 and 1720 (Cöthen 1717-1723, the time, precisely, of instrumental works). Moreover, certain pages would date from the time of Weimar (1708-1717).

This sentence of the dedication invites us to imagine Bach " composant" its concertos of elements which he regarded as excellent. Thus, the first concerto is composed of elements of the cantatas crowned BWV 52 and layman BWV 207, and is found mainly in the Sinfonia BWV 1071 and version BWV 1046a; the third concerto of elements of crowned cantata BWV 174 and the Pastoral BWV 590; the fourth concerto exists in the form of concerto for harpsichord (BWV 1057).

Motivations

The six concertos are of an astonishing diversity, as well from the point of view of the formal structure as of the instrumental apparatus. But especially, none is attached strictly to any style then in force: concerto grosso or soloist, French or Italian style, austere counterpoint or pure virtuosity. On the contrary, the six concertos seem to make a synthesis of the musical art of their time.

Undoubtedly would be it excessive to make of this collection during " concertant" other theoretical works (" the art of the fugue" same Bach, for example). However, it is not improbable that the motivation of Bach was to present " its art of the concerto" , the more so as the dedicatee is not very powerful (the Margrave of Brandebourg is Prince-Voter, one of the seven German princes which elected the Germanic Roman Emperor). A didactic intention of the Master of the kind could not be isolated.

This impression is reinforced by the following disconcerting fact: the margrave de Brandebourg did not have the adequate orchestra (just her six musicians could have interpreted concertos 5 and 6, in condition of course that it of it had been able), and the manuscript does not carry any trace of use.

Lastly, 1721 are as the year of the second marriage of prince Léopold d' Anhalt-Cöthen, friend and guard of the type-setter, with this new princess as Bach named " eine Amusa" (implying by there that it would have been insensitive with arts in general). Perhaps Bach, then in search of a new employment, it remembered with a point opportunism the interest that powerful the margrave had carried two years to him before, and he thus remembers to his good memories by dedicating to him the best of his art concerting in the hope of a station.

Style

If Bach wants to impress a potential employer, it must imperatively fall under modernity - and modernity is Italian in this beginning of the 18th century. Far, therefore, " ouvertures" , of German invoice, French or English, Bach proposes concerti inspired by the Venetian music (one knows the interest whom it carried to the music of Vivaldi).

Thus, the concerti 2 to 6 respect the typical diagram of the Italian concerto - sharp-slow-sharp; the Italian instruments are privileged - the instruments with bow hold a dominating place, as much in the ripieno that in the concertino; the writing is always virtuoso - think of the place of the trumpet in the second, or of the frightening part of harpsichord of the fifth.

Bach, however, remains the Master of the counterpoint - and one is tempted to imagine that his/her friend Telemann thought in particular of him when he spoke about these colleagues “who contrepointent with car-larigot”. Thus, contrary to Vivaldi which one criticized the weakness of the contrapuntic writing, it us sticks has to propose a complex and plentiful texture.

Structure of work

Concerto I (Major F) BWV 1046

1. (without indication of tempo)

2. Adagio (minor D)
3. Allegro
4. (1) Minuet (2) Trio I (2 oboes and bassoon) (3) Polonaise (violins and violas) (4) Trio II (2 horns and 3 oboes in unison)

Soloists: Violin, Oboe, horns

Accompaniment: violins I and II, violas, Violoncello and Basse continue (Clavecin and Violoncelle).

• the introductory movement opens, under the name of Sinfonia , crowned cantata BWV 52

• the allegro (3), added later on, which is that opens profane cantata BWV 207
• Trio II is taken again Ritornello of profane cantata BWV 207
• a version (BWV 1046a) exists of this concerto which does not comprise the Allegro, Polonaise, the second trio.
• movements 1,2,4-1, 4-2 and 4-4 are included in the Sinfonia BWV 1071

This concerto is that which, of the six, is written in the taste more " français".

Concerto II (Major F) BWV 1047

• (without indication of tempo)

• Andante
• Allegro Assai

Soloists: Recorder, Trumpet, Oboe, Violin.

Accompaniment: violins I and II, violas, Violoncello and Basse continues (Clavecin and Violoncelle).

This concerto is a typical Concerto grosso.

Concerto III (G major) BWV 1048

• Allegro

• Adagio
• Allegro

Together orchestral: violins I and II, violas, violoncellos, harpsichord

In this concerto, the cords are divided into three groups which dialog, a rather dark dialog in the first movement, and more removed in the third. The partition of the adagio of this concerto is a short succession of agreements, a gives rhythm.

The introductory movement opens, under the name of Sinfonia, crowned cantata BWV 174. The allegro is inspired by the Pastoral BWV 590 ( Pastorella in F Hard ).

Concerto IV (G major) BWV 1049

• Allegro

• Andante
• Presto

Soloists: 2 recorders, Violin

Accompaniment: violins I and II, violas, Violoncello and Basse continues (Clavecin and Violoncelle).

This Concerto grosso offers to the solo violin a dominating place in the adagio. One finds this ambiguity in concerto grosso and concerto solo in the concerto V.

This concerto exists in the form of concerto for harpsichord (in major F) BWV 1057.

Concerto V (Major D) BWV 1050

• Allegro

• Affetuoso
• Allegro

Soloists: Flute, Violin, Harpsichord

Accompaniment: violins I and II, violas, Violoncello and Basse continues.

A great rate virtuoso in the introductory allegro, a presence continues in all work: the presence of the flute and the violin in the Concertino soloist cannot mask that this concerto is essentially a concerto soloist for harpsichord, and thus historically the first concerto for keyboard and orchestra.

Concerto VI (Major B flat) BWV 1051

• (without indication of tempo)

• Adagio
• Allegro

Together orchestral: violas I and II, violoncello, violas da gamba I and II, low continue (harpsichord)

This concerto presents the simplest apparatus of the six. Prince Léopold even was to him violist amateur to which the simplicity of the parts of viol undoubtedly made work accessible - the two parts of viola and to a lesser extent that of violoncello are manifestly difficult; one knows moreover than Bach was altist, which invites us to imagine that this concerto was intended personally for Léopold, and that they played it together.

Recordings

The Brandenburger concertos were in the middle of the revival baroque, in particular with Nikolaus Harnoncourt. Interpretations on old instruments of excellent invoice are legions:

• Akademie für Alte Musik Berlin, at Harmonia Mundi

• It Giardino Armonico, at Teldec
• Musica Antiqua Köln, at DG
• Concentus Musicus Wien, at Teldec
• The English Concert, at DG
• the Concert of the Nations, at Astrée
• Concerto Italiano, at Naive
• Ars Rediviva, at Supraphon

belong to the best versions available.

See too

• List of works of Jean-Sebastien Bach

External bonds

• Dedication of Bach of its six concertos to the Margrave de Brandebourg
• Discography
• Recording under Creative license Commons

Random links:

George Washington Tryon | White melilot | Pedro Romero | Walter Carvalho | Cut UNCAF of the Nations 1991 | Colonisation_(jeu_d'ordinateur)

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