Brandenburgh Concerto
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1
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What is the long context?
Background information and performance circumstances
Johann Sebastian Bach (1685-1750) is regarded as one of the greatest composers of the Baroque era.
He worked mainly as a church organist, music director and composer in a number of cities in central Germany.
At the time of the Brandenburg Concertos, however, he was employed as 'Kapellmeister' (court music director), at the town of Köthen from 1717 to 1723.
There was a chapel in the castle grounds, but Prince Leopold, Bach's employer, preferred not to have elaborate church music, so Bach's duties were mainly confined to secular (non-religious) music.
The prince was an enthusiastic amateur musician and encouraged Bach to write instrumental music. During this short period of six years, Bach composed most of his best-known chamber and solo instrumental pieces.
His compositions at this time included the six Brandenburg Concertos, the six suites for solo cello, the six partitas and sonatas for solo violin, as well as the famous set of 48, preludes and fugues entitled the Well-Tempered Clavier. Performances were held in rooms in the castle and would have been attended by a small number of dignitaries.
There was a core of eight or nine professional musicians supplemented occasionally by musicians from the town and elsewhere.
The music was clearly chamber music, rather than orchestral music in the modern sense. The six Brandenburg Concertos were written between 1711 and 1720, and in 1721 were dedicated to Christian Ludwig, the Margrave of Brandenburg.
They were not given this title until after their rediscovery in the 19th century.
It is not known whether this presentation was intended as part of a job application or for any other reason.
It is known that the Margrave had shown interest in Bach's music and almost certainly the music was never played by the Brandenburg musicians.
Johann Sebastian Bach (1685-1750) is regarded as one of the greatest composers of the Baroque era.
He worked mainly as a church organist, music director and composer in a number of cities in central Germany.
At the time of the Brandenburg Concertos, however, he was employed as 'Kapellmeister' (court music director), at the town of Köthen from 1717 to 1723.
There was a chapel in the castle grounds, but Prince Leopold, Bach's employer, preferred not to have elaborate church music, so Bach's duties were mainly confined to secular (non-religious) music.
The prince was an enthusiastic amateur musician and encouraged Bach to write instrumental music. During this short period of six years, Bach composed most of his best-known chamber and solo instrumental pieces.
His compositions at this time included the six Brandenburg Concertos, the six suites for solo cello, the six partitas and sonatas for solo violin, as well as the famous set of 48, preludes and fugues entitled the Well-Tempered Clavier. Performances were held in rooms in the castle and would have been attended by a small number of dignitaries.
There was a core of eight or nine professional musicians supplemented occasionally by musicians from the town and elsewhere.
The music was clearly chamber music, rather than orchestral music in the modern sense. The six Brandenburg Concertos were written between 1711 and 1720, and in 1721 were dedicated to Christian Ludwig, the Margrave of Brandenburg.
They were not given this title until after their rediscovery in the 19th century.
It is not known whether this presentation was intended as part of a job application or for any other reason.
It is known that the Margrave had shown interest in Bach's music and almost certainly the music was never played by the Brandenburg musicians.
2
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What are the performing forces of Brandenburg concerto?
There is an extended virtuoso (difficult display) solo part for harpsichord. This is regarded as the first concerto for keyboard solo in musical history.
Much of the most difficult solo music is found in the rapid scalic runs in both right and left hands.
There are also passages where both hands play trills at the same time.
The first movement even has an extended cadenza (unaccompanied solo section).
Bach probably played the harpsichord part himself. The harpsichord only occasionally plays continuo chords (e.g. bars 29-37).
In these passages there is figured bass.
The ripieno (string orchestra) only has one violin part (normally there would be two).
The concertino (solo group) consists of the combination of flute, violin and harpsichord.
The Baroque flute was very different from today's instrument. It was made of wood, had finger holes and just one metal key. Technically the piece is a concerto grosso (a concerto for a large number of instrumental parts).
Even so, it is likely that at the original performances there would only have been one player to a part.
It is important to note that the mechanical action of the harpsichord prevented variations in dynamics, unless a double manual harpsichord happened to be available. The evidence suggests that a single manual harpsichord would have been used for this piece. Accordingly, the harpsichord has no dynamic markings in the original score.
On the few occasions where there are dynamic markings for any instrument, they are there largely for balance reasons (to ensure a particular musical line can be heard). So the solo violin part is marked piano at the beginning of the middle section, so it does not drown the tune's sound on the quieter solo flute.
Much of the most difficult solo music is found in the rapid scalic runs in both right and left hands.
There are also passages where both hands play trills at the same time.
The first movement even has an extended cadenza (unaccompanied solo section).
Bach probably played the harpsichord part himself. The harpsichord only occasionally plays continuo chords (e.g. bars 29-37).
In these passages there is figured bass.
The ripieno (string orchestra) only has one violin part (normally there would be two).
The concertino (solo group) consists of the combination of flute, violin and harpsichord.
The Baroque flute was very different from today's instrument. It was made of wood, had finger holes and just one metal key. Technically the piece is a concerto grosso (a concerto for a large number of instrumental parts).
Even so, it is likely that at the original performances there would only have been one player to a part.
It is important to note that the mechanical action of the harpsichord prevented variations in dynamics, unless a double manual harpsichord happened to be available. The evidence suggests that a single manual harpsichord would have been used for this piece. Accordingly, the harpsichord has no dynamic markings in the original score.
On the few occasions where there are dynamic markings for any instrument, they are there largely for balance reasons (to ensure a particular musical line can be heard). So the solo violin part is marked piano at the beginning of the middle section, so it does not drown the tune's sound on the quieter solo flute.
3
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What is the structure like?
The movement is a large ternary structure (ABA).
Very like the first movement, this third movement could be thought of as Ritornello form, although the return to original
A section material is never entirely conclusive, within the middle section.
This introduction of motifs from other sections was a common and clever technique often used by J S Bach.
A (bars 1- 78)
The A section in D major begins in fugal style (see notes on texture)
There are brief sections in the dominant key (A major)
B (bars 79- 232)
The middle section begins at bar 79 in the relative minor key (B minor), with a new theme (in the flute), which has many similarities to the main one
The second theme returns in bar 148, this time in the dominant (A major) in the ripieno
Fragments of the theme from the A section make frequent appearances
The section ends with a perfect cadence in B minor
A (bars 233- end) A repeat of the opening A section, beginning with an extra D major chord in the continuo to establish the return to the tonic key.
Very like the first movement, this third movement could be thought of as Ritornello form, although the return to original
A section material is never entirely conclusive, within the middle section.
This introduction of motifs from other sections was a common and clever technique often used by J S Bach.
A (bars 1- 78)
The A section in D major begins in fugal style (see notes on texture)
There are brief sections in the dominant key (A major)
B (bars 79- 232)
The middle section begins at bar 79 in the relative minor key (B minor), with a new theme (in the flute), which has many similarities to the main one
The second theme returns in bar 148, this time in the dominant (A major) in the ripieno
Fragments of the theme from the A section make frequent appearances
The section ends with a perfect cadence in B minor
A (bars 233- end) A repeat of the opening A section, beginning with an extra D major chord in the continuo to establish the return to the tonic key.
4
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What is the texture like in the bradenburg concerto?
The texture is polyphonic/contrapuntal (i.e. contains several independent melodic strands sounding together).
The movement begins in fugal style. A fugue is a complicated piece which uses imitation almost throughout. This piece is not an actual fugue, but uses fugal characteristics (the opening four bars are a good example).
The subject (main theme first statement) in the solo violin is followed by an answer in the flute at a distance of two bars. We now have two-part imitation.
There are then four additional bars before the harpsichord left hand enters with the subject, which is then answered two bars later by the right hand.
The harpsichord plays in two-part counterpoint.
Once both hands are playing, the music is in four-part counterpoint.
Occasionally the flute and violin play in thirds. The harpsichord also does this. When the ripieno is playing, the flute and violin sometimes double each other in unison (e.g. bar 33).
The bass line for the new middle section theme has a tonic pedal on B.
The movement begins in fugal style. A fugue is a complicated piece which uses imitation almost throughout. This piece is not an actual fugue, but uses fugal characteristics (the opening four bars are a good example).
The subject (main theme first statement) in the solo violin is followed by an answer in the flute at a distance of two bars. We now have two-part imitation.
There are then four additional bars before the harpsichord left hand enters with the subject, which is then answered two bars later by the right hand.
The harpsichord plays in two-part counterpoint.
Once both hands are playing, the music is in four-part counterpoint.
Occasionally the flute and violin play in thirds. The harpsichord also does this. When the ripieno is playing, the flute and violin sometimes double each other in unison (e.g. bar 33).
The bass line for the new middle section theme has a tonic pedal on B.
5
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What is the melody like?
Much of the music is in conjunct (stepwise) style (e.g. bar 2), though there are leaps (e.g. fourths in bar 1).
Often the conjunct music is extended to scalic runs, especially in the harpsichord part.
There is a rising sequence at bar 137 (same short phrase repeated several times, going up one note each time).
There are occasional ornaments, with trills (e.g. bar 19) in the harpsichord part.
There are appoggiaturas in the main middle section theme when it returns in A major (e.g. bar 148)
Often the conjunct music is extended to scalic runs, especially in the harpsichord part.
There is a rising sequence at bar 137 (same short phrase repeated several times, going up one note each time).
There are occasional ornaments, with trills (e.g. bar 19) in the harpsichord part.
There are appoggiaturas in the main middle section theme when it returns in A major (e.g. bar 148)
6
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What is the tonality?
The music is in D major.
This key is used for most of the two A sections.
The B section modulates to the dominant (A major) and relative minor (B minor). The music is diatonic.
This key is used for most of the two A sections.
The B section modulates to the dominant (A major) and relative minor (B minor). The music is diatonic.
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What is the harmony like?
The harmony uses the standard chords of the time (i.e. predominantly chords I, IV and V, with occasional use of II and VI), including dominant sevenths in various inversions.
The harmony is functional.
The harmony uses mainly root position and first inversion chords.
Perfect cadences announce the ends of sections.
Suspensions are used occasionally (i.e. 9-8 suspension at bar 130).
The harmony is functional.
The harmony uses mainly root position and first inversion chords.
Perfect cadences announce the ends of sections.
Suspensions are used occasionally (i.e. 9-8 suspension at bar 130).
8
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What is the tempo, rhythm and metre like?
The metre is 2/4, duple time - two beats to the bar - but the music could also be notated in 6/8 compound time. It is essentially a Baroque gigue (a dance in compound duple time). It uses triplets and dotted rhythm throughout.
The dotted quaver-semiquaver grouping (as in the first bar) would have been performed in triplet rhythm - so the dotted quaver would be two-thirds of a beat, and the semiquaver would be one-third of a beat.
The harpsichord part in particular has many semiquaver runs.
The dotted quaver-semiquaver grouping (as in the first bar) would have been performed in triplet rhythm - so the dotted quaver would be two-thirds of a beat, and the semiquaver would be one-third of a beat.
The harpsichord part in particular has many semiquaver runs.
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Melody
Lots of the melody has a stepwise (conjunct) movement, although there are some leaps.
There are rising sequences (when a short phrase is repeated going one note higher each time)
There are lots of scalic runs (notes going up and down a scale)
There are lots of ornaments such as grace notes (appoggiaturas) and trills
There are rising sequences (when a short phrase is repeated going one note higher each time)
There are lots of scalic runs (notes going up and down a scale)
There are lots of ornaments such as grace notes (appoggiaturas) and trills
10
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Rhythm, tempo and metre
The metre is 2/4.
The piece uses lots of triplets and dotted rhythms.
The harpsichord part has lots of fast semiquaver runs.
The first melody idea (subject) starts with an anacrusis. Because of the large number of triplets, the piece could also be notated in 6/8 time.
The piece uses lots of triplets and dotted rhythms.
The harpsichord part has lots of fast semiquaver runs.
The first melody idea (subject) starts with an anacrusis. Because of the large number of triplets, the piece could also be notated in 6/8 time.
11
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Harmony
The harmony uses standard chords of the time
The music is diatonic (all the notes/chords come from the key signature) Perfect cadences announce the ends of sections, such as the perfect cadence in B minor at the end of the B section.
The harmony uses standard chords of the time (mainly chords I, IV and V, with occasional use of ii and vi)
The harmony is functional (perfect cadences are used to move between closely related key signatures).
The harmony uses mainly root position and first inversion chords.
There are occasional suspensions.
The music is diatonic (all the notes/chords come from the key signature) Perfect cadences announce the ends of sections, such as the perfect cadence in B minor at the end of the B section.
The harmony uses standard chords of the time (mainly chords I, IV and V, with occasional use of ii and vi)
The harmony is functional (perfect cadences are used to move between closely related key signatures).
The harmony uses mainly root position and first inversion chords.
There are occasional suspensions.
12
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Tonality
The main tonality for the piece is D major
The B section is in the relative minor key of B minor
The final A section is back in D major.
The key modulates often to the dominant (A major) and the dominant of the dominant (E major), indicated by the addition of accidentals.
The B section is in the relative minor key of B minor
The final A section is back in D major.
The key modulates often to the dominant (A major) and the dominant of the dominant (E major), indicated by the addition of accidentals.
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Texture
The texture is polyphonic (more than one melody happening at the same time)
There is use of imitation (when one part imitates another in a call and response style) The movement begins in a fugal style. A fugue is a complicated piece which uses lots of imitation throughout.
This movement is not an actual fugue, but it uses fugal techniques, like the start of the opening A section.
Sometimes the solo flute and violin play the same thing in unison When the flute and violin come in at the start, they are playing in two part imitation.
When the harpsichord comes in at the start, it plays the subject in the left hand, then the answer in the right.
The harpsichord plays in 2 part counterpoint.
Once all solo instruments are playing, they are playing in 4 part counterpoint.
Occasionally the flute and violin play in thirds.
At the start of the B section there is a tonic pedal on B
There is use of imitation (when one part imitates another in a call and response style) The movement begins in a fugal style. A fugue is a complicated piece which uses lots of imitation throughout.
This movement is not an actual fugue, but it uses fugal techniques, like the start of the opening A section.
Sometimes the solo flute and violin play the same thing in unison When the flute and violin come in at the start, they are playing in two part imitation.
When the harpsichord comes in at the start, it plays the subject in the left hand, then the answer in the right.
The harpsichord plays in 2 part counterpoint.
Once all solo instruments are playing, they are playing in 4 part counterpoint.
Occasionally the flute and violin play in thirds.
At the start of the B section there is a tonic pedal on B
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Sonority
This piece uses a solo flute and violin, a harpsichord, and a string orchestra (including violin, viola, cello and double bass)
The group of solo instruments (violin, flute and harpsichord) are known as the concertino.
The string orchestra are known as the ripieno.
The bass/cello and harpsichord sometimes act as the basso continuo in the piece.
This means the bass instruments play a bass line, and the harpsichord "realises" the chords on top (when it is not playing a solo part)
Bach broke with tradition in this piece by making the harpsichord part incredibly virtuosic (difficult and impressive!), with lots of fast scalic runs and trills in both hands at once.
The baroque flute is different from the modern flute, as it was made of wood.
The group of solo instruments (violin, flute and harpsichord) are known as the concertino.
The string orchestra are known as the ripieno.
The bass/cello and harpsichord sometimes act as the basso continuo in the piece.
This means the bass instruments play a bass line, and the harpsichord "realises" the chords on top (when it is not playing a solo part)
Bach broke with tradition in this piece by making the harpsichord part incredibly virtuosic (difficult and impressive!), with lots of fast scalic runs and trills in both hands at once.
The baroque flute is different from the modern flute, as it was made of wood.
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Dynamics
There are only a few dynamic markings on the score, and these are there mostly for balance reasons, like having the violin play quieter so the flute can be heard
There are no dynamic markings for the harpsichord, because the harpsichord used in this piece would not have been able varied dynamics, it stayed at one volume
There are no dynamic markings for the harpsichord, because the harpsichord used in this piece would not have been able varied dynamics, it stayed at one volume
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Context
This piece was written in the Baroque era.
Bach wrote a set of six concertos for the Margrave of Brandenburg as part of a job application.
This is a concerto grosso.
A solo concerto has just one soloist, but a concerto grosso has a group of soloists (the concertino) This is the third of three movements in the concerto.
This is chamber music, written for a small group of musicians rather than a full orchestra
Bach wrote a set of six concertos for the Margrave of Brandenburg as part of a job application.
This is a concerto grosso.
A solo concerto has just one soloist, but a concerto grosso has a group of soloists (the concertino) This is the third of three movements in the concerto.
This is chamber music, written for a small group of musicians rather than a full orchestra