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The six Brandenburg Concertos by Johann Sebastian Bach stand as monumental achievements in the history of Western music, often regarded as the apotheosis of the Baroque concerto grosso. Composed between 1718 and 1721 while Bach was Kapellmeister at Anhalt-Cöthen, these works were formally dedicated to Christian Ludwig, Margrave of Brandenburg-Schwedt, in 1721. Far from being mere courtly trifles, they represent an astonishing display of Bach's contrapuntal mastery, inventive instrumentation, and boundless imagination. Each concerto is a unique world unto itself, exploring diverse instrumental combinations and pushing the boundaries of orchestral possibility
...A Legacy Forged in Dedication and Rediscovery
It's often said that hindsight is 20/20, but for Johann Sebastian Bach, it seems posterity sometimes needed bifocals. Imagine delivering a magnificent collection of six concertos, showcasing unparalleled genius, to a nobleman who likely didn't even bother to have them performed! Indeed, the dedication copy of the Brandenburg Concertos—bound in a lavish red morocco leather—sat unplayed in the Margrave's library, only to be sold for a pittance (about 4 Groschen, or less than a dollar today) upon his death. It wasn't until nearly a century and a half later that these scores were unearthed and their true brilliance recognized. One can almost picture Bach, perhaps a touch exasperated, thinking, "Well, someone will appreciate these, eventually!"
The Brandenburg Concertos, or Six Concerts à plusieurs instruments (Six Concertos for several instruments) as Bach titled them, represent a pinnacle of Baroque instrumental music. Composed primarily during Bach's tenure as Kapellmeister at Anhalt-Cöthen between 1718 and 1721, they were formally dedicated to Christian Ludwig, Margrave of Brandenburg-Schwedt, on March 24, 1721. The dedication itself, written in elegant French, was rather humble, almost deferential, perhaps reflecting Bach's hope for employment or patronage. However, the Margrave, a relatively minor noble, seemed to have neither the musicians nor the inclination to perform such complex and avant-garde works. The scores gathered dust, only truly coming to light in the mid-19th century thanks to the efforts of Carl Friedrich Zelter and Felix Mendelssohn, who championed Bach's music long after his death. This late recognition underscores how far ahead of his time Bach truly was.
At their heart, the Brandenburg Concertos are exemplary, yet highly individualistic, expressions of the concerto grosso form. This Baroque genre typically features a small group of soloists (the concertino) contrasted against a larger ensemble (the ripieno). Bach, however, took this convention and stretched, twisted, and redefined it. Each of the six concertos explores a unique combination of instruments for its concertino, treating them not just as soloists but as interacting voices within a rich contrapuntal tapestry. The interplay between the soloists and the full orchestra, the tutti, is a source of endless fascination and vibrant energy throughout the set.
The First Brandenburg Concerto is arguably the grandest and most imposing of the set, featuring the largest and most diverse instrumentation. Its concertino comprises two horns, three oboes, a bassoon, and a solo violin, with a string ripieno and harpsichord continuo. The opening movement is a vibrant, hunting-style allegro, full of joyous fanfares and intricate counterpoint. This concerto is notable for its inclusion of an adagio movement, a rare feature in the set, offering a moment of poignant reflection before the spirited third movement and the concluding, dance-like Minuet, which incorporates two trios and a polacca, giving it an almost suite-like character. The demanding horn parts, with their brilliant high notes, demonstrate Bach’s mastery of writing for brass in a purely orchestral context.
This concerto is famous for its astonishingly brilliant and challenging solo trumpet part, alongside a recorder, oboe, and solo violin. The rapid exchanges and intricate dialogue between these four diverse instruments create a dazzling texture, particularly in the outer movements. The trumpet, then a valveless natural instrument, is pushed to its absolute technical limits, navigating complex melodies in its highest register. The slow movement, a gentle and lyrical Andante, features only the recorder, oboe, and violin (without continuo), creating an intimate chamber music feel before the final joyous Allegro, a fugal tour-de-force that sees each soloist entering with the main theme. The sheer daring of the instrumentation in this concerto stands as a testament to Bach's willingness to experiment.
The Third Brandenburg Concerto is perhaps the most famous and frequently performed, a testament to its raw energy and brilliant string writing. Uniquely, it features no specific wind or brass soloists; instead, the concertino consists of three violins, three violas, and three cellos, each with its own independent part, supported by a string bass and harpsichord continuo. This triple division creates a rich, resonant sound and allows for intricate contrapuntal interplay, often with each instrument group taking on a quasi-solo role. The first movement is a relentless, driving Allegro, a whirlwind of interlocking scales and arpeggios. The second movement is famously brief, consisting of just two chords (a Phrygian half-cadence) that serve as a harmonic bridge, often improvised upon by performers, leading directly into a vibrant and celebratory Allegro. It’s a remarkable study in string texture and momentum.
The Fourth Concerto presents a delightful concertino of a solo violin and two flauti d'echo (thought to be alto recorders), alongside the string ripieno. The violin takes on a highly virtuosic role, often engaging in brilliant passage work and challenging double stops, while the recorders weave lyrical, echoing melodies around it. The opening Allegro is characterized by its bright, dance-like quality and the charming dialogue between the soloists. The central Andante is a more reflective and tender movement, showcasing the interplay between the violin and the two flutes over sustained string chords. The final Presto is a vigorous, joyous fugue, where the soloists showcase their technical brilliance, culminating in a triumphant conclusion.
This concerto holds a special place as it features the harpsichord not merely as a continuo instrument but as a dazzling soloist within the concertino, alongside a transverse flute and a solo violin. This marks a pivotal moment in keyboard history, effectively introducing the harpsichord as a true concerto soloist, anticipating the piano concertos of the Classical era. The first movement is renowned for its incredibly long and virtuosic cadenza for the harpsichord, a breathtaking display of technical brilliance that dominates the latter part of the movement. The Adagio is a beautiful, intimate trio sonata featuring only the flute, violin, and harpsichord, creating a tender and expressive texture. The concluding Allegro is a spirited gigue, full of joyful energy and brilliant interplay between the soloists. The harpsichord's prominent role here strongly suggests that Bach himself might have performed this part.
The Sixth Brandenburg Concerto is the most unusual and, in some ways, the most intimate of the set. It eschews violins entirely, creating a rich, dark, and warm soundscape. The concertino features two violas and two viola da gambas (or cellos in modern performance), supported by cello, violone (or double bass), and harpsichord continuo. The absence of the bright upper register of the violins gives this concerto a unique, mellow sonority. The outer movements are vibrant and contrapuntally dense, with the two solo violas often engaging in intricate imitative passages. The central Adagio, a poignant and expressive movement, features the two violas and cello, creating a heartfelt and lyrical trio. This concerto showcases Bach's ability to create compelling and varied textures even within a more restricted instrumental palette, proving that brilliance isn't solely dependent on flashy high notes but on exquisite craftsmanship and profound musical understanding.
In their totality, the Brandenburg Concertos are a testament to Bach's unyielding creativity and his extraordinary ability to find new expressive possibilities within established forms. Each concerto is a meticulously crafted jewel, distinct in its character and instrumental demands, yet unified by Bach's unparalleled contrapuntal genius and harmonic richness. They remain an endless source of study and joy for performers and listeners, enduring as one of the most significant and beloved collections in the entire classical repertoire.
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