The Third Brandenburg Concerto departs from the usual concerto grosso construct of a solo group set apart from the orchestra, and instead treats all members of the ensemble as independent solo voices: three violins, three violas and three cellos, supported by a continuo group of bass and harpsichord. The central theme of the opening movement revolves around a three-note figure that drops to the lower neighbor note and then returns to the starting pitch. This musical cell cascades through the string parts, highlighting the inherent equality among the voices in Bach’s scoring. The central Adagio movement consists simply of two linking chords, sometimes elaborated by an improvised cadenza, or even the insertion of another slow movement, an accepted practice in Bach’s time. The concerto closes with a barreling Allegro finale in 12/8 meter, its character not unlike the reeling gigues that conclude most of Bach’s dance suites.
Aaron Grad ©2015
The Sixth Brandenburg Concerto limits its palette to the lower strings, including instruments from the viol family that have since fallen out of fashion. With the violins absent, the two top lines go to instruments labeled viola da braccio, or viola “on the arm”— meaning violas in the modern sense, held like violins. Joining as a third solo voice is a cello, also from the violin family. The accompanying lines, marked “viola da gamba” and “violone,” indicate bowed instruments that have frets tied to the fingerboard, and are held upright (“da gamba” means “on the leg”). The inclusion of relatively simple viola da gamba parts may have been an attempt on Bach’s part to include his employer, Prince Leopold, who played the instrument reasonably well. In modern practice, two cellos and a contrabass substitute for the viols.
A distingishing aspect of the first movement is its very slow harmonic motion in the tutti sections, with persistent pulses holding each chord steady, while the violas add decorative filligree. If this was one way to avoid straining a less confident player such as the prince, the middle movement solves the problem by eliminating the viols entirely. The violas, over a sturdy stream of quarter-notes from the cello, spin out long lines that rise into the violin’s usual register, all supported by spacious accompaniment from the basso continuo of bass and harpsichord. The finale is another festive dance in the style of a gigue in which the soloists elaborate the main theme with episodes of flowing sixteenth notes.
Aaron Grad ©2015
The First Brandenburg Concerto features the largest ensemble, including a pair of corni da caccia, or “hunting horns,” in the group of soloists. Three oboes, a bassoon, and a violino piccolo—a slightly smaller cousin of the violin tuned a minor third higher—round out the solo group, while a full complement of strings and basso continuo contribute supporting music.
Bach adapted this concerto from the opening Sinfonia of a secular cantata from 1713, Was mir behagt, ist nur die muntre Jagd (“The lively hunt is all my heart’s desire”). The first movement retains the jovial, outdoor ambience of music inspired by the hunt, with the horns issuing calls to action, sometimes in triplets that contradict the orchestra’s pulse, as if they have already moved ahead in the chase at their own pace. After this spirited opening, the Adagio movement is a poignant departure, with the oboe, solo violin and bass group elaborating a plaintive melody. An oboe cadenza and a series of mysterious chords lead into the third movement, a sprightly romp that shows off the solo violin’s bright figurations.
The First Brandenburg Concerto is the only one with a fourth movement, in this case a regal Minuet that makes way for two contrasting trio sections and a Polacca, a dance with Polish origins. The alternate sections feature subsets of the ensemble, including the novel sound of three unison oboes honking a breathless accompaniment under hunting calls from the horns in the final trio.
Aaron Grad ©2015
The Fifth Brandenburg Concerto features flute, violin and harsichord as soloists. Such a trio was a common chamber music ensemble at the time, playing works for two melody lines and basso continuo known as trio sonatas. What is remarkable about this concerto is that the harpsichord functions as more than a supporting accompanist; it contributes whirlwind solo passages, and it issues a monster of a cadenza at the end of the first movement. This use of the harpsichord as a solo instrument foreshadows the seminal keyboard concertos Bach later assembled in Leipzig.
The middle movement, labeled “Affettuoso” (“with feeling”), presents the soloists without the accompanying strings. Unlike a trio sonata, in which the harpsichord would typically have just a bass line with the right-hand harmonies filled in ad libitum, the harpsichordist’s right hand has its own melodic line that intermingles with the flute and violin. In the finale, a fugal structure reinforces the equal footing of the voices. The violin and flute take the first two entrances, and the harpsichord jumps in with the third and fourth voices of the fugue.
Aaron Grad ©2015
Along with a solo violin in the Fourth Brandenburg Concerto, Bach wrote two solo parts that he identified as “echo flutes,” a mysterious term that appears nowhere else in his music. Scholars agree (for the most part) that the intended instruments were treble recorders, and that “echo” may be a reference to the loud and soft alternations in the middle movement, creating an echo-like sound. In performances on modern instruments, flutes typically substitute for the recorders.
In the Allegro first movement, the solo violin takes the flashiest material, including long strings of arpeggios, a series of double-stops (the technique of playing two notes at once) and a wickedly fast passage of slurred 32nd-notes. The characteristic tone of the flutes becomes more prominent in the middle movement, when the soloists contribute airy echos to the ensemble’s phrases, with the violin dropping into the role of the bass instrument to support the higher voices. The movement ends on an unresolved chord that should proceed to E minor, the slow movement’s home key, but instead the violas launch the Presto finale in G, where the concerto started. Their robust phrase marks the start of a fugue, which intersperses virtuosic solo episodes among the formal counterpoint.
Aaron Grad ©2015