The Brandenburg concerti by Johann Sebastian Bach (BWV
1046–1051, original title: Six Concerts à plusieurs
instruments) are a collection of six instrumental works
presented by Bach to Christian Ludwig, margrave of
Brandenburg-Schwedt, in 1721 (though probably composed
earlier). They are widely regarded as among the finest
musical compositions of the Baroque era.
This concerto makes use of a popular chamber music
ensemble of the time (flute, violin, and harpsichord),
which Bach used ...(+)
The Brandenburg concerti by Johann Sebastian Bach (BWV
1046–1051, original title: Six Concerts à plusieurs
instruments) are a collection of six instrumental works
presented by Bach to Christian Ludwig, margrave of
Brandenburg-Schwedt, in 1721 (though probably composed
earlier). They are widely regarded as among the finest
musical compositions of the Baroque era.
This concerto makes use of a popular chamber music
ensemble of the time (flute, violin, and harpsichord),
which Bach used on their own for the middle movement.
It is believed that it was written in 1719, to show off
a new harpsichord by Michael Mietke which Bach had
brought back from Berlin for the Cöthen court. It is
also thought that Bach wrote it for a competition at
Dresden with the French composer and organist Louis
Marchand; in the central movement, Bach uses one of
Marchand's themes. Marchand fled before the competition
could take place, apparently scared off in the face of
Bach's great reputation for virtuosity and
improvisation.
The concerto is well suited throughout to showing off
the qualities of a fine harpsichord and the virtuosity
of its player, but especially in the lengthy solo
'cadenza' to the first movement. It seems almost
certain that Bach, considered a great organ and
harpsichord virtuoso, was the harpsichord soloist at
the premiere. Scholars have seen in this work the
origins of the solo keyboard concerto as it is the
first example of a concerto with a solo keyboard
part.
An earlier version, BWV 1050a, has innumerable small
differences from its later cousin, but only two main
ones: there is no part for cello, and there is a
shorter and less elaborate (though harmonically
remarkable) harpsichord cadenza in the first movement.
(The cello part in BWV 1050, when it differs from the
violone part, doubles the left hand of the
harpsichord.)
Although originally composed for Solo, Strings and
Basso Continuo, I adapted this work for WoodWind
Quartet (Flute, Oboe, English Horn and Bassoon).
PARTITION