The fourth Brandenburg Concerto is scored for violin,
two flutes, strings, and continuo. Bach's score calls
the flutes "fiauti d'echo", an unusual term which
probably indicates that a recorder in F was intended.
But does "d'echo" mean more than simply specifying
which recorders were to be used? If indeed recorders,
rather than the transverse flute, then one might
presume that the softer sound of the recorder is
intended as a sort of echo - except for the fact that
the flutes appear from the star...(+)
The fourth Brandenburg Concerto is scored for violin,
two flutes, strings, and continuo. Bach's score calls
the flutes "fiauti d'echo", an unusual term which
probably indicates that a recorder in F was intended.
But does "d'echo" mean more than simply specifying
which recorders were to be used? If indeed recorders,
rather than the transverse flute, then one might
presume that the softer sound of the recorder is
intended as a sort of echo - except for the fact that
the flutes appear from the start of the Fourth
Brandenburg, even without the solo violin, and while
they occasionally double the solo violin, they are
rarely used in an echo function. They do occasionally
"echo" each other, especially in the second movement,
but one wonders whether Bach really thought of these
repeated "echoes" as softer echoes, or merely as
imitative passages, which we find so often in Baroque
music.
The flutes in fact play a prominent role, which might
make one think this concerto has a solo group
(concertino), in the concerto grosso format, but the
work is sometimes considered a solo concerto for
violin, given the long passages for solo violin alone
(without the flutes and with the orchestral strings
providing limited support). Or perhaps the Fourth
Brandenburg is an amalgamation of the two distinct
types of concertos.
The Fourth Brandenburg Concerto is unique in that it is
the only of the six in which all instruments are used
in all movements. (In the other concertos, the middle
movements have a reduced instrumentation.) The first
movement (Allegro) uses both a ritornello structure as
well as an ABA form, like we might expect in a da capo
aria. the ritornello theme comes back in numerous
guises, including in shortened form later in the
movement (typical of ritornello forms of Vivaldi, one
of Bach's models for the Baroque concerto and concerto
grosso), and is heard presented by the flutes and by
the solo violin, but never by the strings of the
ripieno.
As in the Fifth Brandenburg Concerto, the opening theme
of the Fourth Brandenburg is an example of the kind of
theme known as Fortspinnungtypus. This kind of theme
usually contains three parts: 1) the theme clearly
establishes the tonality (which occurs here through the
elaboration of a G major triad); 2) the actual
Fortspinnung (continuation) moves away from
establishing the tonality, and frequently uses sequence
(what you see in the repeated-note arpeggios above);
and 3) a conclusion, which contains a clear, strong
cadence.
The second movement is set in the relative minor key of
e minor, and is sarabande-like (according to Bach
scholar Michael Marissen) - moderately slow tempo,
triple meter, with a tendency to accent the second beat
of the measure. in this movement, the ripieno continues
to play a secondary role, almost never performing
melodic material on its own (there is one notable
exception: the prominent bass/continuo melodic
statement in measures 55-58). Meanwhile, the flutes
really take the lead over the solo violin, with the
first flute playing the most elaborate passages in this
movement. The movement remains in the minor mode
throughout, never hinting towards the relative major
key of G heard in the outer movements. The effect can
be seen as more solemn than somber.
The Presto, for all its high spirits, is probably the
tightest and most satisfying convergence of ritornello
form and fugue in all Bach's music" (Boyd, The
Brandenburg Concertos). This is a powerful, brilliant
tour de force, set in duple meter, and not clearly
mirroring any dance movements of the time. the lack of
a dance feel or reference is likely due to the
prominent given to the fugal elements here.
Originally written for Violin, two Flutes, Strings, and
Continuo, I created this Arrangement of the Brandenburg
Concerto No. 4 in G Major (BWV 1049) for 2 Flutes &
Strings (2 Violins, 2 Violas & Cello).
PARTITION