An Analysis Of Bach's Brandenburg Concertos
In 1717 J. S Bach was working as a court organist at a church in Weimar, Germany. He received an invitation from Leopold Anhalt-Cöthen. He was the prince of Cöthen and he needed a Capellmeister. Prince Leopold had met Bach the previous year at his sister’s wedding. She was marrying Bach’s employer, Duke William Ernest of Saxe-Weimar. Bach was getting tired of his life at the church and thought that this would be a wonderful opportunity to get away. This turned his focus to instrumental music, because the organ in Cöthen was not fit for church composition. Also, the Duke and Bach weren’t on the greatest of terms. Bach was angry that he was not put into the position of court conductor after the previous conductor had passed away. The Duke had Bach thrown into a jail a few times, because it was against the law to have two jobs. So, Bach was not officially able to begin working for Prince Leopold until 1718.
Bach was the most joyful he had ever been during the time he was writing the Brandenburg Concertos. Bach had many reasons to be happy, he was no longer being imprisoned, he had his dream job, and he had recently gotten married to his second wife, Anna Magdalena Bach. 17 months prior, he lost his first wife, Maria Barbara after getting back from a trip to the spa with Prince Leopold in Carlsbad.
Bach did not call these concertos the “Brandenburg” concertos. It wasn’t until 150 years later, when a man named Philipp Spitta coined the name “Brandenburg” Concertos.
“Even though he didn't call them the 'Brandenburgs,' Bach still thought of them as a set. What he did was compile them from short instrumental sinfonias and concerto movements he had already written. Then he re-worked the old music, often re-writing and elaborating where he saw fit. In doing so, Bach created something of a dramatic arc from the brilliant first concerto to the last, which evokes a spirited chase.”
Bach was the most joyful he had ever been during the time he was writing the Brandenburg Concertos. Bach had many reasons to be happy, he was no longer being imprisoned, he had his dream job, and he had recently gotten married to his second wife, Anna Magdalena Bach. 17 months prior, he lost his first wife, Maria Barbara after getting back from a trip to the spa with Prince Leopold in Carlsbad.
Every concerto has a different set of instruments, and soloists. The first concerto used two corno da caccia, three oboes, one bassoon, one violin piccolo, two violins, one viola, one violoncello, and one continuo e violone grosso. The mixing of this many different types of solo instruments had never been done before. The second concerto had one tromba, one flute, one oboe, two violins, one viola, one violone, one continuo (Violoncello e Cembalo). The third concerto used three violins, three violas, and four violones. The fourth concerto used one principle violin, two flutes, 2 violins, one viola, two violones, and one continuo. The fifth concerto had transverse flute, violin principale, violin di ripieno, viola di ripieno, violoncello, and cembalo concertato. The sixth concerto used two viola da braccios, two viola da gambas, a violoncello, and a violone e cembalo.
Bach always took the viola part when he played in a chamber music ensemble. The reason for this is so he could be in the middle of the harmony. Except for the fifth concerto, he used the harpsichord and gave it a more intricate part compared to the previous concertos. The fifth concerto is believed to be one of the first instances where a keyboard instrument had a prominent role in an ensemble setting. Bach was a fan of Vivaldi’s music, particularly his concertos. Both of their concertos turned away from the traditional form of concerto grosso and experimented with new combinations of solos. The Margrave’s orchestra was not nearly skilled enough to perform these concerti, so they were never actually played at the Brandenburg court. Although, the Margrave seemed to not notice Bach’s natural talent for writing concertos. These signs suggest that the first performances were in Coethen, where Bach was currently living.
Brandenburg Concerto No. 1 requires the largest amount of musicians than in any of all of the other Brandenburg concertos. This concerto is based on the topic of nobles going on hunts. It was written for the birthday of a hunting enthusiast, Duke Christian of Saxe-Weissenfels in 1713. The french horns would mimic hunting horns playing hunting calls in the piece. Also, these hunting calls return in the third movement. This concerto makes me think of a group of people outside, dancing on a marble floor with leaves falling all around them.
Brandenburg Concerto No. 2 is presumed to be the last written of the set, and seems to be meant for a celebratory atmosphere of some sort. The point seems to prove structure could still be upbeat and enjoyable. Accompanied by strings and continuo, the recorder, the oboe, the trumpet and the violin solo alone and in combination. Essentially, the work is in Italian concerto grosso format, except the trumpet, oboe, violin, and recorder are sometimes simply part of the ensemble when not taking a virtuosic lead. The concerto leads with an exciting phrase of eight bar phrase for the theme, then are joined by the soloist in their own new theme. Throughout this section, the soloist interchange between bits of their melody and joining the theme of the stings and continuo. Besides the trumpet, the soloist switch to a chorus like phrase, maneuvering a sort of dovetail technique when one instrument’s last note is the next instrument’s first. This theme seems to lead nowhere final. The piece ends in a bright fugue, exemplifying each instruments individuality.
Brandenburg Concerto No. 3 in G major has two main sections, the first in alla breve and the second in 12/8 time. Both sections are the key of G Major and are separated by a brief violin cadenza. The first section is “alla breve” or in cut time, and the other is in 12/8 time, creating contrast between the two section. This piece was more than likely written while Bach was at Weimar, a city in Germany, because it lends itself quite easily to an Italian concerto, a genre that Bach wrote often during this time in his life. Vivaldi’s influence on Bach shows through a great deal in the clear melody, even rhythms, and motivic nature of this piece, as these elements are very characteristic in some of Vivaldi’s work, but the use of clever counterpoint, and the harmonic structure show that this piece is undoubtably Bach. In this work, it is difficult at times to determine who is the soloist, and the parts seem to vary in importance throughout the piece.
Brandenburg Concerto No. 4 is the only one out of all of the concertos to have all the instruments play in all the movements. The first movement opens with a solo shared between two recorders, and a violin. Throughout the first 83 bar ritornello, the two records are more prominent, while the violin remains subdued. At the end of this section, the violin makes itself known through wide leaps spanning from the bottom to the top of its range. After another ritornello, the recorders play together again, this time without the violin. Once returning to the ritornello however, the violin then returns, with 32nd note passages, similar to material performed by the harpsichord in the first movement of No. 5. The recorders again play the ritornello, this time interrupted by double, and triple stops in the violin. The movement then repeats a written out da capo of the original 83 bar ritornello. All three instruments play a very equal role throughout, creating a confusion of who is the true soloist much like movement No. 3. The second Andante movement is short and relatively straight forward. This movement restores some balance to the solos and is based on a two note figure played over moving bass leaps. The final movement is Presto and is a fugue like concerto. The seriousness of the fugue section is cut short when the virtuosic violin solo begins to dominate the texture. The violin solo eventually calms, and returns to a slower fugal like texture, until the fugue resumes in all ensemble parts once again.
Brandenburg Concerto No. 5 in D major is connected to the Brandenburg Concerto No. 6 in B-flat major, with a topic of new vs old. There is also some shared thematic material between both concertos. In the fifth concerto, the flutes and violins represent the new, while the lower strings represent the old. The violins and flute have faster rhythms than the lower strings. Which makes sense, because the violins and flute are representing the new, more lively instruments, while the lower strings are representing the old, slower instruments. It was like a competition between the two.
Concerto No. 6 in B-flat major is a piece about three princes who get told by skeletons that they will die soon. The skeletons represent the old, and the princes represent the new, again contrasting the difference between the new and old. The viola da gamba was representing the skeletons. The music makes me think that the skeletons are dancing around the princes, while telling them the bad news. The princes are concerned at first but soon become more accepting of their deaths. They are happy to go see God, which is why the key is in major rather than in minor. The violas represent the princes, being happy and content with their lives. While, the viola da gamba, representing the skeletons, sounded more foreboding.
Every concerto begins, ends, and influences the entire movement of every movement. This three-part system was inspired by the work he did with Vivaldi. The system consists of a theme in tonic, a modulating transition that visits related keys, and ends with a cadence back to the tonic. In German, these three parts are called Vordersatz, Fortspinning, and Epilog. Bach adapted this formula to his own preferences, changing the lengths of the three pieces sometimes drastically.
With all the creativity and liberties Bach took in these Concertos, it comes as no surprise that they are some of the most esteemed musical works, even today. From church organist, to a composer whose legacy lives on well past his death, Bach is an unbeatable staple, then and now. From his work, stemmed a long living education and passion for music enthusiast forever.
