Johann Sebastian Bach. Taking as his point of departure the concerto grosso, in which a small group of soloists stands out from a larger ripieno accompaniment group, Bach scored this concerto for solo violin and two solo flutes against a body of strings. This combination naturally sounds very bright, particularly since the flute parts lie fairly high. One result is an almost precious perkiness, particularly in the first movement. Bach uses his forces differently in each movement.
|Published (Last):||9 October 2010|
|PDF File Size:||17.94 Mb|
|ePub File Size:||15.3 Mb|
|Price:||Free* [*Free Regsitration Required]|
How Bach deliberately obscures the traditional concerto form. In this concerto, Bach is continually misleading us. Which instruments are the real soloists?
Initially, the lead is taken by the two recorders, but after the introductory refrain it appears that the violin is the soloist. After the next refrain, the two recorders take over again, but they are soon trumped by the violin, which steals the show in a whirlwind of dizzying notes. And so it continues.
The roles are always ambiguous, especially as far as the recorders are concerned. In the solemn second movement, they are clearly the soloists, but in the third movement the same notes are regularly played by both. Bach deliberately obscures the usually clear contrast between soloists and ensemble. And as if wanting to underline this confusion, he starts the third movement as a fugue, a form in which all the parts are equal by definition.
But just when we think it is turning into a real fugue, we hear another violin solo. Bach then goes on to intersperse the traditional alternation between tutti refrains and solo passages with fugue-like imitations. And so his play on the characteristic elements of the concerto form draws to a close in a suitably subversive and boundary-blurring way.
A concerto nearly always involves a solo instrument or combination of solo instruments and an ensemble. The key idea is the alternation between one or more soloists and the whole ensemble, in a sort of light-hearted competition. In the six ' Brandenburg' Concertos , Bach explores every facet of this genre, with regard to both instrumentation and the way in which he handles the form. All the traditionally used string and wind instruments and the harpsichord appear as soloists, the musical forms range from court dances to near-fugues, and the relationship between the solos and tutti instruments is always shifting.
Together, the six concertos thus form a virtuoso sample sheet of the Baroque concerto. Please help us to complete the musical heritage of Bach, by supporting us with a donation!
Menu 1. Allegro 2. Andante 3. Go back. Behind the music Story. Extra videos. Blurring the boundaries How Bach deliberately obscures the traditional concerto form. Vocal texs Original. Viola da gamba sonata No. View all videos from orchestral works. About All of Bach.
'Brandenburg' Concerto No. 4 in G major
The fourth Brandenburg Concerto is scored for violin, two flutes, strings, and continuo. 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. 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.
Brandenburg Concerto No.4 in G major, BWV 1049 (Bach, Johann Sebastian)
How Bach deliberately obscures the traditional concerto form. In this concerto, Bach is continually misleading us. Which instruments are the real soloists? Initially, the lead is taken by the two recorders, but after the introductory refrain it appears that the violin is the soloist. After the next refrain, the two recorders take over again, but they are soon trumped by the violin, which steals the show in a whirlwind of dizzying notes. And so it continues.