Brandenburg Concertos 1-3 Bwv 1046/1047/1048: No. 1 F Major / No

FREE BRANDENBURG CONCERTOS 1-3 BWV 1046/1047/1048: NO. 1 F MAJOR / NO. 2 F MAJOR / NO. 3 G MAJOR PDF Johann Sebastian Bach,Karin StГ¶ckl | 128 pages | 15 Mar 2008 | Schott Musik International GmbH & Co KG | 9783795765026 | English | Mainz, Germany The Brandenburg Concertos | Outhere Music They are widely regarded [3] [4] [5] as some of the best orchestral compositions of the Baroque era. Bach wrote out the music himself for presentation to the Margrave rather than leaving it to a copyist. While he took the opportunity to revise the music, most likely, it was not freshly composed. Bach's dedication to the Margrave was dated 24 March Translated from the original French, the first sentence of Bach's dedication reads:. As I had the good fortune a few years ago to be heard by Your Royal Highness, at Your Highness's commands, and as I noticed then that Your Highness took some pleasure in the little talents which Heaven has given me for Music, and as in taking Leave of Your Royal Highness, Your Highness deigned to honour me with the command to send Your Highness some pieces of my Composition: I have in accordance with Your Highness's most gracious orders taken the liberty of rendering my most humble duty to Your Royal Highness with the present Concertos, which I have adapted to several instruments; begging Your Highness most humbly not to judge their imperfection with the rigor of that discriminating and sensitive taste, which everyone knows Him to have for musical works, but rather to take into benign Consideration the profound respect and the most humble obedience which I thus attempt to show Him. Bach's reference to his scoring the concertos for "several instruments" Concerts avec plusieurs instruments is an understatement. Bach used the "widest spectrum of orchestral instruments … in daring combinations," as Christoph Wolff has commented. The Brandenburg Concerto No. The Sinfonia, which lacks the third movement entirely, and the Polacca polonaise from the final movement, appears to have been intended as the opening of the cantata Was mir behagt, ist nur die muntre JagdBWV This implies a date of composition possibly as early as the premiere of the cantata, although it could have been used for a subsequent revival. The first movement can also be found as the sinfonia of a later cantata Falsche Welt, dir trau ich nichtBWV 52but in a version without the piccolo violin that is closer to Sinfonia BWV a. The third movement was used as the opening chorus of the cantata Vereinigte Zwietracht der wechselnden SaitenBWVwhere the horns are replaced by trumpets. Concertino : natural trumpet in F, recorderoboe, violin. Ripieno : two violins, viola, violone, cello and harpsichord as basso continuo. The clarino does not play in the second movement, as is common practice in baroque era concerti. This is due to its construction, which allows it to play only in major keys. Because concerti often move to a minor key in the second movement, concerti that include the instrument in their first movement and are from the period before the valved trumpet was commonly used usually Brandenburg Concertos 1-3 BWV 1046/1047/1048: No. 1 F Major / No. 2 F Major / No. 3 G Major the trumpet from the second movement. The first movement of this concerto was chosen as the first musical piece to be played on the Voyager Golden Recorda phonograph record containing a broad sample of Earth's common sounds, languages, and music sent into outer space with the two Voyager probes. The first movement served as a theme Brandenburg Concertos 1-3 BWV 1046/1047/1048: No. 1 F Major / No. 2 F Major / No. 3 G Major Great Performances in the early-to-mid s, while the third movement served as the theme for William F. Buckley, Jr. Recent research has revealed that this concerto is based on a lost chamber music version for quintet called "Concerto da camera in Fa Maggiore" Chamber Concerto in F major : catalogue number is BWV R. Instrumentation : three violins, three violas, three cellos, and harpsichord as basso continuo. The second movement consists of a single measure with the two chords that make up a ' Phrygian half cadence ' [14] and—although there is no direct evidence to support it—it was likely that these chords are meant to surround or follow a cadenza improvised by a harpsichord or violin player. Modern performance approaches range from simply playing the cadence with minimal ornamentation treating it as a sort of "musical semicolon"to inserting movements from other works, to cadenzas varying in length from under a minute to over two minutes. Wendy Carlos 's three electronic performances from Switched-On BachSwitched-On Brandenburgsand Switched-On Bach have second movements that are completely different from each other. Occasionally, the third movement from Bach's Sonata for Violin and Continuo in G, BWV marked Largo is substituted for the second movement as it contains an identical 'Phrygian cadence' as the closing chords. The outer movements use the ritornello form found in many instrumental and vocal works of the time. Concertino : violin and two recorders described in the original score as "fiauti d'echo". The violin part in this concerto is extremely virtuosic in the first and third movements. In the second movement, the violin provides a bass when the concertino group plays unaccompanied. It has been debated what instrument Bach had in mind for the "fiauti d'echo" parts. Nowadays these are usually played on alto recorders, [15] although traverse flutes are sometimes used instead: it is also theorized Bach's original intent may have been the flageolet. In some performances, such as those conducted by Nikolaus Harnoncourt, the two recorders are positioned offstage, thus giving an "echo" effect. Bach adapted the 4th Brandenburg concerto as a harpsichord concerto, BWV Concertino : harpsichordviolin, flute. The harpsichord is both a concertino and a ripieno instrument. In the concertino passages the part is obbligato ; in the ripieno passages it has a figured bass part and plays continuo. This concerto makes use of a Brandenburg Concertos 1-3 BWV 1046/1047/1048: No. 1 F Major / No. 2 F Major / No. 3 G Major chamber music ensemble of the time flute, violin, and harpsichordwhich Bach used on its own for the middle movement. It is believed [ by whom? 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 Brandenburg Concertos 1-3 BWV 1046/1047/1048: No. 1 F Major / No. 2 F Major / No. 3 G Major 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 a, exists, and has many small differences from its later cousin, but no major difference in structure or instrumentation. It is dated ca. Instrumentation : two viole da bracciotwo viole da gambacello, violone, and harpsichord. The absence of violins is unusual. Viola da braccio means the normal viola, and is used here to distinguish it from the viola da gamba. When the work was written inthe viola da gamba was already an old-fashioned instrument: the strong supposition that one viola da gamba part was taken by his employer, Prince Leopoldalso points to a likely reason for the concerto's composition—Leopold wished to join his Kapellmeister playing music. Other theories speculate that, since the viola da braccio was typically played by a lower socioeconomic class servants, for examplethe work sought to upend the musical status quo by giving an important role to a "lesser" instrument. This is supported by the knowledge that Bach wished to end his tenure under Prince Leopold. By upsetting the balance of the musical roles, he would be released from his servitude as Kapellmeister and allowed to seek employment elsewhere. The two violas start the first movement with a vigorous subject in close canonand as the movement progresses, the other instruments are gradually drawn into the seemingly uninterrupted steady flow of melodic invention which shows the composer's mastery of Brandenburg Concertos 1-3 BWV 1046/1047/1048: No. 1 F Major / No. 2 F Major / No. 3 G Major. The two violas da gamba are silent in the second movement, leaving the texture of a trio sonata for two violas and continuo, although the cello has a decorated version of the continuo bass line. In the last movement, the spirit of the gigue underlies everything, as it did in the finale of the fifth concerto. Because King Frederick William I of Prussia was not a significant patron of the arts, Christian Ludwig seems to have lacked the musicians in his Berlin ensemble to perform the concertos. The autograph manuscript of the concertos was only rediscovered in the archives of Brandenburg by Siegfried Wilhelm Dehn in ; the concertos were first published in the following year. The manuscript was nearly lost in World War II, when being transported for safekeeping to Prussia by train in the care of a librarian. The train came under aerial bombardment, and the librarian escaped from the train to the nearby forest, with the scores hidden under his coat.

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