22-23 Program Book - Flipbook - Page 44
Concerto No. 3 CONTINUED...
CLASSICAL SERIES: THE SIX BACH BRANDENBURGS
It is most frequently performed with one performer on each part to provide
clarity in the separation of the groups, and to emphasize the equality of all
parts. The most surprising aspect of the piece is the middle “movement”
which consists of just two chords. Sometimes this is treated as a cadenza
by any one or more of the performers (most often the harpsichordist),
and sometimes it is simply performed as a two-chord liaison to the third
movement. The outer movements are spirited and uplifting, and seeing the
work in concert adds much to its enjoyment, not just hearing but actually
watching the musical motives pass from one individual or group to the
next.
44
Concerto No. 4 in G major, BWV 1049
Concerto No. 4 is another concerto grosso. This time the concertino includes
one violin and two “fiauti d’echo,” translated literally as “echo flutes.” There
is some confusion as to what Bach actually meant by this designation, but
scholars have generally agreed that he meant alto recorders pitched an
octave higher than the notated parts, though flutes are often substituted
for recorders. Some conductors have also embraced the “echo” by using
offstage effects. The recorders generally play together as a duo, serving
as an interesting color contrast to the virtuosic solo violin part—it is in the
outer movements, in particular, that the technical demands for the violin
soloist are quite amazing. The fugal texture in the third movement treats
the orchestra and soloists as equals, reminding us of Bach’s contrapuntal
genius, and the episodes for the soloists demonstrate again the high
quality of performers he had around him in Cöthen.
Concerto No. 5 in D major, BWV 1050
The combination of flute, violin, and continuo (keyboard plus bass
reinforcement) was a very popular chamber music setting, and Concerto
No. 5 uses this combination as the solo concertino. The harpsichord does
double duty, however, playing throughout either as soloist or as part of the
orchestra in the ritornellos. The piece itself went through a few different
versions, all involving the harpsichord as the primary feature, and as a result
it is considered to one of the earliest concertos to feature the harpsichord,
if not the very first, by any composer. Scholars have agreed that part of
the inspiration for the piece was the acquisition of a new harpsichord
for the Cöthen court and Bach wanted to show off its capabilities. This
would explain the longer solo harpsichord passages, particularly the first
movement cadenza. The middle movement features only the trio of soloists,
creating a more intimate respite from the energetic outer movements.
The finale is a sprightly gigue featuring all three soloists individually and
together, once again demonstrating Bach’s mastery of counterpoint, even
in a dance style.