J.S. Bach’s Complete Brandenburg Concerti

A single performance of one of the Bach Brandenburg Concertos offers a glimpse into the composer’s ability to push the concerto form forward. Hearing the complete grouping of the six Brandenburgs together offers an understanding of just how substantial Bach’s innovations were. The Brandenburg Concertos were written after the composer met the Margrave of Brandenburg, whose court was known for a substantial musical establishment. Bach reworked some previous materials into a group titled “Six Concerts for Several Instruments” and sent them off to the Margrave for consideration in 1721. Later dubbed the Brandenburg Concertos, they do indeed employ several instruments, in movements designed to showcase the characteristics of each, in solos or as part of new pairings. The first includes a pair of horns, instruments associated mostly with hunting calls, in a solo group with three oboes, bassoon and violin. No. 2, provides a challenging turn for solo trumpet along with flute, oboe, and violin. The third is a string concerto for three trios of violin, viola, and cello. Two flutes and solo violin are highlighted in Concerto No. 4, while No. 5 brings the harpsichord forward as a solo instrument, one of the first occasions the instrument had stepped away from a continuo role. No. 6 excludes violins altogether to focus on the voices of lower strings. The Margrave’s reaction to this enthusiastic offering is unknown, as there is no evidence that he responded to Bach’s submission or that the works were performed at his court.