Bach Choir of Bethlehem

Brandenburg Concertos
General Introduction

In 1719, Bach visited Berlin on an errand, where he met Christian Ludwig, Margrave of Brandenburg. The following year, Bach’s first wife (Maria Barbara) died; shortly thereafter, Bach found that retaining his position in Cöthen was losing its appeal, for a number of reasons, among which, reportedly, is Princess Friderica’s displeasure for Bach’s music. (Friderica was the new wife of Bach’s employer, Prince Leopold.)

Perhaps as a plea for employment, Bach collected a group of his works, and sent the score entitled "Six Concertos for Several Instruments" to Christian Ludwig. Whether Christian Ludwig responded or not is not known, but we do know that Bach did not move to Berlin for his next position.

Because the collection was dedicated to the Margrave of Brandenburg, these works are generally referred to as the "Brandenburg Concertos." They otherwise have little in common. The instrumentation, keys, and themes change from one concerto to the next.

There are, nonetheless, certain similarities which arise from their being concertos by the same composer. Among Bach’s influences in instrumental writing were a group of Italian composers who were Bach’s approximate contemporaries (or very near predecessors, separated by very few years), including (most especially) Vivaldi. We know that Bach studied Vivaldi’s concertos, because he rescored some of them himself. From Vivaldi and other Italian composers, Bach learned the concerto grosso format, where a larger ensemble (tutti, or ripieno) alternates with a soloist or solo group (concertino). This creates contrasts in texture, dynamics, and sometimes melody. The ripieno plays the opening section, which establishes a recurring theme (ritornello) for the movement. The episodes which fall between statements of the ritornello are performed by the concertino; these passages are more virtuosic, and may sound improvised, even when they are written out. Often, the melodic material comprising the episodes is based on motives from the ritornello, but after a short time, the theme is developed in a new direction.

Brandenburg Concerto No. 1 in F Major, BWV 1046

Brandenburg Concerto No. 2 in F Major, BWV 1047

Brandenburg Concerto No. 4 in G Major, BWV 1049

Brandenburg Concerto No. 5 in G major, BWV 1050