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Lets Dance Wer Ist Rausgeflogen. Catherine Kellner. 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. The first movement can also be found in reworked form as the sinfonia of the cantata Ich liebe den Höchsten von ganzem Gemüte , BWV , with the addition of three oboes and two horns.

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 : harpsichord , violin, 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 popular chamber music ensemble of the time flute, violin, and harpsichord , which 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 that 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 braccio , two viole da gamba , cello, violone, and harpsichord.

The absence of violins is unusual. When the work was written in , the viola da gamba was already an old-fashioned instrument: the strong supposition that one viola da gamba part was taken by his employer, Prince Leopold , also 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 example , the 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 canon , and 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 polyphony.

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.

In the modern era these works have been performed by orchestras with the string parts each played by a number of players, under the batons of, for example, Karl Richter and Herbert von Karajan.

They have also been performed as chamber music , with one instrument per part, especially by groups using baroque instruments and historically informed techniques and practice.

There is also an arrangement for four-hand piano duet by composer Max Reger. From Wikipedia, the free encyclopedia. This section needs additional citations for verification.

Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed.

Brandenburg Concerto No. Brandenburg Concerto. Allegro assai. Performed by the Advent Chamber Orchestra. A simple example of this piece is here.

Allegro Andante in E minor Presto. See also: Brandenburg Concerto No. Allegro Affettuoso in B minor Allegro.

Adagio ma non-troppo. Martin's Griffin. New York. Retrieved 7 December Classic FM.

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