The first of the Brandenburg Concertos, catalog # bwv1046, is actually entitled Concerto 1mo à 2 Corni di Caccia, 3 Hautb: è Bassono, Violino Piccolo concertato, 2 Violini, una Viola è Violoncello, col Basso Continuo. It has four movements, unlike the other five concertos, which have three. You would think that the pattern allegro — adagio — allegro — minuet would make it clumsy, but for some reason, it works in this case. The final minuet doesn’t seem out of place or anti-climactic. Nothing could be a better introduction to the pleasures of baroque music.
My favourite recordings of it are Trevor Pinnock’s English Consort 1988 on Arkiv (available on CD), and the Paillard Chamber Orchestra recording with Jean-Pierre Rampal and Maurice André, on vinyl. I haven’t kept up with more contemporary recordings. I’m sure that there are many fine ones. Some may prefer performances on “original instruments” (instruments fashioned and tuned as they were in Bach’s time). The other important variable (other than simple musical talent) is the choice of tempi. Today’s interpretations tend to gallop along very quickly, based on presumptions about the playing style in Bach’s day. The reason I like Pinnock’s interpretation is that he doesn’t rush it. Is this less authentic? I dunno. But Pinnock’s pace just seems right to me on gut feeling.
In 1721, while Bach was out buying a harpsichord, he bumped into the Margrave of Brandenburg, who asked him to send him some concertos. Bach quickly selected six concertos from his recent output, tarted them up a bit, and sent them with a dedication. In those days, you were smart to leap at any chance of royal, or near-royal patronage. The Margrave is said to have never even looked at them, but his title has become the single most familiar word in baroque music. When I worked at a record store, the staff simply called them “burgers.” We casually toted up the number of burgers we sold every day.
Their enduring popularity and immediate appeal to the beginning listener don’t in the least indicate any lack of subtlety. The first concerto can be heard and appreciated by a child, and still seem entrancing to someone who has grown jaded with a lifetime of listening.
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