Bach - Brandenburg Concerto No 6

During Bach's lifetime he was an acknowledged master of the organ. He was also active as an organ consultant. He would travel and give his expert opinion to congregations on the acoustics of their church and what kind of organ would sound best in it. He also was in demand as an organ tester. When a new organ would be installed in a church he would be called upon to test the organ. It wasn't until Bach was dead and gone that his reputation as a composer, especially for anything besides keyboard and organ, was assured. The discovery of the six Brandenburg Concertos added considerably to his reputation as an instrumental composer.

The six Brandenburg Concertos of Bach are some of his most well-known compositions and acknowledged masterpieces of Baroque music. The music world didn't know anything about these concertos until they were discovered in the Royal Music Library in Berlin and printed in 1850 during the revival of Bach's music.

They are called the Brandenburg concertos because Bach sent the Margrave of Brandenburg six of his finest concertos in 1721, two years after the Margrave had head Bach play the harpsichord and had asked for some compositions from him. Bach's position as Kappelmeister in Cöthen was in jeopardy in 1721 and he conveniently remembered the Margrave's request when he was looking for another job. So the Brandenburg concertos were sent by Bach as a musical résumé, but with no reply from the Margrave Bach eventually took a position in Leipzig. Scholars believe the concertos were never heard by the Margrave because the musical forces available at his court were not enough in number or good enough technically to play them. The concertos remained in the Margrave's library until he died. The concertos came to the attention of one of Bach's pupils Johann Philipp Kirnberger and eventually were housed in the Royal Music Library in Berlin.

The six concertos are unique in that each concerto is scored for a different group of instruments in a wide variety of combinations. All six of the concertos remain one-of-a-kind compositions. The Brandenburg concertos show Bach had a very fine ear for instrumental coloring, no doubt honed by many years of playing the organ, an instrument of myriad tonal colors.

The sixth concerto is thought by some scholars to actually be the first one written. It is for the odd combination of 2 violas, cello, 2 viola da gambas, 1 double bass and harpsichord. The tone coloring of this ensemble is subdued with no hint of brilliance from upper register instruments. It makes for a somewhat dark but rich tonal palette. The concerto begins with the two violas playing a catch-me-if-you can melody in close canon. The viola da gambas are silent in the second movement which has one of Bach's most profound slow melodies sung by the violas. The third movement is a lively but dignified jig.

Visit Musical Musings for thoughts and impressions about musicians, composers and their music. http://muswrite.blogspot.com/