Brandenburg O No. 5 Movement 1 Analysis

Brandenburg O No. 5 Movement 1 Analysis-75
From that perspective, Bach's magnificent interplay of diverse musical elements can be seen as a reflection of his pervasive belief in the Divine harmony of the universe.Thus, Wilhelm Furtwngler sees Bach's music as symbolizing divinity by exuding supreme serenity, assurance, self-sufficiency and inner tranquility that transcends any personal qualities to achieve a perfect balance of its individual melodic, rhythmic and harmonic elements.

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Indeed, Rifkin claims that the Margrave had a small orchestra that lacked both the instruments and sufficiently skilled players to cope with the demands of the Brandenburgs' diverse and difficult parts.

Thurston Dart calls Bach's presentation copy of the Brandenburgs a masterpiece of calligraphy but of far less value as a musical source due to the many errors that suggested haste.

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In one of the many bitter ironies of music history, Johann Sebastian Bach's six Brandenburg Concertos are now his most popular work and an ideal entre to his vital and variegated art, especially for those who mistakenly dismiss his 300-year old music as boring and irrelevant, yet Bach himself may never have heard them – nor did anyone else for over a century after his death.

Others view the Brandenburgs as an inextricable facet of Bach's overall religious bent.

Thus, Karl Richter stresses that Bach's universality can only be understood in terms of the theological, mystical and philosophical foundations that infused all of his art, and Fred Hamel asserts that Bach was able to develop all the resources of his craft only after years of work in the devotional sphere and that Bach never distinguished religious and secular music, as his entire body of work was aimed for the glory of God.Yet, the relationship may have begun to sour, as Bach applied for an organ post in Hamburg in late 1720 but was rejected.Bach's dedication continues: Je supplie tres humblement Votre Altesse Royalle, d'avoir la bont de continuer des bonnes graces envers moi, et d'tre persuade que je n'ai rien tant coeur, que de pouvoir tre employ en des occasions plus dignes d'Elle et de son service I very humbly beg Your Royal Highness, to have the goodness to maintain his kind favour toward me, and to be persuaded that I have nothing more at heart, than to be able to be employed in some opportunities more worthy of Him and of his service In other words, Bach intended the Brandenburgs as his resum for a new job. Indeed, it's unclear what, if anything, the Margrave did with the presentation score once he received it.Bach left a brief but telling account of their origin in his dedication to the presentation copy of the score, handwritten in awkward, obsequious French (which I've tried to reflect in translation): Comme j'eus il y a une couple d'annes, le bonheur de me faire entendre a Votre Altesse Royalle, en vertu de ses orders, & que je remarquai alors, qu'Elle prennoit qeulque plaisir aux petits talents que le Ciel m' a donns pour la Musique, & qu' en prennant Conge de Votre Altesse Royalle, Elle voulut bien me faire l'honneur de me commander de Lui envoyer quelques pieces de ma Composition: j'ai donc selon ses tres gracious orders, pris la libert de render mes tres-humbles devoirs Votre Altesse Royalle, par les presents Concerts, que j'ai accommods plusieurs Instruments; La priant tres-humblement de ne vouloir pas juger leur imperfection, la rigeur de gout fin et delicat, que tout le monde sait qu'Elle a pour les pices musicales Since I had a few years ago, the good luck of being heard by Your Royal Highness, by virtue of his command, & that I observed then, that He took some pleasure in the small talents that Heaven gave me for Music, & that in taking leave of Your Royal Highness, He wished to make me the honor of ordering to send Him some pieces of my Composition: I therefore according to his very gracious orders, took the liberty of giving my very-humble respects to Your Royal Highness, by the present Concertos, which I have arranged for several Instruments; praying Him very-humbly to not want to judge their imperfection, according to the severity of fine and delicate taste, that everyone knows that He has for musical pieces Scholars understand Bach to refer either to a trip he made to Berlin in March 1719 to approve and bring home a fabulous new harpsichord for his employer, Prince Christian Leopold of Cthen, or possibly to an excursion they made the following year to the Carlsbad spa.Apparently, Bach played for the Margrave, who requested a score to add to his extensive music library.Albert Schweitzer, too, views the Brandenburgs in metaphysical terms, unfolding with an incomprehensible artistic inevitability in which the development of ideas transverses the whole of existence and displays the fundamental mystery of all things.Yet, despite the philosophical depth of such analyses and the extraordinary density and logic of Bach's conception that leads academics to fruitfully dissect his scores, commentators constantly remind us that the Brandenburgs were not intended to dazzle theorists or challenge intellectuals, but rather for sheer enjoyment by musicians and listeners.Even so, their popularity would have to wait nearly another century for the phonograph.Since then, the Brandenburgs have been widely praised.On the most basic level, Christopher Hogwood claims that, beyond wanting to impress the Margrave with his versatility, Bach used them to codify and organize his miscellaneous output and so they represent an endeavor to imitate the wealth of nature with all the means at his disposal.Similarly, Abraham Veinus regards them as the exemplification of Bach's creative thinking, comprising the full range of his thought, variety of instrumentation and inner structure – not a mere summary of the styles, forms and techniques of his predecessors but a realization and expansion of their full possibilities.

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