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Notice: This video is only for cultural purposes. About Brandenburg Concertos The Brandenburg concertos by Johann Sebastian Bach (BWV 1046–1051, original ti…
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21 Responses to “Johann Sebastian Bach – Brandenburg Concertos, BWV 1046, 1047, 1048, 1049, 1050 and 1051 (complete)”

  1. MathiasBelmont1 says:

    I will help,do you need any automatic weapons or you use weapons of your age swords,axes,etc?

  2. MathiasBelmont1 says:

    Check out my very own song/sonata “Mathias Belmont Sonata” I played composed and recorded the whole piece and my friend was kind enough to publish it on you tube for me,just type Mathias Belmont Sonata into you tube

  3. 1banders says:

    In his father’s generation, the prevalent keyboard temperament was mean tone. In Bach’s generation various systems of “well temperament” were preferred in order to allow more remote modulations. As a result, Bach’s organ works and even Buxtehude’s late organ works are unplayable on mean tone instruments.

  4. 1banders says:

    The use of counterpoint is not “structure.”

    Bach wasn’t the only composer of his day who used counterpoint. Handel, Telemann and Zelenka did so. Zelenka is sometimes called the Czech Bach.

    You claim Bach’s musical language is the same as that of his father’s generation. Yet his harmony is often very forward looking
    definitely NOT of his father’s generation.
    Give some example of music of his father’s generation.

  5. angryjalapeno says:

    I didn’t have macromusical structure in mind. I’m talking about micromusical structure such as the heavy use of counterpoint, the melodic and harmonic progressions that he favored. In other words, I’m not interested that a craftsman forged a sword or an axe; I’m more interested to know if he forged from iron or from bronze.

  6. 1banders says:

    If you actually believe that what you hear in Bach’s compositions speaks the same musical language as his father’s generation, then you (1) have very indiscriminate ears and (2) are ignorant of the fact that the musical developments which profoundly influenced the musical language of the son since his early 20s had not even occurred in the time of the father.

  7. 1banders says:

    Already, Bach’s Weimar compositions reflect the new styles that didn’t even exist in his father’s generation! E.g,, the Italian concerto grosso with it’s ritornello structure. And the Italian 4-part ensemble that replaced the French 5-part ensemble that was the rage in his father’s generation.

  8. 1banders says:

    What does Bach’s age in 1730 have to do with it? His musical language wasn’t that of his father’s generation even when he was in his early 20s working for the Dukes of Weimar in 1707 as court organist, and later, concertmaster. Do you think they hired him because they wanted someone with a musical language from the previous generation, at a time when the Italian concerto grosso style was all the rage throughout Germany?

  9. 1banders says:

    The Prince of Anhalt-Coethen who made Bach his Capellmester (1717-1723), was about the same age as Bach, made his Grand Tour of Europe, was well-acquainted with the current musical fashions, and was himself a musician. The prince could have hired anyone, but chose Bach and paid him more than his predecessor, and surely not because he was supposedly old-fashioned.

  10. 1banders says:

    I provided the context in comment (1). And having read the entire text of Bach’s well-known memorandum to the Leipzig council, I surely know the context. Read it yourself.

    Bach’s musical language is not that of his father’s generation, no matter how many times you assert the contrary. In 1730, Bach’s church music was quite current, as reflected in comments by contemporary music critics.

  11. 1banders says:

    The 1st mvmt. of Brandenburg version of #1 probably dates back to Bach’s Weimar years (1707-1717) and reflects an older antiphonal style. The 3rd mvmt., added much later, reflects a more modern style.

  12. 1banders says:

    (3) To give some generational perspective…

    Bach’s father, Johann Ambrosius Bach, b. 1645 d. 1695.

    Bach’s immediate predecessors in the St. Thomas cantorate:

    Johann Schelle: b. 1648 d. 1701

    Johann Kuhnau: b. 1660 d.1722

    Musical tastes changed from generation to generation and even with generations. Bach’s own style changed. E.g., his B-minor Mass reflects 2 decades of changing styles. The 5th “Brandenburg” alone has 13 sources reflecting changes in style.

  13. angryjalapeno says:

    Without context, it is hard to know what the quote refers to. But in 1730, Bach was already 45 years old and seasoned. His musical language is that of his father’s generation. In 1730, the transition to the classical period was underway; a style that Bach didn’t seem to care for in his own music.

  14. 1banders says:

    (2) Bach wrote (in 1730): “Now, however, that the state of music is quite different from what is was, since our artistry has increased very much, and the taste has changed astonishingly, and accordingly the former style of music no longer seems to please our ears, considerable help is therefore all the more needed to choose and appoint such musicians as will satisfy the present musical taste, master the new kinds of music, and thus be in a position to do justice to the composer and his work.”

  15. 1banders says:

    (1) There are very noticeable differences between the music of Bach and that of his father’s generation that reflect changes in musical taste. Bach himself commented on this in his 1730 memo to the Leipzig town council in which he compared the demands of his music to that of his predecessors Schelle and Kuhnau, and even to that of his own earlier music.

  16. 1banders says:

    String instruments have changed a little.

    E.g.: longer, narrower, more angled fingerboards; end pins; chin rests; concave bows; and metal strings. Most of the changes reflect a 19th c. aesthetic, demands of 19th c. concert hall acoustics & demands of the new music itself.

    But the major difference in sound of “modern” vs Baroque strings is due to different bowing and, since their introduction in WWI due to the shortage of quality gut for strings, the use of metal strings.

  17. 1banders says:

    Perhaps some people like the composition but dislike some aspect of the performance. There are a lot of whiners out there. Some may whine that it’s too fast, or that the players move too much; some may whine about period instruments. These whiners long for the good ole days when Bach was performed slowly and cluelessly, with lots of vibrato, by the likes of Richter, and on “modern” instruments, including a 1960′s Pleyel harpsichord. Fortunately, those days are gone forever !!!

  18. Nosorprises says:

    once a week at least, got to listen.

  19. Nick Mogensen says:

    Marvellous piece of music Bach wrote. On good speakers and the volume turned up, one must be of stone not to feel why ones alive ;-)

  20. Cukifruks F. says:

    ¡SUBLIME!

  21. sam thiel says:

    Bravo – especially to the oboists and horn-players. String instruments have not changed all that much since Bach’s time but the wind instruments have. Especially the two horn-players here are performing amazing feats! I had a major career as a hornist myself, so I know what I’m talking about.

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