By Michael Marissen
This new research of the Brandenburg Concertos explores musical, social, and non secular implications of Bach's remedy of eighteenth-century musical hierarchies. by way of connection with modern song thought, to trade notions of the that means of "concerto," and to numerous eighteenth-century conventions of shape and instrumentation, the booklet argues that the Brandenburg Concertos are larger understood now not as an arbitrary selection of unrelated examples of "pure" instrumental track, yet quite as a gently compiled and meaningfully geared up set. It exhibits how Bach's concertos problem (as against replicate) current musical and social hierarchies.
Careful attention of Lutheran theology and Bach's documented figuring out of it unearths, even though, that his track shouldn't be understood to name for innovative political motion. One vital message of Lutheranism, and, during this interpretation, of Bach's concertos, is that during the following global, the heavenly one, the hierarchies of the current global will not be worthwhile. Bach's tune much more likely instructs its listeners find out how to take into consideration and spiritually focus on modern hierarchies than the best way to act upon them. during this feel, opposite to at the moment authorised perspectives, Bach's concertos percentage together with his large output of vocal song for the Lutheran liturgy an basically non secular personality.
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Extra info for The Social and Religious Designs of J. S. Bach's Brandenburg Concertos
See also nn. 91–92 here. 27 The Polonaise is not fully autograph, which suggests that Bach had recently composed the movement and therefore did not need to copy the music himself. ) On the identification of the nonautograph handwriting, see Georg von Dadelsen, Beiträge zur Chronologie der Werke Johann Sebastian Bachs (Trossingen: HohnerVerlag, 1958), p. 84. 32 THE FIRST BRANDENBURG CONCERTO In connection with this apparent snubbing of the soloist for a Polish dance movement, there is evidence that German musicians of the day considered the violino piccolo to be a Polish instrument.
And this is followed by a thinning-out modulatory section (mm. 17–25) in which there are three points of division conforming to the characteristics of fortspinnung-type syntax (cf. the segmentation of many Vivaldian ritornellos). , therefore it would still warrant being called an episode). Having securely set up the two functions, Bach can extend this reversal during the course of the movement by having the opening ritornello modulate at its second appearance (mm. 25–28) and by having the first episode (mm.
84. 32 THE FIRST BRANDENBURG CONCERTO In connection with this apparent snubbing of the soloist for a Polish dance movement, there is evidence that German musicians of the day considered the violino piccolo to be a Polish instrument. The following comments on Polish tavern music appear in the Telemann autobiography that was published in 1740: When the court [of Count Erdmann von Promnitz at Sorau (now Zary in Poland)] removed to Pless [now Pszczyna] for six months, one of Promnitz’s estates in Upper Silesia, I heard there, as I had done in Cracow, the music of Poland and the Hanaka region of Moravia in its true barbaric beauty.