On Wednesday, February 17, 2010

Classic and Opera | Masterpieces

Concerts Of Brandenburg of Johann Sebastian Bach

The Concerts Of Brandenburg were composed in 1719 or 1729 while Bach was used in the court of prince Leopoldo de Anhalt-Cöthen, his production during these years consisted principally of instrumental works. They were interpreted for the first time in the Cóthen court. The concerts Of Brandenburg are constituted a summary of the tradition of the concertó by baroque grosso and a prediction of the instrumental concert of the imminent classic age.

Often there constitutes a mystery the form in which some compositions acquire his nicknames. Nobody knows with certainty, for example, where from the names of the Symphony come Jupiter of Mozart or the concert The Beethoven emperor. Several works take persons' names. The Kreutzer of the Sonata for Violin of Beethoven was a violinist, while the Waldsteín of his Sonata for Piano was a nobleman. The changes Goldberg de Bach were entrusted by the count von Kayscrling to help him to treat his insomnia, but the piece is not known as the Changes Kayserling. Goldberg was the tough clavecinísta who was interpreting these changes, night by night, to make to sleep to the count. The concerts Of Brandenburg also have been designated by the name of a person: Christian Ludwig, margrave of Brandenburg. It turns out to be ironic that the history has baptized this musician with the name of Of Brandenburg, since Christian Ludwig was not interested in. Nevertheless, if such a magrave is still remembered it is only for these concerts.

They were composed while Bach was used in the court of prince Leopoldo de Anhalt-Cöthen. As the prince belonged to the Reformed Calvinist Church, in which the music was redeeming a scarce role, one was not asking Bach to compose for the church. His production during the years that happened in Cöthen consisted principally of instrumental works.

In 1718, while it was in Berlin to entrust a new spinet, the composer met the magrave of Brandenburg. Christian Ludwig was cultivating his relations with many musicians, and was collecting scores, especially of concerts. He listened to touch Bach and, later, it mentioned in chance tone that was interested in a series of concerts. Soon such a magrave forgot his request and undoubtedly it was surprised when, two years later, it received a score beautifully autografiada from Six concerts for diverse instruments. Probably, Bach had taken so much time to write this music because he was feeling very little enthusiasm for composing for the small band of the court of Brandenburg.

Bach was thinking himself as a humble servant; the age of the artist like independent genius still had not come. This way, the Bach dedication to Ludwig - translated by hand not known to court French - for the current customs seems obliging:
"Two years ago I had the good fortune of touching before Your Real Height for Your Order, and perceived in this moment that Your Height was demonstrating certain pleasure before the small musical talent that the sky has granted to me. When I said goodbye, Your Real Height did to me the big honor of asking me to send to him some pieces of my own composition: therefore, and in accordance with the asked jester of Your Height, I have taken the freedom of fulfilling with me very humble duty before Your Real Height with these concerts, which I have orchestrated for several instruments.

I request very humbly to Your Height that does not judge his imperfection with the rigor of the thin and delicate taste for the compositions by which Vuestra Alteza is met universally, but it should infer of them, in benign consideration, the deep respect and the humblest obedience that with it I try to demonstrate to Your Height.

Also, Gentleman, I ask with all humility that Your Real Height keeps on having the kindness of having me in his approval and to know that there is nothing more expensive to my heart that the power serve to him sometimes worthier as Your Height and as his service.

With all fervor, Gentleman, stayed to the feet of Your Real Height like his humblest and obedient servant, Johann Sebastian Bach."
It is quite ironic that one of the big composers of the world was prostrating himself this way on having dedicated some of the most important pieces from the music of this world to someone who at least should bother to make her interpret. To Christian Ludwig the concerts did not seem to him sufficiently good how for to include them in the catalog of his library, in fact, which was comprising almost two hundred concerts of other composers. The Bach manuscript happened unnoticed until 1734, year in which it was sold by a small sum after Ludwig's death.

The instrumentation is different in every concert, but in all the cases the set was too big for the musicians of Brandenburg. Nevertheless, every piece was adapted perfectly to the available resources in Cöthen, and this fact suggests that perhaps the concerts were written to be used in Leopoldo's court and that newly later they were dedicated to Christian Ludwig.

The concerts Of Brandenburg are typical of his epoch, because they use a diversity of instrumental combinations inside the format of the concertó grosso. Nevertheless, some aspects of the concerts are frankly experimental: the virtuous treatment of the trumpet (I coordinate Number 2), of the violin (I coordinate Number 4) and of key (I coordinate Number 5); the suppression of the contrast between a small group of soloists and a major body of ropes accompanist (I coordinate Number 3 and the first movement of the Concert Number 7); to do that the soloists and the continuous one were executing an intermediate movement without band (Concerts Number 2, and ó). The concerts Of Brandenburg are constituted at the same time a summary of the tradition of the concertó by baroque grosso and a prediction of the instrumental concert of the imminent classic age.
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To see Record


  • On February 17, 1653: Arcangelo Corelli, musician and Italian composer is born. Grosso contributed to the crystallization of the concerto. Author of numerous instrumental works (Concert of Christmas, The Follia, sonatas), father of the sonata for violin and inspirer of a group of composers of this instrument like Varacini, Germiniani and Viotti.

  • On February 13, 1883: Richard Wagner dies in Venice. Composer of German origin, renovator of the romantic opera. His inclination towards the music did not wake up up to knowing the works of Weber and Beethoven. After a life lax and invested in the game and the women, he married and traveled to Paris and then to Dresden, where his work was recognized. The transfer of his remains was comparable to the funeral procession of a big sovereign one.

  • On February 13, 1976: the soprano Lily Pons dies. A voice crystalline and extended towards the sharp one, joined a graceful figure and personal friendliness, they constitute the props of the formidable success of Lily Pons. An exceeded publicity helped to do of her almost a sacred monster of the singing; so much it was so in the decade of '40 went so far as to consider her to be the best singer of the world.

  • On February 12, 1924: there is released "Rhapsody In Blue" of George Gershwin. Gershwin managed to unite in this work three fundamental elements of the music of his country: the piano popular tradition, the harmonic treatment of the music of the theater of varieties and all the ambience of the African American blues.

  • On February 10, 1881: I release in Paris of "The Stories of Hoffmann" of Jacques Offenbach. The opera is an adaptation of Jules Barbier and Michel Carré of several stories of writer Ernst T.A. Hoffmann. The first one takes place with a mechanical doll, the second one with the victim of the conjuration of a magician, and the third one with a moribund sick person. The history begins with a prologue ambientado in a bar.


  • Daniel Barenboim
    "The director does not have physical contact with the music that his instrumentalists produce and at most he can correct the phrasing or the rhythm of the score but his gesture does not exist if it does not find a band that is receiving"

  • George Gershwin
    "It would give everything what I have as a little of the genius that Schubert needed to compose his Ave Maria"

  • Gustav Mahler
    "When the work turns out to be a success, when a problem has been solved, we forget the difficulties and the perturbations and feel richly rewarded"

  • Franz Schubert
    "When one is inspired by something good, the musician is born fluently, the melodies sprout; really this is a big satisfaction"

  • Bedrich Smetana
    "With the help and the God's grace, I will be a Mozart in the composition and a Liszt in the skill"


  • Study 12

    Frederic Chopin

  • I prelude to the siesta of a faun

    Claude Debussy

  • last day of Mozart


  • Tristán and Isolda

    Richard Wagner



Astor Piazzolla

Astor Piazzolla

Piazzolla represents one of the rarest cases in which an author is unrolled of extraordinary form so much in the world of the popular music, with his tangos of Buenos Aires, as in that of the refined or classic music. Called symphonic tango created a new genre renewing this way of decisive form the tango. If it is considered that the work of Piazzolla begins in 1946 with The desbande and concludes in 1990, with Him grand tango and with Five tango sensations, that the same year records with the quartet of ropes Kronos, it is deduced that it covers 46 years, space in which it produced not less than eight hundred works.


Carlos Gardel

Carlos Gardel

Carlos Gardel is perhaps the biggest myth of the Argentina. His artistic skill, his incomparable talent as singer of the suburbs of Buenos Aires, his musical instinct to compose some of the biggest tangos of all the times, his marvelous character, his fanaticism for the careers, have led him to being equalled perhaps only by another legend of the country of the south of the Silver: Eva Perón. Nevertheless, while all political activity can be worth of objections, comments and mistrust on the part of certain sectors of the population, the figure of Carlos Gardel is erected as universally for all the Argentinians and the followers of the tango across the world.

Paris, on February 16

Juan José Mosalini: the soul of the bandoneón beats in Paris

The music and the dance of the River Plate came to the margins of the Seine more than one century ago, seducing the French, but Juan José Mosalini lives through the tango now a real explosion in France, of the hand of some of his contemporary teachers, like the bandoneonista. In an interview with the AFP in Paris, before traveling to Argentina, where it will offer two concerts, and from which it will set off then in the direction of China, Mosalini evoked "passionate and unconditional" relation between Paris and the tango and between he and the bandoneón, which came to his hands when it was a chiquilín.

Granada, on February 16

International festival tango Granada dedicates his XXII edition to Carlos Gardel

75 anniversary of the death of the singer and tanguista Carlos Gardel will lead XXII edition of the International Festival of Tango of Granada, which also will organize several parallel activities between which there are holidays of trasnoche, tango in the university or an exhibition. Between the artists who will take part in three forms of the festival - dance, set of instruments and sung - there is Leo Sujatovich, Cristian Zárate and the Japanese couple of dance Kyoto and Hiros Yamao.


To see mís letters

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