Concerti Grossi and Followers

All right—let’s get the players straight. In the clip below, you have three groups of people. On the left will be a baroque flute and violin—and they’re the soloists. Next up are the cello and the harpsichord. The cello is playing at times the basso continuo, which for any less complicated composer / thinker than Bach, would be simple chords that provided the harmonic structure. But here Bach has the cello constantly shifting back and forth from the traditional role to one of almost soloist status. The cellist who doesn’t itch to play these parts is dead.

The continuo, by the way, is often left unspecified by baroque composers—whatever bass instrument came along could be used. Nor was the part frequently written out; like jazz musicians today, there was a complicated notation of numbers denoting notes based on the bass note. Sounds complicated? Initially it is, but after a bit, it starts to feel natural. Here, by the way, is what it looks like….

The other part of the basso continuo is the harpsichord, or really, any other keyboard or strummed instrument (The theorbo makes a really good one). And in this concerto, the Brandenburg 5, the harpsichord is given what some have called the first modern cadenza. It’s the long, showy solo at the end of the first movement. The cadenza, designed to showcase the virtuosity of the soloist, is also meant to fool around with the main themes of the movement—it’s all a showy rehash.

And this cadenza is spectacular—I’ve heard knowledgeable folk argue that it shouldn’t be played on the harpsichord at all. It’s so far ahead of its time, the thinking goes, that the piano is better suited to bring out all the nuances. Bach was writing for an instrument that didn’t exist. (Don’t please, argue this point with anyone connected to what is now being called H.I.P—historically informed performance.)

OK—you have on the left two soloist; in the center is the harpsichord and the cellist, who are both soloists and basso continuo; so who’s on the right? Well, it’s a little group called the ripieno—yes, computer, there are words you don’t know—who join in and form an “orchestral” backdrop. In this case, you have a violin, viola, and bass.

Bach wrote this concerto in 1719, and dedicated it to the Margrave of Brandenburg-Schwedt. Here, should you ever need an example of a dedication that goes from fulsome straight into brownnose, is the dedication:

As I had the good fortune a few years ago to be heard by Your Royal Highness, at Your Highness's commands, and as I noticed then that Your Highness took some pleasure in the little talents which Heaven has given me for Music, and as in taking Leave of Your Royal Highness, Your Highness deigned to honour me with the command to send Your Highness some pieces of my Composition: I have in accordance with Your Highness's most gracious orders taken the liberty of rendering my most humble duty to Your Royal Highness with the present Concertos, which I have adapted to several instruments; begging Your Highness most humbly not to judge their imperfection with the rigor of that discriminating and sensitive taste, which everyone knows Him to have for musical works, but rather to take into benign Consideration the profound respect and the most humble obedience which I thus attempt to show Him.[3][4]

https://en.wikipedia.org/wiki/Brandenburg_concertos

All right—be fair. It was the style of the time.

And it also has to be said—this is a terrific piece of music. Yes, it may be a warhorse, a piece that is played so often it stops sounding new. Then, the curious thing happens—people shun the work because it seems trite, or overplayed. And then, of course, you go years without sitting down to listen to it again. And then when you hear it, you’re amazed—what were you doing all this time, listening to perfectly good though obscure music but neglecting a masterpiece?

Well, fortunately we have YouTube, which spies on me and then makes suggestions (I know, I should be upset and I’m not…). So when they suggested that I listen to the Croatian Baroque Ensemble playing the Brandenburg 5^th, I thought, ‘why not?’  Nor was I disappointed—they’re a knockout. 

   

I may have shot myself in the musical foot, by starting out with Bach—what else do you play after that?

Well, Corelli came to mind, and he wrote, in the good Baroque manner, a set of twelve of the little guys, written in the 1690’s but published in 1714—almost exactly at the time of Bach’s Brandenburgs. And they are as clean and fresh three hundred year later as the day Corelli wrote them. One of them gets trotted out regularly at Christmas—it even bears the name “Christmas Concerto.” The name was given by Corelli himself:  Fatto per la notte di Natale ("Made for the night of Christmas").

It’s serenic—all right, not a word, but you know what I mean—music punctuated by gleeful, almost manic, sections. And check the guy playing what looks like a weird guitar or lute; that’s a theorbo. 

Handel wrote two sets of concerti grossi—and composed them in 1739. Yes, they’re conventional—there’s nothing as thought-out as Bach, nor really as fresh as Correli. But still, Handel on an off day is still Handel.

After the baroque era, everybody went off to compose other things, until, in the twentieth century, the form was rediscovered. Ernst Bloch composed one in 1925 in Cleveland Ohio. To me, it’s bombastic and unpleasant music; but interesting to listen to. Stravinsky, more notably, composed Dumbarton Oaks in 1937—and the main theme of the first movement is a direct reference to the Third Brandenburg Concerto. Lastly, Vaughan Williams composed a concerto grosso in 1950. Here they all are….