Bach: Brandenburg Concerto No. 5, Third Movement

The section explores the composition Brandenburg Concerto No. 5, Third Movement by Bach. 

Johann Sebastian Bach

• Born: 1685 in Germany, died 1750.
• Bach is one of the most significant composers of the Baroque period and one of the most influential figures in Western music history.
• His music was often based on complex contrapuntal textures, harmony, and detailed ornamentation. He wrote in many genres, including orchestral, choral, and organ works.
• Famous Works: The Well-Tempered Clavier, Mass in B minor, St Matthew Passion, Brandenburg Concertos.

The Brandenburg Concertos

• The Brandenburg Concertos are a collection of six instrumental works, written by Bach between 1711 and 1720, showcasing the Baroque concerto grosso form.
• They were presented to Christian Ludwig, Margrave of Brandenburg-Schwedt in 1721, and thus their name.
• The third movement of Brandenburg Concerto No. 5 is a lively, upbeat allegro movement, composed in a ritornello form, featuring a concertino (small group of soloists) and ripieno (larger ensemble).

Music in the Baroque Period

• Time Period: 1600–1750, marked by dramatic, expressive music with a strong focus on contrast, ornamentation, and elaborate melodies.
• The use of continuo (a bass part that is harmonically filled in by the performer) was a key feature in Baroque music, alongside complex counterpoint and harmony.
• Baroque composers often favoured contrast between instruments and voices, using dynamic changes and varied textures.
• Key Characteristics of Baroque Music:
  • Ornamentation (trills, appogiaturas)
  • Contrapuntal textures
  • Use of basso continuo
  • Strong rhythmic drive and clear melodic lines

Musical Description – Brandenburg Concerto No.5, Third Movement

Section A: Bars 1–78

• Form: The movement is in ritornello form, which alternates between the solo group (the concertino) and the full ensemble (the ripieno).
• The opening of the movement presents the main ritornello theme (a recurring section) in the full ensemble, establishing the mood and key.
• Melody: The main theme is lively and energetic, with ornamentation and rising and falling melodic lines. Bach uses leaps and ascending and descending motifs.
• Harmony and Tonality: The piece begins in B major, with clear harmonic progressions, moving through various keys during the ritornello passages. The harmony is functional, with perfect cadences at the ends of phrases.
• Texture: The texture is homophonic at the beginning, with the full orchestra playing in unison. As the soloists enter, the texture becomes polyphonic, with the violins, harpsichord, and flute playing independent lines.
• Metre and Rhythm: The time signature is 4/4, and the rhythm is lively, using dotted rhythms and quick note values to drive the music forward. The movement has a fast tempo.

Section B: Bars 79–232

• Melody: The second section introduces a faster, virtuosic passage, with the harpsichord and violin playing highly ornamented and improvised phrases. The flute also contributes with rapid scales and arpeggios.
• Soloists and Interaction: The concertino (soloists) interact with the ripieno (larger group), often trading ideas in a dialogue-like manner. The harpsichord in particular is given extensive opportunities to show off, with improvised cadenzas and fast runs.
• Structure: The soloists’ themes are in contrapuntal dialogue with the rest of the orchestra, with the ritornello returning periodically.
• Harmony and Tonality: The tonality shifts from B major to A major, and then to E major. Bach's harmony is full of modulations and chromaticism, adding complexity and colour to the movement.
• Timbre: The use of the flute, violin, and harpsichord as soloists creates a light, bright, and intricate texture. The harpsichord’s timbre, in particular, adds a distinctive baroque quality, with its percussive, plucked sound contrasting with the smoother string instruments.

The Impact of Bach and His Compositions

• Influence on Music History: Bach’s music has had an enduring impact on classical music and Western music as a whole. His complex counterpoint, development of harmony, and exploration of form have influenced countless composers, including Mozart, Beethoven, and Brahms.
• Baroque Music Revival: In the 19th and 20th centuries, Bach’s works were rediscovered, and many musicians sought to interpret his works using period instruments and historically informed performances.
• The Brandenburg Concertos: These works continue to be highly regarded for their inventiveness, technical brilliance, and expressive depth, showcasing Bach's mastery of both instrumental and structural techniques.

Performing and Composing Ideas

When performing and composing in the style of Bach and the Baroque period, consider the following:

Elements of Music to Consider

• Melody: In the Baroque period, melodies often feature ornamentation, such as trills, grace notes, and appogiaturas. When performing Bach, these ornaments should be added with care, reflecting the stylistic practices of the time.
• Harmony and Tonality: Baroque music is often functional, using tonic, dominant, and subdominant harmony. Performers should be aware of the cadences and how they create structural points of arrival. The harmony can often move through various keys, creating interesting contrasts.
• Structure and Texture: Baroque music is highly structured, and textures can change dramatically within a movement. Pay attention to the shifts between monophonic, homophonic, and polyphonic textures. In this piece, Bach alternates between sections for soloists and ensemble, and these should be highlighted in performance.
• Metre and Rhythm: The rhythm is usually clear and regular in Baroque music, but dotted rhythms and syncopation can create a sense of drive. Tempo is fast, but performers should still aim for clarity in fast passages.
• Timbre: The specific timbre of Baroque instruments, such as the harpsichord or natural trumpet, is important. When performing on modern instruments, performers often try to imitate the articulation and dynamics of the Baroque instruments.
• Dynamics and Tempo: Terraced dynamics (sudden changes between loud and soft) are typical of the Baroque period, and performers should avoid continuous gradual changes in volume. Tempo should be brisk, especially in faster movements like the third movement of the Brandenburg Concerto.

Techniques Used by J.S. Bach in Brandenburg Concerto No. 5, Third Movement

Use of Ritornello Form

• Ritornello form alternates between the main theme (ritornello) played by the full ensemble and contrasting sections featuring the soloists. This gives a sense of balance and contrast throughout the movement.

Virtuosic Passages

• The soloists (flute, violin, harpsichord) perform highly virtuosic passages that showcase the technical skill of the performer. In particular, the harpsichord features improvised cadenzas and intricate runs, demonstrating the instrument's capacity for expressive ornamentation.

Counterpoint and Dialogue

• Bach uses counterpoint in this movement to create complex interactions between the soloists and the ensemble. The soloists engage in musical dialogue, passing motifs back and forth, and often answering each other’s phrases.

Ornamentation

• Ornamentation such as trills, appogiaturas, and grace notes feature prominently, both in the solo sections and as embellishments to the main theme, allowing performers to inject expressive nuances.

The third movement of Bach's Brandenburg Concerto No. 5 is a stunning example of Baroque concerto writing, filled with energy, technical brilliance, and contrast. Bach’s use of ritornello form, virtuosic solo passages, and intricate counterpoint demonstrates his mastery of both instrumental writing and structure. Understanding these elements is essential for both performers and composers wishing to emulate the Baroque style, and Bach’s music continues to inspire musicians to this day.