Luogo e data di registrazione		Cedernsaal, Schloß des Fuggerschlosses, Kirchheim (Germany) - settembre 1964 (Nos. 5 & 6) - giugno 1966 (No. 1) - maggio 1967 (Nos. 2, 3 & 4)
	Registrazione: live / studio		studio
	Recording Supervision		Dr. Alfred Krings
	Engineer		Hubert Kübler
	Prima Edizione LP		Harmonia Mundi | HMSK 351/1-2 [HMS 30 856 & HMS 30 857] | 2 LPs - durata 49' 02" - 51' 34" | (p) 1965-67
	Edizione CD		Deutsche Harmonia Mundi | LC 00761 | 82876 70043 2 | 2 CDs - durata 45' 06" - 56' 11" | (c) 2005 | ADD
	Cover Art		-
	Note		-

A Feast of Variety Music lovers deploring the lack of support given to the arts is our time may derive comfort from the story of Bach's Brandenburg Concertos. Here, through a curious twist of case, an action, apparently detrimental to cultural life, turned out to be highly beneficial to music. When Friedrich Wilhelm I ascended the throne of Prussia in 1713 he resolved to build up and enlarge his army. For this purpose the strictest economy is all other fields was necessary, and he dismissed the excellent group of court musicians his predecessor had assembled. The city of Berlin thus suffered a serious decline in its music life. Yet the loss inflicted on the metropolis meant a decisive gain for a tiny principality in the center of Germany. Young Prince Leopold of Anhalt-Cöthen, an ardent music friend, engaged six of the best musicians dismissed by the Prussian king, paying them high wages. The artists may at first have found in hard to adjust to life in provincial Cöthen; however, before long they were amply compensated through their work with the new music director whom the Prince brought from Weimar, a young genius by the name of Johann Sebastian Bach. A truly wonderful give-and-take now happened at Cöthen. The music director's creative imagination, kindled by the eminent artistic resources at his disposal, poured out instrumental masterworks of the highest caliber. The musicians, challenged by the extremely difficult tasks he set for them, responded superbly and constantly improved under Bach's fiery leadership. The result was music making of top quality giving delight to the composer who considered the fruithal years spent in Cöthen as the happiest of his life. The white heat of Bach's creative production during this blessed period is testified to by accounts in the princely archives. One learns, for instance, that in the years 1719 and 1720 no less than fifty different compositions were copied and bound at the Cöthen court, most of them doubtlessly contributed by the music director himself. A great part of this priceless harvest unfortunately has been lost. Yet we have among the music preserved such immortal masterworks as the sonatas and partitas for unaccompanied violin, the suites for solo cello, the orchestral overtures and the six Brandenburg Concertos. Though their name links these concertos to the ruling houde in Prussia, they are typical products of Cöthen, designated for the outstanding musicians assembled there. In 1719 Bach was sent by his princely patron to Berlin to acquire a fine new harpsichord. During his visit he was naturally invited to display his inimitable art on the instrument and, as always, won the greatest success. The King's uncle, Margrave Christian Louis of Brandenburg, who maintained his ows small orchestra, was so impressed that he ordered some new compositions from Bach; however, the composer, deeply absorbed in his work at Cöthen, at first neglected this commission, and only two years later did he feel able so carry it out. In March 1721 he selected from the ample supply of music composed for Prince Leopold six concertos which he sent to the Margrave, accompanying them with a French dedication full of the expressions of submission that custom demanded. In the choice of works Bach was less considerate, however, for the concertos required a virtuoso technique far beyond the skill of the small group of players in the Margrave's employment. When the Margrave died in 1734 Bach's score formed part of the estate to be shared between five relatives. The list of possessions to be ceded by lot to the five heirs carried a nominal value for each item so as to allow for even distribution of the property. At this time the bundle of music containing the beautiful autograph of Bach's concertos was evaluated at 24 groschen! Fortunately for music lovers all over the world, J. P. Kirnberger, an ardent disciple of Bach, came to Berlin in 1752 to serve the royal family. Reports regarding the existence of an important Bach score in a princely collection somehow reached him, and he succeeded in obtaining it. The priceles treasure, however, went through several more hands before it was finally deposited in the Berlin State Library. Sir Hubert Parry praises the "feast of variety" offered in these six concertos, no two of which are orchestrated in the same way. In their structure, too, there is no real uniformity. The second, fourth and fifth concertos follow the type of the so-called concerto grosso in which a group of soloists (the concertino) is juxtaposed to the accompanying orchestra of the ripieno players. In the first, third and sixth concertos, on the other hand, the orchestra is composed of evenly balanced instrumental choirs competing with each other and at times surrendering the lead to a single instrument out of their midst. Notes by Karl Geiringer Concerto No. 1 in F, BWV 1046 The instrumentation of the first concerto calls for, in addition to the usual strings and harpsichord, two horns, three oboes, a bassoon and a violino piccolo, a smaller-size violin, tuned a fourth higher than the ordinary instrumental. In the forceful first movment Bach creates an intricate polyphonic web whose strong rhythmic impetus carries us away. The ensuing brief Adagio has the horns keep silent. Solo violin, oboe and basses present a poignant lament whose impact is yet enhanced by sighs and outcries in the accompanying strings. In dramatic contrast to this section there follows a brisk Allegro. Here an animated conversation takes place between the instruments, the solo violin assoming prominence and the horns heightening the gay mood with waltzlike figurations. Contrary to prevailing custom, Bach adds in conclusion a series of dances, thus strengthening the work's exuberant spirit. A Minuet is played four times, alternating with contrasting pieces in which a small group of instruments is used. The first insertion is entrusted to two oboes and bassoon, the second employs only the strings, and the third again relies on the wind instruments; achieving through the combination of horns and oboes droll sound effects. Concerto No. 2 in F, BWV 1047 In the first movement one admires Bach's inexhaustible imagination in presenting ever-new combinations and transformations of the two main ideas, a joyful, energetic theme entrusted to the whole orchestra and a rather impudent little countermelody presented by the solo quartet, with the clarin trumpet displaying dazzling virtuosity. The blaring brass instrument is silent during the ensuing Andante, and so are the accompanying strings. Tender melancholy is conjured up by the strains of the violin, oboe and recorder delicately supported by harpsichord and cello. The Finale compensates the clarin trumpet for its elimination in the middle movement. It sounds the jolly main subject which oboe, violin and recorder alternately take up in a fuguelike development, and the dashing pieces is also concluded with a bold utterance by the brass instrument. Concerto No. 3 in G, BWV 1048 The third concerto dispenses with the wind instruments, using instead the sober combination of three violins, three violas and three cellos accompanied by double bass and harpsichord. The composer's never-failing art of melodic development makes up, however, for the coloristic restraint. A sense of drama pervades the majestic first movement with its clashing melodic forces and the occasional appearance of somber minor keys. Bach felt it inappropriate to have the usual slow movement follow; he merely inserted two chords allowing for a brief cadenza, here performed by the violins. This serves as transition to the sparkling, energetic Finale in 12/8 time, built in the two-part structure of a dance movement. A climax is reached in a powerful began point surrounded by bold runs of scales. Concerto No. 4 in G, BWV 1049 In contrast to the monumental third concerto, the fouth radiates delicate pastel colors, the group of soloists comprising a violin and two recorders. A cheerful pastoral atmosphere is created in the first movement, built in a kind of arch form, ABCBA, where the A sections are identical and the B sections closely related. With its 427 measures this is the most extensive movement in the six concertos, but Bach succeeds superbly in avoiding any monotony. The Andante deviates from prevailing custom by employing the full orchestra instead of a selected group. A stirring dialogue between concertino and orchestra is carried out, conjuring up the idiom of Bach's great contemporary, George Frideric Handel. It leads to a dashing fugue built on a strong rhythmic theme first uttered by the viola. Bach's own instrument. While the full orchestra provides the pillars for the fugal stricture, the soloists insert melodie episodes whereby the violin in given utterances of great virtuosity. Concerto No. 5 in D, BWV 1050 This concerto has a place of its own as it allots a dominant role to the harpsichord and thus constitutes the first original concerto ever composed for a stringed keyboard instrument. Possibly joy in the newly acquired fine harpsichord from Berlin inspired Bach to undertake this experiment which turned out to be eminently successful. Flute and violin join the harpsichord in the concertino, and all three compete delightfully with the full orchestra in the first movement. Eventually the harpsichord is victorious and embarks on a grandiose cadenza of sixty-five measures, rising to a climax of powerful urgency; gradually subsiding, it allows for a repeat of the introductory section. The second movement, headed Affettuoso (affectionately), is played by the three soloist only. Its poignant melody creates a mood of intense melancholy, which, however, is completely dispelled in the final Allegro. What a sense of humour is displayed here in the spirited utterances of the main subject by the different instruments! again the harpsichord is given a cadenza, but in this rollicking piece it does not display emotion but contents itself with a short canonic passage where the right and left hand imitate each other. Concerto No. 6 in B-flat, BWV 1051 Bach understock an experiment in this concerto also. As in No. 3, no wind instruments are employed, and even the violins are dispensed with. The composer relies only on divided deep strings; two violas, two viole da gamba, cello, double bass and harpsichord are used here to achieve a sombre, mysterious tonal hue. The protagonists in this unorthodox piece are the two violas, one of them originally performed by Bach himself. In the first movement they play the stern main theme in strict canonic imitation at the distance of one righth note, a feat of artistry superbly handled by the composer. A second theme, derived from the main one and intoned by the cello, is of a more amiable nature, and together the two create a most intriguing piece. The Adagio employs only the two violas and the basses with harpsichord. The violas have the main melody which they treat fugally, and their expressive cantilena evokes a mood of deep nostalgia. There follows an energic Finale, imbued with an optimistic spirit and driven by irresistible rhythmic force. It provides a brilliant and highly unconventional conclusion to this magnificent set.