The Double Reed Archaeologist

Chamber Music and Concertos for Oboists and Bassoonists
Charles-David Lehrer, General Editor

Volume XVI - No. 77

No. 77. Johann Sebastian Bach:
Brandenburg Concerto No. 2 in F Major, BWV 1047:
Trumpet, Recorder, Oboe, Solo Violin, 2 Violins, Viola, and Continuo

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This is the second of six great chamber concerti dedicated by Johann Sebastian Bach on March 24, 1721 to Christian Ludwig Margrave of Brandenburg, under the title SIX CONCERTS AVEC PLUSIEURS INSTRUMENTS. These works were composed during Bach’s tenure as Kapellmeister at the Court of the Princes of Anhalt-Cöthen, a position which he held from 1717 until 1722. Among the 18 musicians in residence at the Schloss, 11 were chosen to play the premiere of this concerto in the Collegium [Kapelle]:

Trumpet
Recorder
Oboe
Violin

1st Violin 1 +1 ripieno
2nd Violin
Viola ripieno
Cello
Violone: there is no specific mention of this instrument or of a Contrabasso, but the ripieno viol player, Christian Ferdinand Abel, could have handled it
Harpsichord: Johann Sebastian Bach

The solo instruments in this work include: Tromba in Fa, Flûte à bec, oboe, and violino. These instruments are arranged in the score according to the bottom pitch in the tessitura of each. Actually, the trumpet in F and recorder both maintain F1 as the lowest pitch.

First Movement

Set in a unique ritornello form, the initial ritornello is followed by a series of five episodes, each of which cadences with the final measures of the ritornello. The cadential points are on V, vi, IV, vi of IV, and iii respectively

The first of these episodes introduces a trill motive in the violin which is passed up through the solo instruments in turn, in order to introduce each one of them. Separating each appearance of this motive, Bach inserts an ornamented tutti rendition of the first two measures of the ritornello.

The final appearance of the ritornello in the movement is also interesting: Bach presents the first half in unison; then before completing it in full harmony, he inserts an episode.

The ripieno parts [1st violin, 2nd violin, viola, and violone] are just that, filler. They can be dispensed with if a smaller ensemble is desired, likewise in the finale.

Bach indicates alla breve in the C key signature, but this designation seems to be an indication of tempo, because the movement is set in a solid four beats per measure with a strong 8th note subdivision.

Second Movement

In the slow movement, the Tromba remains silent; in addition, this movement contains no ripieno instruments [1st violin, 2nd violin, viola, and violone]. It is, in essence, the kind of music that one associates with the sonata da chiesa à 4: recorder, oboe, and violin over a continuo composed of cello and keyboard.

The structure is that of a ricercare with seven puncta. Episodes occur between puncta 5 and 6 and between puncta 6 and 7. The latter episode is quite substantial. The appoggiatura figure which permeates the movement signifies Schmerz [pain] in German Baroque music; this figure was actually introduced in passing during the first movement. The entirety of the movement is cleverly held together by the continuo moving in 8th notes and outlining the harmony.

Third Movement

One of the greatest of Bach’s fugues à5 [four solo instruments and continuo], this movement contains three episodes surrounded by four appearances of the imitative ritornello. Although the continuo does not sound the subject in the initial point of imitation [Ritornello I] it does fulfill this role in two later puncta.

The brilliant subject itself is clearly determined by the overtone series available on the coiled trumpet in F. At this time within the 21st century, there is still is no substitute for the real thing: since the valved Bb piccolo trumpet is so penetrating, it undermines the balance of the small ensemble. Increasing the number of strings from Bach’s 2/1/1/1/1 helps the piccolo trumpet, but submerges the recorder and oboe. In any case, I have supplied parts for both trumpet in F and for piccolo trumpet in Bb.

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