“Six Concertos for various instruments” were composed for margrave Christian Ludwig of Brandenburg who asked Bach to write some pieces for his orchestra after he had heard Bach’s performance. The title “Brandenburg” was given by Philipp Spittta, Bach’s biographer and researcher of his creative life in the 19th century. “I humbly ask you not to judge their imperfection with all strictness of your musical talent that is known as subtle and delicate that, as it is well known, you possess”, – Bach wrote in the dedication with his inherit modesty.
It is not known yet if the concertos were performed by the margrave’s choir during Bach’s life… Only in the 20th century “Brandenburg Concertos” were performed on the stage becoming a real ornament of the repertoire of the most outstanding conductors and famous orchestras. In the 19th century the works were considered to be impossible to perform.
“Brandenburg Concertos” belong to the great composer’s masterpieces. Bach’s principles of orchestra composing were completely and perfectly realized in them. Before he turned to the form of concerto for the first time Bach had carefully studied his contemporaries’ works, Antonio Vivaldi’s in the first place. Bach highly estimated His works in this genre and had arranged them for harpsichord and organ solo in Weimar. Bach inherited the domination of the three-part composition of the cycle (quick parts frame the slow middle one), rondo-like structure of the parts when the main theme (ritornello) performed orchestra tutti in different keys. The developing episodes take turns; and, at last, the very principle of performing concertos actively was the competition of the orchestra and soloists. At the same time the creator’s powerful artistic individuality makes itself felt in every note of Brandenburg Concertos. In contrast to Vivaldi’s romantic and improvised music Bach’s concertos inhere in austere grandeur, classical balance, depth and power of intellectual origin including inexhaustible melodious generosity and surprising richness of images. The composer introduced polyphony of the music: Albert Schweitzer purposely called Brandenburg Concertos “the purest revelation of Bach’s polyphonic style”. The tonal correlations (sometimes theme ones that are characteristic of the sonata) are transparent through the typical rondo-like structure. The element of symphonism underlines the intensive development of the motif. That was the herald of coming Haydn and Mozart. The German music expert Arnold Schering justly defined Brandenburg Concertos as the symphonies of the 18th century.
First Concerto F major, BWV 1046, is notable for triumphant monumentality, strength and richness of sound. The orchestration is bright and elegant – the solo group includes piccolo, three oboes, fagot and two French horns. This evokes many pages of Bach’s cantatas. In First Concerto Bach completes the cycle with minuet that makes the concerto closer to a Vienna classical symphony where the finale and minuet change places. He didn’t restrict this work with the usual three-part structure.
The solo group in Second Concerto F major, BWV 1047, consists of tube, old end-blown flute, oboe and violin. This concerto is very much alike as First one in its character. However, its image is more chamber, merry scherzo tunes dominate. Four soloists, that are different in their timbre, form bright and rich sounding, especially the tube with its unusually high tessitura and virtuoso part.
Third Concerto G major, BWV 1048, is penetrated with energy and passionate movement. Bach confined himself with the string orchestra without soloists. The orchestra consisted of three violins, three alts, three cellos, a contrabass and basso continuo. The composer wittily and inventively used various echoes and combinations of three string trios. A slow part is absent in the concerto – only one time of Adagio immediately brings us to the finale. A conductor’s harpsichord improvisation might have been supposed before Adagio but it was not written in the script.
Fourth Concerto G major, BWV 1049, includes a solo group of violin and two old-end blown flutes. The brilliant violin part that considerably anticipated the very Bach’s violin concertos perfectly combines with the gentle sound of old end blown flutes. Later, in Leipzig Bach worked this concerto into the clavier concert, BWV 1057, arranging the violin part into the harpsichord one and changing the tonality into F major.
In Fifth Concerto D major, BWV 1050, the transverse flute, the violin and the harpsichord perform solo, at that, the leading part that is more masterly than in Bach’s clavier concertos, belongs to harpsichord. This approach does really define the general character of the concerto that is energetic and brilliant with the definitely expressed elements of improvisation.
As well as Third, Sixth Concerto B flat major, BWV 1051, was composed only for string instruments without distinct distinguishing of concert parts but the principles of orchestration are different. The orchestra is divided into the parts of two violas da bracco, two violas da gambo, cello, contrabass and accompanying harpsichord. The absence of light violin timbre and use of old instruments provides the sound with a bit muted archaic colouring.
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Igor Oistrakh was born in Odessa in 1931. He started learning and practicing playing the violin at the very early age but then gave up. Only in 1943 he renewed his lessons under the guidance of the outstanding Soviet teacher professor Pyotr Stolyarsky. Later Igor graduated from the Central Musical School with honours in the class of V. Merenblum. His father, David Oistrakh, played a great role in Igor’s formation as a musician. Igor graduated from Moscow Conservatory and the post-graduate course.
Igor Oistrakh was only 18 years old when in 1949 he won the First Prize at the International Violin Contest of the International Festival of Youth and Students in Budapest. At Venyavsky International Violin Contest in Poznan the first prize was also given to Igor. In February 1968 Igor Oistrakh was awarded the title of Honoured Artist of the RSFSR.
Igor Oistrakh’s recitals have won immutable recognition from both his admirers in Russia and all over the world. Critics diligently admire the warm expressive tone of his violin, completeness of phrasing, nobleness and austerity of the style, mastery of the art.
Igor Oistrakh performed with the largest Russian and foreign orchestras, with the most prominent conductors of the present. He participated three times in Pablo Casals’ Festivals: the great composer and conductor highly appreciated the musician’s art and mentioned their joint performance with great satisfaction.
Igor Oistrakh performed as a conductor with the Soloist Ensemble of Academic Symphony Orchestra of Moscow State Philharmonic. The following works were recorded with this group; Corelli’s Concerti grossi, Bach’s Brandenburg Concertos, Mozart’s Concerto Symphony and Little Night Serenade.
