Undoubtedly, one of the first names that appear in minds when the first letter of the Baroque period is out of the mouth. JS Bach will be. The inevitability of being swept away by the magnificence of his works also brings along the intellectuality of curiosity that pushes the walls of the mind. The harmony that complexity achieves together without leaving its place to order is this ornamental style. Creek takes his music to a unique category. For one of the situations that cause this uniqueness, we can call it "living" music, which is transitional between tones.
In the baroque period, when instrumental music began to come to the fore, he will create countless works. Creek It is not known whether he really thought that they would be "immortal" while composing his "living" musical works, but he was the harbinger of industrial innovations for the next centuries and continued to successfully carry the peak position of the late baroque period to the present day. Bach continued to work on both church and secular music throughout his life. He succeeded in proving the perfection of his art with his works "worthy of palaces". Brandenburg Concertos It is also one of his works that should be considered and thought about in particular.
Creek'of Brandenburg Concertos Although the date of its presentation is recorded as 1721, sources have been found that its real birth was earlier (1717-1719). The concertos were named in this way because they were named after Christian Ludwig, who had the title of Margrave of Brandenburg. It would not be fair for any of them to consider this collection consisting of 6 (six) separate concertos as parts of a whole. For each required a different composition, and their tonal structure did not have a clearly recognizable schema.
Creek's concertos had a very binding feature in terms of understanding the period, especially in the religious, social and musical context, with its non-musical references. privilegedly Brandenburg Concertos It was possible to relate the palace and hierarchical figurations of the 18th century with Music that lives according to the living society! The reason why this concerto set was a politically rich correlation may lie in this fact: the fact that Brandenburg concertos came together did not mean that they were parts of a set. From a historical point of view, it was understood from the secondary copies of their previous versions that they were composed over a long period of time. Even their order was not chronological, just like their stylistic differences and the number of chapters. The inner values of the works could only be understood by considering each of them separately. The individuality of the parts made them far from being parts of a whole.
Claude Levi-Strauss's "code musicians" CreekThe reason for this diversity in 's collection was due to its dialectical point of view. The origin of this point of view comes from Italy. CreekIt was a road to. From 1713-14, under the influence of the "Red Priest" Creek there was. Although the combination of wind instruments in the Brandenburg Concertos is more typical Germanic rather than Italian, VivaldiMany works of 's contributed to the emergence of this collection.
Of course, the fact that each of these collections consisted of unique works did not mean that they had come together at random; placed in a meaningful order. The Brandenburg Concertos containing 6 works carried an expression. The number 6 had a musical value beyond its quantitative designation. 6 semi-intervals in a tritone, 6 full voices in an octave, 6 kinds of modes*… Beyond that, this number based on mythology could be considered as a mirror of creation, since the god was told to create the world in 6 days. At the same time, 6 was the smallest "perfect number" in mathematics; was both the sum of all its factors and the sum of successive numbers. For this reason, 6 was valuable both musically and intellectually. This is why the use of the number 6 was used by the composers of the period. mark of excellence was understood as Again Creek In the preface of this collection, he appropriated the traditionally self-deprecating, humble note.
It was remarkable that these works, which even differed in key structures and number of sections, were symmetrically positioned as they progressed from the first concerto to the sixth. The first and sixth concertos were ensemble concertos without bound and continuous solo groups. Second and fifth concertos concerto grosso, the third and fourth concertos were two styles juxtaposed in the center. Just because they weren't connected didn't mean they didn't belong. However, towards the sixth concerto, the formality of the closing parts became increasingly complex. Also, Creek'of, Vivaldi'S Fortspinnung His gratitude for his style of ritornello was becoming more conspicuous. This style described a musical motif that was developed based on repetition. Austrian conductor Nikolaus Harnoncourt explained the structure of the ritornello in the following order of analogy:
- The garden is beautiful and large
- 'Cause there are trees and flowers growing there
- So he is successful
- There are also deer and birds.
- This is good
- We are happy to have such a garden
In terms of form, the first, third and sixth concertos were finished with parts from the palace dances, and the second, fourth and fifth concertos with fugue parts. The soloists and their relationship to all instruments varied in each concerto. Creek's investigative and hardworking personality was very important in bringing this collection together. emerging at the end of a long period Brandenburg Concertos With its wide range of features, it became a special way from the traditional examples of the baroque period.
*doria, frigia, lidia, mistalidia o lochrense, eolia, la iastia ouero ionica
Corten, W. (1995). LES CONCERTOS BRANDEBOURGEOIS DE BACH: Rhétorique et architecture. musurgia, 2(4), p. 7-22.
Marissen, M., 2001. The Social and Religious Designs of JS Bach's Brandenburg Concertos, p. 77-111.
Marissen, M. (1990). Relationships between Scoring and Structure in the First Movement of Bach's Sixth Brandenburg Concerto. Music & Letters, 71(4), p. 494-504.