Bach himself used a regular violin in his earlier sinfonia version. He felt that Bach's music expressed all the feelings of the human soul, and considered the St. Matthew Passion to be the most sublime masterpiece in all of music. Menuhin is the most leisurely of the lot (110 minutes total, compared to a standard 100 or so for the older crowd and 90+ for the moderns), but enlivened with heartfelt expression, in keeping with his style as a famed solo violinist. The world’s premier resource for classical music programming: stunning live events from the world’s most prestigious halls, plus thousands of concerts, operas, ballets, and more in our VOD catalogue! Famed primarily as a deeply poetic, if technically insecure, pianist, Cortot also was a pioneering conductor, responsible for the French premieres of Wagner operas and many contemporary works. While hardly authentic, it's refreshingly chaste when compared to Stokowski's syrupy orchestral arrangements of other Bach works, including three organ Chorale Preludes, which filled out the original LP. 2 1st Movement As discussed in previous sections, Bach’s structure for the Brandenburg concertos is not as evident as the archetype used by Vivaldi. Analysis Brandenburg Concerto no. As expressed by André Tubeuf in a deeply moving tribute, Busch left everything material behind, even his prized Stradivarius violin, yet took with him into exile something far more precious. The only curious feature is Koussevitzky’s use of the brief but mournful sinfonia from Bach’s Cantata # 4 (Christ lag in Todesbanden) ("Christ lay by death enshrouded") for the adagio interlude of the Third, which seems a bit out of character as it brings the bouncy work to an utter halt rather than a thoughtful pause. If the Busch set was a labor of affection and respect, then Cortot’s was one of heartfelt passion and adventure. His orchestra was a group of advanced students (possibly augmented by faculty) at a conservatory he had founded in 1919 and the grooves of his records fairly burst with their ardent sense of exploration. Indeed, it creates so much rousing momentum that Bach slams on the breaks with sudden rests three times before the final surge in an effort to interrupt the flow and prepare for the finish. View credits, reviews, tracks and shop for the Vinyl release of Analysis: Brandenburg Concerto No.1 In F Major, Brandenburg Concerto No. The solo instruments used in the six Brandenburg Concertos are as follows: Brandenburg Concerto No. Karl Geiringer calls it a "concerto symphony." Hans Günter-Klein, though, correlated Prince Leopold's account books with the instrumentation of the Brandenburgs and asserted that the scores reflect the salaried musicians available at Cöthen, and therefore preserve a document of the musical practices there. The sections of the first movement are closely integrated into a continuous flow of vigorous thrust, led by the two violas in tight canon a mere eighth-note apart during each of the six ritornellos, blending into a lively dialogue with the gambas during the five episodes, all over a persistent quarter-note continuo rhythm. 3: 3 violins, 3 violas, 3 cellos Brandenburg Concerto No. His foundation is composer Paul Hindemith, whose 1922-27 Kammermusik was a set of seven concertos intended to invoke the spirit of the Brandenburgs, and who insisted that Bach delighted in balancing the weight and sound of the stylistic media at his disposal rather than regarding the limited resources of his era as a hindrance. 3: 3 violins, 3 violas, 3 cellos Brandenburg Concerto No. Still others extend the effect by inserting a slow movement from one of Bach's other, and often more obscure, works. Fortunately, secondary sources exist to remedy such lapses, notably copies made in 1760 by Frederich Penzel of earlier versions (now all lost). EN, © MUSEEC SAS – 2021 with the support of Creative Europe - MEDIA Programme of the European Union. Concerto No. The Several Elements in Brandenburg Concerto No.4 by John Sebastian Bach. Claudio Abbado conducts Bach's Brandenburg Concertos, Introduction to Bach's Brandenburg Concerto No. J.S. The impulse which led Harnoncourt to establish the Concentus musicus in 1953 was his dissatisfaction with the traditional way of interpreting early music. Here, … Despite its renown, the Busch series was not the first full set of Brandenburgs to be recorded by a single ensemble. Yet when played literally it sounds far too short to serve as a needed respite between two rollicking neighboring movements. Bach's dedication continues: In other words, Bach intended the Brandenburgs as his resumé for a new job. Andante 3. Yet, despite its immediate appeal to conservative ears, each movement has a remarkable feature typical of Bach's irrepressible sense of invention. Yet, the relationship may have begun to sour, as Bach applied for an organ post in Hamburg in late 1720 but was rejected. Richter, too, felt compelled to defend his historically-informed practices in companion notes, in which he emphasized the importance of phrasing in the sense of shaping and accentuating a theme and its counterpoint; as an example, he cites a sequence of four sixteenth notes that must be given sinew to prevent the notes from becoming mechanical and meaningless. Egos were minimized by spreading the solo turns – Sylvia Marlowe and Fernando Valente traded harpsichord roles and the movements of the Fourth feature different flautists. Adolph Busch was one of Germany's most prominent violinists and its busiest soloist and chamber musician. The recordings themselves have a reedy, thinner sound than most others – strings (using only one player per part) are far less prominent and the winds and brass have a strong midrange presence that tends to meld their sounds. Others view the Brandenburgs as an inextricable facet of Bach's overall religious bent. So, too, with Britten, Munchinger and Karajan, who adds his trademark gloss and precision to a richer, massed sonority that breathes ease and serenity, especially in the string concertos (#s 3 and 6). Introduction to Bach's Brandenburg Concerto No. A hugely successful best-seller, this was one of the most important recordings ever made, as it brought Bach to the attention of a world that had been content to relegate him to the dry bins of history and academic theory. Among those, I can wholeheartedly recommend the English Concert led by Trevor Pinnock (Archiv, 1982), I Musici (Philips, 1984), The Academy of Ancient Music led by Christopher Hogwood (Oiseau-Lyre, 1984), the Brandenburg Consort led by Roy Goodman (Hyperion, 1991), and the Boston Baroque led by Martin Pearlman (Telarc, 1993). Thus, he shunned old instruments and used a piano rather than the harpsichord heard on every other stereo Brandenburg simply because he found the resources of the piano to be far more expressive. The sheer number of instruments gives the work more of an orchestral than chamber character. This video is reserved for our subscribers. Leopold Stokowski led the Philadelphia Orchestra and harpsichordist Fernando Valenti in what could be the most unabashedly romantic Fifth on record, full of emphatic slowdowns to mark transition points and endings and a very slow (but undeniably moving) middle movement that distends Bach's affettuoso to a lethargic extreme. William Mann felt that Bach's intent was to explore their different sonic coloration. On the most basic level, Christopher Hogwood claims that, beyond wanting to impress the Margrave with his versatility, Bach used them to codify and organize his miscellaneous output and so they represent an endeavor to imitate the wealth of nature with all the means at his disposal. Even though Bach toiled as a humble servant who saw his music treated as a trivial passing relic, his brilliantly ingenious Brandenburg Concertos continue to enthrall countless performers and listeners nearly three centuries after he hopefully sent them off to the Margrave and then returned to his duties. Nor can any hint be gleaned from the personnel available to Bach, as musicians routinely played several brass, wind or string instruments. Even so, some scholars assume that Bach customized the Brandenburgs according to the forces the Margrave had available (after all, why would he present a lavish gift that the Margrave couldn't use?). The violin part in this concerto is extremely virtuosic in the first and third movements. in G major for violin, 2 "flauti d'echo" + ripieno (first and second violins, viola, cello, violine and cembalo). A significant contrast is found in a far more pliant broadcast of the Brandenburg # 5 by the same orchestra only three years earlier under Frank Black with pianist Harold Samuel (Koch CD), thus attesting that Toscanini's only Brandenburg wasn't a rare lapse in preparation or taste but a conscious approach – and an unexpected disappointment, in strong contrast to his meltingly beautiful 1946 studio Air on the G String in which the lines blend exquisitely and each phrase swells with subtle dynamic inflection. 1 is a good example of a work inspired by the Italian instrumental composers Torelli, Albinoni, and Vivaldi. Indeed, performances with full string sections, or even large chamber ensembles, no matter how well rehearsed, tend to blur the precisely articulated interplay of buoyant rhythms and swamp the harpsichord, whose bright plucked overtones need to emerge from the depth of the strings. in F major for "tromba," flute, oboe, violin + ripieno (first and second violins, viola and violone) + continuo (cello, cembalo). Download it once and read it on your Kindle device, PC, phones or tablets. Bach Brandenburg Concerto No.5; Bach Brandenburg Concerto No.5. So even those not mentioned here should be just fine. Brandenburg Concerto No. Menuhin uses a softer piccolo trumpet, Harnoncourt a more mellow natural trumpet, Enesco and Casals a soprano saxophone, and Dart a hunting horn. By Nikolaus Harnoncourt. He characterized his approach as both academic and romantic. As a Calvinist, Leopold used no music in religious observances, and freed Bach's energies for secular instrumental work and performances. When all is said and done, the Brandenburg Concertos are so intrinsically resourceful, inspired and vibrant that any moderately competent performance is bound to impart their essence. Boyd hails it as a genuinely successful fusion, rather than a mere amalgam, of two radically different forms – the contrapuntal rigor of the fugue and the virtuoso display of the concerto, a combination of gravitas and high spirits that shifts the focus from the first to the last movement. Brandenburg Concerto No.5 in D Major, third movement, is in concerto grosso. In Brandenburg Concerto No. He further insisted that even though Bach set everything out precisely, a valid performance demands tonal and poetic imagination. Thus, Wilhelm Furtwängler sees Bach's music as symbolizing divinity by exuding supreme serenity, assurance, self-sufficiency and inner tranquility that transcends any personal qualities to achieve a perfect balance of its individual melodic, rhythmic and harmonic elements. Taken on its own terms it's a lovely and heartfelt performance in which the rich instrumentation becomes seductive, the committed playing of the violin and flute solos are sincere and the harpsichord lurks teasingly in the deep background until it emerges to assert itself in the cadenza. Perhaps Bach led with this work to give his offering a strong start for a lazy patron who might judge the set only by its opening. 1 by Johann Sebastian Bach on Amazon Music. (Nikolaus Harnoncourt). Vivaldi and others who established the concerto grosso model used nuances of texture, tone coloration and novel figurations to contrast the ensemble's ritornello and the solo episodes. in B-flat major for 2 violas de braccio, 2 violas da gamba, violincello + continuo (violone and cembalo). To complement his lovely pacing and sweet tone, Sacher's harpsichord is especially prominent, as if to emphasize the then-unfamiliar period feel. The Brandenburg Concerto No.5 was a piece that John Sebastian composed. The recorders usually play in unison (or together), and the violin usually responds or has a conversation with them. The final version is 65 measures (about 3 minutes, to which could be added the prior 16 bars in which the solo thoroughly dominates the texture) and runs an astounding gamut of frantically forceful and concentrated figurations in rapid 16th-, triplet 16th- and 32nd-notes, ending in a hugely suspenseful chromatic sequence that leads to the final orchestral statement of the principal melody which has gone unheard since the opening. Wilhelm Fischer further divides a traditional ritornello into a motivic opening that establishes the key and character of the work, a continuation of sequential repetition, and a cadential epilog. He notes that every "improvement" has to be paid for with a deterioration, and that the evolution of instruments suits composers' changing demands and audiences' changing taste. The third movement is the closest approach to a standard concerto format, although the violino piccolo, amid its florid solos, is given many emphatic slashing triple-stopped figures, perhaps struggling to assert itself. Some might think of Berlin’s Brandenburg Gate, symbol of German disintegration and reunification, when listening to Johann Sebastian Bach’s matchless collection of concertos. In October 1935 they recorded the complete Brandenburgs (as well as all four Suites for Orchestra). Check out Brandenburg Concerto No. Nikolaus Harnoncourt and Bach, those two names who fit perfectly together meet again here for the complete Brandenburg Concerto. Koussevitzky's reading of Bach is of the “old school” – straightforward, persistent and smooth – yet modern, as he avoids romantic clichés with minimal vibrato, steady pacing and constant dynamics. 1, the soloists are so numerous that the work is virtually symphonic. He catalogues the different sonorities of the instruments Bach composed for – overall, they were quieter, sharper, more colorful, with richer overtones and more distinctive sonorities; in particular, the harpsichord was louder, more intense and occupied the central place in ensembles. Thurston Dart was famed both as a harpsichordist and musicologist. They were written around 1721 and dedicated to Christian Ludwig, Margrave of Brandenburg in March of the same year. Marlowe's measured harpsichord cadenza in the Fifth is enlivened with a striking change in register for the middle portion. Treating the polyphony as if it were a straggler from the classical era, all solos stand out from the fabric with raised volume, although the trumpet generally overwhelms the texture (and sounds if it adds a mute for some, but not all, of its accompanying figures) and the poor bassoon is mostly lost altogether. His seminal 1954 Interpretation of Music combined searching scholarship and fervent advocacy to urge both performers and listeners to understand the sonorities and styles of the past. Brandenburg Concerto no. in D major for flute, violin, cembalo + ripieno (violin, viola, cello and violone). No one knows what Bach meant when he specified "flauti d'echo" as two of the three solo instruments. Here, the chords occur in the middle of a page, so clearly no music was lost. Similarly, Abraham Veinus regards them as the exemplification of Bach's creative thinking, comprising the full range of his thought, variety of instrumentation and inner structure – not a mere summary of the styles, forms and techniques of his predecessors but a realization and expansion of their full possibilities. In one of the many bitter ironies of music history, Johann Sebastian Bach's six Brandenburg Concertos are now his most popular work and an ideal entrée to his vital and variegated art, especially for those who mistakenly dismiss his 300-year old music as boring and irrelevant, yet Bach himself may never have heard them – nor did anyone else for over a century after his death. Although the concerto proper appears to conclude at that point, Bach adds a set of four dances in which all members of the ensemble are displayed – a minuet for the full band is heard four times, enfolding a trio for oboes and bassoon, a Polacca for strings (absent from the 1713 sinfonia version) and a second trio for horns and oboes. But the works’ popular title comes from its association with Christian Ludwig, Margrave of Brandenburg and uncle of Prussia’s Friedrich Wilhelm I, the Soldier King. In the first movement the hunting horns (immediately recognizable as such) are introduced into art music, and this movement is one of Bach's most refined little pieces altogether. 'Brandenburg' Concerto No. Harnoncourt goes on to reject the then-prevalent traditional view that old instruments were merely an imperfect preliminary stage in the development of modern ones, insisting instead that their essence lies in a completely different (but equally valid) relationship of sound and balance. Scholars assume that Bach only had enough forces at Cöthen for one player per part. Brandenburg Concerto No. But most remarkable of all is the cadenza. Throughout, the harpsichord not only holds its own but keeps escaping its role as accompanist to override and grab the spotlight from the solo flute and violin. But his so-called Brandenburg Concertos survive in his original manuscript, which he had sent to the Margrave of Brandenburg in late March 1721. In his Baroque Concerto Arthur Hutchings explains that this is hardly peculiar – despite subsequent acclaim, during his lifetime Bach was valued far more as a performer than as a composer, and his instrumental music was promptly forgotten once he attained his next (and final) post at Leipzig, where he focused again on religious music (although he did perform some concertos and orchestral Suites in the 1730s with the Collegium musicum, a fellowship of local amateurs and students). This video is reserved for our subscribers. Title on autograph score: Concerto 2doà 1 Tromba, 1 Flauto, 1 Hautbois, 1 Violino, concertati, è 2 Violini, 1 Viola è Violone in Ripieno col Violoncello è Basso per il Cembalo. Bach's Brandenburg Concertos, named after their dedicatee the Margrave Christian Ludwig von Brandenburg, have been part of Nikolaus Harnoncourt's permanent repertoire ever since he founded his Concentus musicus ensemble. Brandenburg Concerto No.1 in F major, BWV 1046 Sinfonia in F major, BWV 1046a (earlier version of the Brandenburg Concerto No.1 in F major) Brandenburg Concerto No.2 in F major, BWV 1047 Brandenburg Concerto No.3 in G major, BWV 1048 Brandenburg Concerto No.4 in G major, BWV 1049 Of the Brandenburgs, the Second is considered the closest to the standard concerto grosso model, although more in the sense of its sound than its structure. Luke 1:52 [RSV] Within the vast secondary literature on J. S. Bach, comparatively little has been written about the Brandenburg Concertos. 1 in F major, BWV 1046, Available version(s): While the performance is somewhat routine, the occasional rough playing contributes to the spirit of adventure and there are a few especially nice touches, including a soft, sweet trumpet that blends well into the Second. All achieve a more natural balance among the solo instruments, especially the gentle breathy recorder. Harnoncourt introduces the concerto with a moving and fascinating analysis of the piece. (Sacher's and Paillard's engineers avoid the former problem by cranking up the harpsichord volume for the passage to unnatural levels.) This is especially true for his second concerto. This is the fifth of six Brandenburg concertos Bach composed and dedicated to the Margrave of Brandenburg in 1721. The second movement, slow and soft, is scored for the full ensemble (sans horns) rather than the usual reduced forces. The second movement, described as "an improvisation of virtuoso electronic effects" is a manic cartoon soundtrack that invokes an intensely private trippy hallucination rather than anything to do with the nominal subject. Among them, a few highlights. While aspiring to be "musicologically faithful to Bach" and "a respectful amalgam of old and new that leads into a hopeful and interesting musical future," I'm not sure Bach really is in need of such radical help to prove his timeless universality to future generations. The ensemble has recorded them and played them on their tours throughout the world. The canonic basis of the second movement emerges more fully in the fugal finale, in which the harpsichord not only is a full participant an gigue begun by the violin and flute, but soon dominates the entire ensemble with dense 16th-note passages and trilled held notes. The two natural horns appear to be making their first solo appearance in a concerto. Rifkin agrees and salutes it as the most complex movement in the Brandenburgs and a stunning monument to Bach's virtuosity, as the fugal exposition and episodes align with the concerto's tutti and solo runs even as the contrasts among instruments reflect distinctions between free and subject-derived thematic material. The Fifth is the most historically important of the Brandenburgs, as it is the earliest known instance in which the harpsichord is elevated out of the role of continuo accompaniment to solo status. He concluded that the Brandenburgs were written for performance there. Indeed, there’s a pervasive sense of natural, artless momentum here, even without particular touches (although the calm middle movements are especially earnest, with the Sixth downright ravishing). Adagio8:24 II. While Cortot’s highly personal touches diverge further from our modern notions of authentic Baroque performance style than any other recording, the overall impression is one of constant vitality and discovery that still resonates through the many years. Indeed, it's unclear what, if anything, the Margrave did with the presentation score once he received it. Typical especially of Vivaldi’s concertos is what scholars and music students today call “Fortspinnungstypus” (Fortspinnung type). The result of the more massive sonority is a blurring of textures and ornamentation, with keyboard continuo omitted altogether (except, of course, for the Fifth, featuring a wonderfully expressive piano solo by a young Lukas Foss). The first movement is four minutes of pure jaunty swaggering infectious elation, yet there's an subtext of discomfort. 4 in G major. Yet on their own terms they are magnificent, infused with deeply personal feeling – every phrase is individually shaped amid vast shifts of tempos and dynamics, with exquisitely tender lyrical passages bracketed by emphatic transitions underscored with imposing piano chords. His 1930 Berlin Philharmonic recording of the Brandenburg # 3 follows suit with a rich, full string section in which balances and dynamics constantly underscore the logical unfolding of the first movement. His patron not only loved music but was a proficient musician and spent a substantial portion of his income to maintain a private band of 18 and to engage traveling artists. The last of the Brandenburg Concertos is often considered the oldest, as its instrumentation conjures a 17th century English consort of viols, similar scoring had been used by Bach in his earlier Weimar cantatas, and its structure relies heavily upon both the ancient canon form and the conservative Baroque gesture of a chugging bass of persistent quarter-notes. He was also practical, substituting a soprano saxophone in the 1950 Second, not for any artistic reason but simply because the specified trumpet couldn't keep up with his breakneck pace, the fastest on record. In a sense, he melds Busch’s fundamentally respectful discretion with tantalizing hints of Cortot’s tangible spirit of outgoing commitment. Thurston Dart calls Bach's presentation copy of the Brandenburgs a masterpiece of calligraphy but of far less value as a musical source due to the many errors that suggested haste. In his introduction to the Eulenburg edition of the scores, Arnold Schering notes that the concerto was not only the most popular form of instrumental music in the late Baroque era, but also the primary vehicle of expression for grand, sublime feeling, a role later to be assumed by the symphony. S. 1: 2 corno di cacchia (horns), 3 oboes, 1 bassoon, 1 violin piccolo Brandenburg Concerto No. Perhaps as a function of its historical importance, in his accompanying notes, Harnoncourt took great pains to justify his efforts to recreate an authentic Baroque sound. Scherchen leads a particularly leisurely First that seems somewhat emasculated, with beautiful balances, tamed horns, smooth layering of sound and dances that seamlessly glide into one another – quite surprising for a conductor so thoroughly versed in modern music, but perhaps an entirely appropriate attempt to restore the original intent of appealing to the most admiring instincts in a potential patron whose mores were saturated in the leisurely courtly pleasures of nobility. 5 in D major, BWV 1050, in 1721. Instead, listen to it for its sheer, unmistakable joie de vivre. Avie: AV2119. While standing on their own musical merit, a credible rationale for performances of the Brandenburg Concertos with full orchestras and/or modern instruments is that Bach had fully exploited the forces available in his time and would gladly have embraced the greater resources of the modern era. But it's the finale that has attracted the most attention. There are many, many other performances of the Brandenburgs, with the promise of yet more to come. Indeed, in his treatise on orchestration, Adam Carse notes that Bach conceived his parts generically rather than in terms of specific instruments, and distributed them impartially and largely interchangeably, such that all sink into a common contrapuntal net without consideration of balance in the modern sense of orchestration. Also insightful were Abraham Veinus' The Concerto (Doubleday, 1945), Arthur Hutchings' The Baroque Concerto (Norton, 1965), Adam Carse's The History of Orchestration (Dover, 1964), Ronald Taylor's Furtwängler on Music (Scolar Press, 1991), and notes to the recordings of Busch (by André Tubeuf, EMI References LP 2C 151-43067/8), Sacher (by Karl Geiringer, Epic LP SC-6008), Pommer (by Hans-Joachim Schulze – Capriccio LP C 75058/1-3), Ristenpart (by Joshua Rifkin – Nonesuch LP HB-73006), Klemperer (by William Mann – Angel LP 3627B), Goberman (by Joseph Braunstein – Odyssey LP 32 26 0013), Hogwood (by Hogwood – Oiseau-Lyre CD 414 187) and Pinnock (by Hans Günter-Klein – DG Archiv CD 423 492-2), and the introductions to the individual Eulenburg scores (by Roger Fiske and Arnold Schering). Indeed, Boyd notes that Bach didn't exploit its higher range and that its reduced volume is overwhelmed by the large ensemble. Despite intensive research, scholars remain unsure what Bach meant when he designated one of the solo instruments a "tromba." The only seeming romantic indulgence – an extreme slowdown at the end of the first movement of the Third – is logically convincing, as it leads smoothly into the two lingering transitional chords that comprise the entirety of Reiner's andante. Here, too, Bach explores string sonority, but with a richer palette than in the Sixth. In his notes to the Koch edition, Teri Noel Towe attributes these "unforgiveable ... interpretive shenanigans" to a Wagnerian sense of a partnership of equals between a (then-) eclipsed composer in desperate need of modern presentation and a headstrong interpreter demanding to impose his own personality. 1 in F major, BWV 1046 This has richest instrumentation of the set, scored for two horns, three oboes, bassoon, violino piccolo (a miniature violin), strings and continuo. He concluded: All these sets paved the way for those that predominate nowadays, boasting period instruments and performance practices. Bach seemed happy at Cöthen. Yet it seems apt to consider them in the approximate order of their composition. He was considered as the famous composer of that time. 4 in G, Movement 1. The cohesion tends to be quite coarse and the horn and trumpet playing wildly inaccurate, but the players’ raw enthusiasm, far removed from the polished “professional” presentations of the next three decades, heralds the unruly (and authentic) sounds recaptured in more recent, historically-informed outings, as do the overall tempos (ten minutes faster than Busch’s). His daily routine began by playing two of Bach's preludes and fugues and a cello suite, from which he took constant inspiration. Indeed, while a trumpet overwhelms the other soloists (especially the soft recorder), a horn (played a major fifth below the score) is better balanced. From that perspective, Bach's magnificent interplay of diverse musical elements can be seen as a reflection of his pervasive belief in the Divine harmony of the universe. Showing 1 - … Bach's own title was Six Concerts Avec plusieurs Instruments ("Six Concertos With several Instruments"); the familiar label adhered after first being applied by Philipp Spitta in an 1880 biography. 4 in G major, BWV 1049 This concerto was scored for solo violin, two solo recorders, basso continuo, viola, cello, violone and two violins, and it lasts around 16 minutes. In Italy, England and finally America, along with his son-in-law Rudolf Serkin, he became a fervent missionary for the eternal truths of German culture and planted and nurtured the spirit of Bach throughout the free world. First, we can look at the way in which the final movement of this concerto is organised, by using a simple tabular approach that shows the main thematic material and key centres. 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