Brandenburg Concerto No. 5 in D Major, BWV 1050.2
J.S. Bach

While music director at the court of Leopold of Anhalt-Köthen, Johann Sebastian Bach was commissioned to transport a harpsichord from Berlin to Köthen. The composer must have been so inspired by this adventure that, after fulfilling his duty, he set to work on music for keyboard that was no longer intended to be performed as an accompaniment. This concerto is a testament to that idea. Bach elevated the keyboard soloist to the status of a virtuoso with an overall soloistic aesthetic that innovated the writing of this instrument to the point of rivaling the solo parts on the flute and violin. This piece was one of six concertos composed for the Royal House of the Margrave of Brandenburg, and is known as one of the most successful of this collection even today.

The Brandenburg Concerto No. 5 is notable for its liveliness and innovation for the keyboard. Bach first introduces the tutti theme of the opening movement in the orchestra before giving the opportunity to shine to the trio of soloists - a violin, flute, and harpsichord. As the three soloists exchange brief melodies, the musical phrases in the soloist grow in length and complexity. The entire work conveys a fast-slow-fast structure. The flute and violin passages have a handful of sporadic moments of virtuosity, and enhance the emotional spectrum of the piece. Nevertheless, the harpsichord is always the standout soloist as the orchestra even pauses during a cadenza episode in which the instrument asserts its dominance. After that moment, the harpsichord unites the orchestra as it moves from the first movement to the slow movement. The first movement concludes with the euphoric entrance of the strings, who play their soloistic parts with gusto in a final ritornello, a restatement of the opening melodic material.

The harpsichord provides a reverent atmosphere to support the conversation between violin and flute in the slow movement entitled Affettuoso. Harmonically beautiful, the violin and flute perform in a melodic exchange with the continuo in the background, until the main theme is established again by the harpsichord. The second movement concludes in serenity.

The solo violin, followed by the flute, and then the harpsichord, rejoice together in the opening of the final movement. The ripieno strings, which provide the accompanying music, remained silent for most of the second movement. Suddenly, however, they return with an extravagant celebratory dance in the form of gigue. Also in the third movement, another virtuosic harpsichord part flourishes in majestic opulence, full of the contrapuntal style characteristic of J.S. Bach. This concerto concludes with the harpsichord returning to its traditional role of supporting the other soloists.

It is said that a version of the concerto was written by Bach for a competition against the French organist and composer Louis Marchand, which was to take place in Dresden in 1717. Although not well documented, it is also claimed that the competition of virtuosity could not be performed because Marchand left suddenly before it could begin.

Program Notes written by Cristian Martinez Vega