Brandenburg Concerto No. 3 in G major
The Brandenburg Concerti, dedicated to the Margrave of Brandenburg on 24 March 1721, lay apparently unplayed in the Margrave of Brandenburg’s library until well after his death. At that time, they were not valued enough to be listed in the inventory by the composer’s name but rather were among the “concertos by various masters” valued at mere pennies. These works were, however, never intended for the Margrave to perform as they were presented in score with no accompanying parts. The manuscripts in the Brandenburg library appear to be only copies requested by the Margrave, who made Bach’s acquaintance in Berlin during the winter of 1718-19, and were most likely written for the Prince of Köthen, in whose court Bach was employed at the time.
The third of the concertos is scored for the simplest resources of the set, requiring only three violins, three violas, three cellos, and a continuo group. It is a true ensemble concerto with all instruments and groups featured equally. The opening of the first movement presents a typically long-arching phrase that provides the rhythmic and melodic material for the entire movement. The three-note motive from the beginning of this phrase, an eighth note and two sixteenths, is the building block, making many appearances in the movement. Rather than writing episodes for individual instruments, Bach treats each of the three groups of instruments as he might soloists. In this concerto, the slow movement consists of only a two-measure Adagio at the end of the first movement, providing for an extemporaneous cadenza. The final movement is cast in the rhythm of the gigue. From the imitative opening, the movement moves in a nearly perpetual stream of sixteenth notes through a kaleidoscope of harmonies propelled by Bach’s vigorous melody.
