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Bach – Brandenburg Concerto No. 3 in G Major, BWV 1048 (Voices of Music)
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Bach – Brandenburg Concerto No. 3 in G Major, BWV (Voices of Music) | ohyqukecew.cf
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Violin 2 Stand 1 Brandenburg Concerto No. When the harpsichord is part of the continuo, only the left hand notes are written because it was assumed that the player would improvise the correct chords for the right hand. When the harpsichord is soloist, however, Bach writes out the music for both hands, including a spectacular cadenza-like passage at the end of the first movement.
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Along with the harpsichord, the other two soloists in this concerto, flute and violin, play in imitation, passing lines back and forth conversationally. This continues in the second movement, scored only for the three soloists, creating an intimate and introspective mood.
To our modern ears Concerto No.
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Scored for three violins, three violas, three cellos, and continuo — perhaps the reason it was placed as the third concerto of the set — Bach uses the groups of strings both collectively and individually. The first movement begins with a distinctive three-note motive that is passed through each solo group. The second movement contains only two chords and so the challenge for the ensemble lies in how to realize those pitches.
The chords might be played as written or used as the skeletal structure for a short improvised passage for one of the soloists. This transitions to the third movement, a swirling dance that opens with a flourish first heard in the violins and then imitated by the violas and cellos. Each of the four soloists in Concerto No. After the opening ritornello statement by the full ensemble in the first movement, Bach introduces the solo violin with only continuo accompaniment followed by an abbreviated ritornello.
Then, the solo oboe enters accompanied by the violin. This pattern continues, each soloist handing off the melody to the next, separated by a short ritornello, until all four instruments have been presented. They are mixed and matched in intricate patterns for the remainder of the movement.
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Bach withholds the trumpet from the second movement, a graceful dance in minor,. Concerto No. Instead, Bach scores it for two new-style instruments called violas da braccio held by the arms , two old-style violas da gamba held by the legs , and cello accompanied by continuo.
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The new-style violas and cello are featured in the last two movements, where the violas da gamba either do not play, as in the second movement. Bach uses only high-range instruments, violin and two recorders, as the soloists in Concerto No. With its focus on long-held notes in the recorders and the sparse accompaniment, the first movement engenders a focused, yet leisurely, pace. While the two solo recorders are easily heard, it can be difficult to hear a solo violin among the rest of the strings.
Bach solves this compositional challenge by using the solo violin to connect the full ensemble and solo sections in addition to an extended passage later in the movement.