Home > String orchestra > Brandenburg Concerto No.6

Brandenburg Concerto No.6

Composer
Bach
Arranger
Lyricist
Paul Wood
Difficulty
Difficult (Grades 7+)
Duration
16 minutes
Genre
Classical music
Instrumentation
String orchestra
Instrumental parts
Related scores
Albinoni Concerto in G major for Strings Op.2 No.4, Handel Concerto Grosso Op.6 No.7, Vivaldi Concerto for 4 Violins in D major Op.3 No.10, Ochs atrib Handel Dank Sei Dir, Herr for String Orchestra, Vivaldi Concerto for 2 Violins in D minor Op.3 No.11, Vivaldi Violin Concerto in G major Op.7 No.2, Sousa Liberty Bell for String Orchestra, Albinoni Sinfonia in G for String Orchestra, Handel Concerto Grosso Op.6 No.5, Vivaldi Concerto for Solo Violin in G major Op.3 No.3, Vivaldi Concerto for 4 Violins in E Minor Op.3 No.4, Gluck Overture Orpheus and Euridice for String Orchestra, Brandenburg Concerto No.4, Handel Concerto Grosso Op.6 No10, Manfredini Concerto Grosso Op.3 No.12, Mussorgsky Gopak for String Orchestra, Handel Concerto Grosso Op.6 No.6, Verdi Prelude from from "La Traviata" for String Orchestra, Vivaldi Violin Concerto Op.8 No.5, Verdi Prelude to Act III from "La Traviata" for String Orchestra, Telemann Sonata in F Major for String Orchestra, Boyce Symphony No.4 for String Orchestra, Albinoni Concerto in E minor for Strings Op.2 No.2, Bach Sheep May Safely Graze for String Orchestra, Handel Concerto Grosso Op.6 No.12, Scarlatti Sinfonia for String Orchestra, Smetana Polka for String Orchestra, Dvorak Scottish Dances for String Orchestra, Greig Holberg Suite for String Orchestra, C. Tessarini di Rimini Concerti a Cinque No.1for Violin and String Orchestra, Handel Concerto Grosso Op.6 No.8, Strauss Annen Polka for String Orchestra, Mendelssohn String Symphony No.1, Geminiani Concerto Grosso Op.2 No.4, Capua O Sole Mio for String Orchestra, Handel Concerto Grosso Op.6 No.11 and Telemann Concert TWV 42:B6 for String Orchestra

The absence of violins is unusual. Viola da braccio means the normal viola, and is used here to distinguish it from the "viola da gamba". When the work was written in 1721, the viola da gamba was already an old-fashioned instrument: the strong supposition that one viola da gamba part was taken by his employer, Prince Leopold also points to a likely reason for the concerto's composition´┐ŻLeopold wished to join his Kapellmeister playing music.

The two violas start the first movement with a vigorous subject in close canon, and as the movement progresses, the other instruments are gradually drawn into the seemingly uninterrupted steady flow of melodic invention which shows the composer's mastery of polyphony. The two violas da gamba are silent in the second movement, leaving the texture of a trio sonata for two violas and continuo, although the cello has a decorated version of the continuo bass line. In the last movement, the spirit of the gigue underlies everything, as it did in the finale of the fifth concerto.

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