Brandenburg Concerto No. 2 in F Major

The most striking thing about Brandenburg Concerto No. 2 in F major is its scoring. Who in their right mind would team up the subtle tones of a solo recorder, violin and oboe—and partner them with a blasty trumpet? The Baroque trumpet was actually a much quieter instrument than its modern descendent—the higher it plays the softer and more blending it becomes. In the opening movement, Bach strips it of its traditional fanfare role and gives it the most intricate melodic lines at the top of its register. The second movement (“Andante”) is one of Bach’s few quartets: pure chamber music in which the recorder, oboe, violin and cello are intimate, while the trumpet and orchestral strings remain silent. The final, galloping “Allegro assai” is a virtuoso fugue, a sparkling debate in which the hot topic of conversation is shared by all four soloists, leaving the strings lost for words, unable to contribute anything substantial to the discussion. Altogether, a masterclass in balance, delicacy and wit. About J.S. Bach’s Brandenburg Concertos The Brandenburg Concertos are the greatest job application ever assembled. In 1721, Bach dedicated his score to Christian Ludwig, Margrave of Brandenburg, not in fulfilment of a commission, but hoping to impress his way into the Margrave’s service. The title Brandenburg Concertos was actually invented by Bach’s first biographer in 1873; Bach himself just referred to them as Six Concertos for Several Instruments. They were not conceived as a set, nor intended specifically for the Margrave, but were mostly written during Bach’s time as Kapellmeister at the court of Cöthen (1717-23). Here he worked with a varied and talented group of instrumentalists who spurred him on to explore the potential of the concerto, which he reinvented with each new work.