Brandenburg Concerto No. 5 in D Major

Bach made musical history with his Brandenburg Concerto No. 5, creating the first ever keyboard concerto. In fact, there are three soloists—harpsichord, flute and violin—and two of them are daring choices for the time. In 1721, the flute was still a novel, largely untried instrument in Germany, but it was Bach’s decision to upgrade the harpsichord from a supporting to a starring role which was truly groundbreaking. Usually, it just improvised a simple harmonic accompaniment; never before had it been the centre of attention in a concerto. In the first movement (“Allegro”) the harpsichord gradually outshines the solo flute and violin as it builds towards a long virtuoso solo (cadenza) which was specially expanded for the Margrave of Brandenburg. Bach clearly wanted to impress him with his forward-looking approach, which also extended to the overall style of the work—the most up-to-date and fashionable of the six Brandenburgs. The middle movement (“Affettuoso”) is an intimate trio sonata for the soloists alone; the finale (“Allegro”), an irrepressible gigue in which—since it’s also a fugue—everyone gets a turn with the main theme. In later years, Bach developed the innovative ideas of the Fifth Brandenburg in 13 concertos for one, two, three and four harpsichords. 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.