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Track(s) taken from CKD430

Brandenburg Concerto No 3 in G major, BWV1048

composer

Dunedin Consort, John Butt (conductor)
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Recording details: May 2012
Perth Concert Hall, Scotland
Produced by Philip Hobbs
Engineered by Philip Hobbs & Robert Cammidge
Release date: September 2013
Total duration: 10 minutes 41 seconds

Cover artwork: The Kermesse (c1638/8) by Peter Paul Rubens (1577-1640)
Louvre, Paris / Bridgeman Art Library, London
 
1
[Allegro]  [5'30]
2
Adagio  [0'25]
3
Allegro  [4'46]

Other recordings available for download

The Brandenburg Consort, Roy Goodman (conductor)

Reviews

'Notwithstanding the distinguished Brandenburg discography, this set is nothing short of sensational' (Gramophone)» More

'These period instruments performances are refreshingly free from dogma and naturally embrace criteria believed to serve Bach's music best. Melodic ideas are beautifully punctuated and phrased, vibrato is used strictly ornamentally, and tempos strike my sensibilities as pretty well ideal. Perhaps what I like most of all, though, is an all-pervading atmosphere of intimate and convivial dialogue in which all the strands and multifarious colours emerge effortlessly from the full texture' (BBC Music Magazine)» More

'Certainly, the sixth is one of the revelations in this set … transformed into a profoundly expressive study in texture and articulation, with the string lines effortlessly and naturally interlaced … this set is exceptional' (The Guardian)» More

'Even at the first hearing, it is remarkable to find that this over-familiar music often sounds so different as to immediately captivate and engross the listener in a myriad different and unexpected ways, all of them refreshing and illuminating … no matter how many times you've heard the Brandenburg Concertos before, these readings have that rare capacity to make you feel you're hearing them afresh for the very first time' (International Record Review)» More
The third concerto comes closest to fulfilling the ‘agreement’ definition of the concerto, with the opening movement comprising the interplay of the three choirs of three violins, violas and cellos and the last retaining the format of three violins and violas but with the cellos consolidated with the continuo. What is sacrificed in terms of solo virtuosity is amply compensated by the fleet interplay of forces, a kaleidoscopic celebration of the entire violin family.

The first movement is loosely based on the type of da capo form associated with sonatas. But here there is also an overall sense of dramatic intensification during the course of the movement, and the return of the opening section is modified with new gestures and some unexpected turns of event. The two cadential chords constituting the second movement (‘Adagio’) certainly do not refer to a piece that has since been lost since they come on the middle of a page in the presentation autograph. Perhaps, given the complexity and intensity of the movements on either side, they should be played precisely as they stand, as if the slow movement has simply vaporised. Or perhaps, in the manner of Handel’s later organ concertos, they signify a solo improvisation. There is certainly a sense throughout the collection that Bach played on the expectations and conventions of concerto writing, and here is an opportunity to render this movement in a number of different ways.

The third movement is, unusually for Bach’s finales, a piece in binary form with each of the two halves repeated. Here there is a definite element of virtuosity, but transferred from the customary soloist to the entire ensemble. Never again in the history of the concerto has there been such a piece that maintains the dazzle of the concerto idiom without profiling a single soloist.

from notes by John Butt 2013

Other albums featuring this work

Bach: The Brandenburg Concertos
CDD220012CDs Dyad (2 for the price of 1)
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