Introduction to Bach's Brandenburg concerto no. 4 in G major, BWV 1049:
Nikolaus Harnoncourt and Bach, those two names who fit perfectly together meet again here for the complete Brandenburg Concerto. "This concerto is generally considered as a genuine triple concerto for violin and two flutes. In my opinion, it is purely a violin concerto, and the most virtuoso on...
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| Format: | Elektronisch Video |
| Sprache: | English |
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[Place of publication not identified]
Unitel
[1982]
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| Schlagworte: | |
| Online-Zugang: | BSB01 URL des Erstveröffentlichers |
| Zusammenfassung: | Nikolaus Harnoncourt and Bach, those two names who fit perfectly together meet again here for the complete Brandenburg Concerto. "This concerto is generally considered as a genuine triple concerto for violin and two flutes. In my opinion, it is purely a violin concerto, and the most virtuoso one Bach ever wrote. Musicologists always had their problems with the two flutes. Bach designated them as 'Flauti d'echo', and there have been all kinds of theories as to what instruments he could have meant. No one thought of looking for the explanation in the music itself. Bach always uses the term 'flauto' for the recorder, and 'd'echo' means nothing else than that the two recorders leave their seats in the orchestra in the slow movement, which is built around an echo effect, and play from another point in the room or outside of it, but in any case from a distance. Strong evidence supporting this theory is found at the beginning of the last movement, where the tutti plays without the recorders, so as to give them enough time to get back to their seats. "(Nikolaus Harnoncourt) Bach's Brandenburg Concertos, named after their dedicatee the Margrave Christian Ludwig von Brandenburg, have been part of Nikolaus Harnoncourt's permanent repertoire ever since he founded his Concentus musicus ensemble. The ensemble has recorded them and played them on their tours throughout the world. The impulse which led Harnoncourt to establish the Concentus musicus in 1953 was his dissatisfaction with the traditional way of interpreting early music. The uncommon and sometimes radically different style of the Concentus musicus, as well as its exclusive use of historical instruments, secured the ensemble its international reputation. Harnoncourt introduces the concerto with a moving and fascinating analysis of the piece. Interesting musical examples, which Harnoncourt inserts in a humorous and relaxed manner, make this introduction an informative and entertaining guide to this masterpiece of music. The production was filmed in the historical Baroque monastery library in Wiblingen, Germany |
| Beschreibung: | 1 Online-Ressource (1 video file (13 min.)) sound, color |
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| 245 | 1 | 0 | |a Introduction to Bach's Brandenburg concerto no. 4 in G major, BWV 1049 |c Unitel ; Klaus Lindemann, director |
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| 520 | 3 | |a Nikolaus Harnoncourt and Bach, those two names who fit perfectly together meet again here for the complete Brandenburg Concerto. "This concerto is generally considered as a genuine triple concerto for violin and two flutes. In my opinion, it is purely a violin concerto, and the most virtuoso one Bach ever wrote. Musicologists always had their problems with the two flutes. Bach designated them as 'Flauti d'echo', and there have been all kinds of theories as to what instruments he could have meant. No one thought of looking for the explanation in the music itself. Bach always uses the term 'flauto' for the recorder, and 'd'echo' means nothing else than that the two recorders leave their seats in the orchestra in the slow movement, which is built around an echo effect, and play from another point in the room or outside of it, but in any case from a distance. | |
| 520 | 3 | |a Strong evidence supporting this theory is found at the beginning of the last movement, where the tutti plays without the recorders, so as to give them enough time to get back to their seats. "(Nikolaus Harnoncourt) Bach's Brandenburg Concertos, named after their dedicatee the Margrave Christian Ludwig von Brandenburg, have been part of Nikolaus Harnoncourt's permanent repertoire ever since he founded his Concentus musicus ensemble. The ensemble has recorded them and played them on their tours throughout the world. The impulse which led Harnoncourt to establish the Concentus musicus in 1953 was his dissatisfaction with the traditional way of interpreting early music. The uncommon and sometimes radically different style of the Concentus musicus, as well as its exclusive use of historical instruments, secured the ensemble its international reputation. Harnoncourt introduces the concerto with a moving and fascinating analysis of the piece. | |
| 520 | 3 | |a Interesting musical examples, which Harnoncourt inserts in a humorous and relaxed manner, make this introduction an informative and entertaining guide to this masterpiece of music. The production was filmed in the historical Baroque monastery library in Wiblingen, Germany | |
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| spelling | Introduction to Bach's Brandenburg concerto no. 4 in G major, BWV 1049 Unitel ; Klaus Lindemann, director Bach's Brandenburg concerto no. 4 in G major, BWV 1049 [Place of publication not identified] Unitel [1982] ©1982 1 Online-Ressource (1 video file (13 min.)) sound, color tdi rdacontent c rdamedia cr rdacarrier Concentus Musicus Wien ; Nikolaus Harnoncourt, conductor Nikolaus Harnoncourt and Bach, those two names who fit perfectly together meet again here for the complete Brandenburg Concerto. "This concerto is generally considered as a genuine triple concerto for violin and two flutes. In my opinion, it is purely a violin concerto, and the most virtuoso one Bach ever wrote. Musicologists always had their problems with the two flutes. Bach designated them as 'Flauti d'echo', and there have been all kinds of theories as to what instruments he could have meant. No one thought of looking for the explanation in the music itself. Bach always uses the term 'flauto' for the recorder, and 'd'echo' means nothing else than that the two recorders leave their seats in the orchestra in the slow movement, which is built around an echo effect, and play from another point in the room or outside of it, but in any case from a distance. Strong evidence supporting this theory is found at the beginning of the last movement, where the tutti plays without the recorders, so as to give them enough time to get back to their seats. "(Nikolaus Harnoncourt) Bach's Brandenburg Concertos, named after their dedicatee the Margrave Christian Ludwig von Brandenburg, have been part of Nikolaus Harnoncourt's permanent repertoire ever since he founded his Concentus musicus ensemble. The ensemble has recorded them and played them on their tours throughout the world. The impulse which led Harnoncourt to establish the Concentus musicus in 1953 was his dissatisfaction with the traditional way of interpreting early music. The uncommon and sometimes radically different style of the Concentus musicus, as well as its exclusive use of historical instruments, secured the ensemble its international reputation. Harnoncourt introduces the concerto with a moving and fascinating analysis of the piece. Interesting musical examples, which Harnoncourt inserts in a humorous and relaxed manner, make this introduction an informative and entertaining guide to this masterpiece of music. The production was filmed in the historical Baroque monastery library in Wiblingen, Germany In German Concerti grossi Analysis, appreciation Bach, Johann Sebastian / 1685-1750 / Brandenburgische Konzerte / Nr. 4 Harnoncourt, Nikolaus / Interviews Harnoncourt, Nikolaus Brandenburgische Konzerte (Bach, Johann Sebastian) Internet videos Interviews Lindemann, Klaus Sonstige oth Harnoncourt, Nikolaus Sonstige oth Bach, Johann Sebastian 1685-1750 Brandenburgische Konzerte Nr. 4 Selections Unitel Classica (Firm) Sonstige oth Concentus Musicus Wien Sonstige oth https://edu.medici.tv/en/documentaries/introduction-brandenburg-concerto-4-nikolaus-harnoncourt Verlag URL des Erstveröffentlichers Volltext digital rdatr video file |
| spellingShingle | Introduction to Bach's Brandenburg concerto no. 4 in G major, BWV 1049 Concerti grossi Analysis, appreciation |
| title | Introduction to Bach's Brandenburg concerto no. 4 in G major, BWV 1049 |
| title_alt | Bach's Brandenburg concerto no. 4 in G major, BWV 1049 Brandenburgische Konzerte |
| title_auth | Introduction to Bach's Brandenburg concerto no. 4 in G major, BWV 1049 |
| title_exact_search | Introduction to Bach's Brandenburg concerto no. 4 in G major, BWV 1049 |
| title_exact_search_txtP | Introduction to Bach's Brandenburg concerto no. 4 in G major, BWV 1049 |
| title_full | Introduction to Bach's Brandenburg concerto no. 4 in G major, BWV 1049 Unitel ; Klaus Lindemann, director |
| title_fullStr | Introduction to Bach's Brandenburg concerto no. 4 in G major, BWV 1049 Unitel ; Klaus Lindemann, director |
| title_full_unstemmed | Introduction to Bach's Brandenburg concerto no. 4 in G major, BWV 1049 Unitel ; Klaus Lindemann, director |
| title_short | Introduction to Bach's Brandenburg concerto no. 4 in G major, BWV 1049 |
| title_sort | introduction to bach s brandenburg concerto no 4 in g major bwv 1049 |
| topic | Concerti grossi Analysis, appreciation |
| topic_facet | Concerti grossi Concerti grossi Analysis, appreciation |
| url | https://edu.medici.tv/en/documentaries/introduction-brandenburg-concerto-4-nikolaus-harnoncourt |
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