Here is the synopsis of our sample research paper on Bach’s Brandenburg Concertos. Have the paper e-mailed to you 24/7/365.
Essay / Research Paper Abstract
An 8 page research paper that discusses and analyzes all six of Bach’s Brandenburg Concertos. Bibliography lists 4 sources.
Page Count:
8 pages (~225 words per page)
File: D0_khbachbc.rtf
Buy This Term Paper »
Unformatted sample text from the term paper:
his orchestra (Machlis 294). Two years later, Bach sent the prince six works that became collectively known as the Brandenburg Concertos (Machlis 294). The following discussion and analysis looks at
each of these famous works. Concerto No. 1 in F major, BWV 1046 [Allegro] - Adagio - Allegro - Minuet The first concerto is believed to be the oldest,
at least in certain parts, of all the concertos (Boyd 59). It is unusual, in regards to Bachs other concertos, in that it has four movements. At first glance, it
appears that Bach added an extra dance movement to the traditional pattern of the Vivaldian concerto; however, critic Malcolm Boyd contends that Bach felt that the work, with three movements,
was not suitable for a "volume of concertos," therefore he set about making the work more "concerto-like" by introducing another movement, which was positioned third in the final format, with
a "solo part for the violino piccolo" (Boyd 60). The opening movement of the First Brandenburg Concerto, however, offers "none of the obvious external features of the new
Vivaldian concerto form" (Marissen 16). At first glance, both the scoring and the style of this work appear to have more in common with the "German ensemble music of earlier
decades" than it does with the "Vivaldian string concertos" that were the contemporary trend when Bach penned his dedication to the Margrave of Brandenburg in 1721 (Marissen 16). According to
German Bach scholar Martin Geck, the opening movement of the First Brandenburg is in the tradition of German sacred vocal works (Marissen 17). However, after analyzing the first movement, Michael
Marissen concludes that it can be viewed as a rigorous, complex and sophisticated" representation of the "formal possibilities" evident in Vivaldis "mercurial, simple and flamboyant new concerto style," as
...