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London Concertante: Bach's Brandenburg by Candlelight

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Indulge in a pair of remarkable Brandenburg Concertos hosted by the London Concertante in the stunning candlelit setting of Sheffield Cathedral!

The third instalment in our 2018 Brandenburg Concertos by Candlelight season sees the London Concertante traveling to Sheffield Cathedral to perform two hallmark works of the Baroque era: J.S. Bach's Brandenburg Concerto no. 4 & 5.

Programme
Mozart -- Divertimento in D, K. 136
Bach -- Brandenburg Concerto No. 5 in D Major, BWV 1050
Handel -- Concerto Grosso in Bb Major, Op. 6, No. 7
Mozart -- Flute Quartet No. 1 in D. K. 285
Bach -- Brandenburg Concerto No. 4 in G Major, BWV 1049

Tickets from £19. Available from Picatic
Doors open at 7pm for a 7.30pm start. 

Compiled as a set of six concertos in 1721, and dedicated to the Margrave of Brandenburg, Bach employed a varied and daring combination of textures throughout the pieces pushing new boundaries with each manuscript: the first is in four movements while the rest have three; the second boasts a contrapuntal masterclass with five soloists playing simultaneously; and the sixth has no violins! The works remain peerless in their singularness even today. 

the fourth concerto in G Major, scored for strings and solo violin and recorder ("Fiauti d'echo"), is a work fit for the royal courts of Prussia for which the composer intended, but also bursts with dazzling virtuosity. In the first and third movements in particular, the solo violin part is mesmerising. Though written for recorder, the work, in modern times, is also performed with flute. Interestingly, Bach also reduced this work for concerto on Harpsichord, BWV 1057. Speaking of harpsichords, the fifth concertos is perhaps the earliest example of a keyboard concerto in a fashion that the 21st century ear would recognise. Though formally scored as a concerto for harpsichord, flute and violin, it is truly the keyboard player who comes to the fore. Influenced heavily by the Italian ritornello form of divided tutti and solo passages (omnipresent in Vivaldi's concerto oeuvre) the harpsichord overtakes its soloist partners in dramatic fashion, particularly in the final passages of the first movement where it dominates the landscape with a kaleidoscopic demonstration of technical wizardry. Expect the harpsichordist to dress accordingly. 

Also part of our wider 2018 Brandenburg Series across the UK, you can catch our Brandenburg programmes in Sheffield, Manchester, St. Giles's and Newcastle throughout the year!