Bach: Brandenburg concertos, BWV 1046 - 1051 (300 anniversary) | Václav Luks & Collegium 1704 

this is magnificent. what more can be done? 300 years old and still beyond it's time. timeless.

We come from different continents & different countries, we have different ethnic and cultural backgrounds, we have different skin colors and we speak different languages, but we all rejoice in the music of Johann Sebastian Bach!!! Thank you all the great musicians who have made this possible and I love you all!!!

No Brasil se diz: "BACH não se discute; BACH se ouve". Por que? Porque BACH é INCOMPARÁVEL. Os Concertos de Brandemburgo, a meu ver, é um resumo da genialidade do Mestre da Turíngia, com sua ESPETACULAR MÚSICA POLIFÔNICA/CONTRAPONTÍSTICA. A bênção, Mestre dos Mestres!

In the end, I had to clap only to remember I was alone. This made my day. Every instrument is on point although some pieces are a bit fast. I stayed awake all through the night watching and listening to morn my Dad who passed away 2 days ago on 26th September 2023. This helped relieve the pain. I had to pick up my violin to jam with them at concerto No.3 for it is still my favorite.

El Arquitecto que construyo este palacio y lo adorno soberbiamente, tiene que estar orgulloso de que un EQUIPO MUSICAL DE GRAN CATEGORÍA HAGA RETUMBAR LAS PARTÍCULAS DE SU OBRA....y seguro que estas partículas ya sonetizadas, a este palacio lo darán 100000000000000000000000000000000000 años de vida.! Saludos desde el teruño mas cercano al SolLuna, dioses de la Hermandad y de los Amantes : Ecuadorsito.

Some musicians, while playing, seem to be enjoying the music as much as the listeners do.

MAGNIFICO TUTTO!!! ... la musica, il luogo e, ovviamente, l'esecuzione 👏👏👏👏👏 👍👍👍👍👍

Le 27 octobre 2023, quelques heures avant d'entendre en concert la messe en si mineur... Ceci est un cadeau inestimable.

Bach is simply the best 🎶🎵🎹🎻🎼🎼.

Grossartig! Die beste Interpretation dieser zeitlosen Meisterwerke seit vielen vielen Jahren. Dickes Kompliment an Vaclav Luke und sein Team!

This will quench an moisturize th dryness of the soul

Danke für diese wundervolle Interpretation. Ich habe die Brandenburgischen Konzerte zuletzt 1988 in Düsseldorf im Palais Wittgenstein gehört. Immer wieder ein Genuss. Als Brandenburger danke ich dem alten Bach, dass er uns diese fantastische Musik geschenkt hat und auch für all seine Werke.

A brilliant creation. A divine experience. A magnificent performance. Like magic, the sun comes from behind the clouds to shine beauty on the human soul.

Bach bien joué c'est de la splendeur après splendeur après splendeur!

Classical music is typically performed using traditional instruments such as violins, pianos, and orchestras. The sounds of these instruments make classical music sophisticated and refined.

Vous êtes fabuleux, je vous admire.

Bach, the Corinthian Column of the Music.

Τὸ ἀξεπέραστο μεγαλεῖον τῆς αἰωνίας μουσικῆς τοῦ Μπάχ ἀποδίδεται ἀπολαυστικῶς μέσῳ αὐθεντικῶν ὀργάνων ἐποχῆς, σὲ μιὰν ἑρμηνεία πλήρους τέρψεως καὶ γαλήνης. Εὐχαριστοῦμε!

Thank you, I’ve loved these concertos for over 50 years, since first hearing them by Wendy Carlos on her Moog Modular synth and then on original instruments. This is a beautiful performance.

The harpsichord solo in #5 was unbelievably amazing - bravo and thank you!

Amo a Bach, en tiempos que me alejo o dedico poco tiempo a la música, ÉL siempre me hace volver a creer y a emocionarme, me incentiva, me alegra. Gracias por tanto trabajo para reproducir su creación, increible los instrumentos barrocos, saludos desde Argentina

Magnífico, hermosa música. Para mi la música del barroco es la mejor en todo y Bach su música no tiene comparación. Y felicitaciones a los músicos por tan maravillosa interpretación, excelentes músicos y muy buen sonido, buen ingeniero de sonido, buena mezcla.

Bach é um mergulho no belo!

Excellent production, excellent deportment by the musicians.

Spirited and energetic as always! Absolutely marvelous interpretations! Bravo & Thank you! 🙋🏼‍♂️🎼🎵🎶🎹📯🎺🎻

Beautifully played bringing peace ontｏ my heart!❤

That would be a dream come true to play in a band like this. Wonderful music! Děkuji mnohokrát! I'll be definitely keeping an eye out for more of Václav Luks & Collegium's work.

This is one of the best performances I've heard of the first movement of No. 6. Bravo!!!!!

各パートの美しい音色と研ぎ澄まされた､見事な響きの共演に感無量です。👏👏🤩🤩‼️

Con asombro y con devoción: ¡muchas gracias!

Marvelous! 👏👏👏👏👏

Какие красивые люди!

Divine and sublime. It's not from this planet!

Bravissimi

Magnificent instruments. Masterful performance. Thank you, one and all.

Splendid! Flute and Strings talk to each other.

A rather furious pace! An important piece of art, still pushing its way through time.

Absolutely delightful and wonderful!

nádherná hudba i interpretace💖děkuji pěkně za možnost to poslouchat It's amazing music a interpretation! Thanks a lot for possibility

Bravo, all! Including the makers of these instruments (with stars by the archlute and the harpsichord!)

WOW!!!! This is just wonderful

Il GRANDE Gabriele Cassone!

Wonderful

We played this in my high school orchestra my junior year 1971 ! My skills were below average 🤣😆 and barely knew what I was doing !

Nejživější a barevně nejpestřejší provedení 4. braniborského je podle mě od Collegia 1704. Děkuji!

BRAVO!BRAVO!👏👏👏👏👏👏👏👏

Great to have 3 violas in all the concertos. Really makes a difference! Dynamic performance.

Absolutely wonderful!

I just love that they are standing. This way the body is free to move. Very nice performance!

terrific stuff wow love this.

Tant de langues içi! Music is truly a universal language.

Wait, did this orchestra did all these in one afternoon, in one take? 9f so, such fortitude, such dedication, and such stamina!

00:49:02 この緩徐楽章は非常に美しい。心にしみる。

Бравоооо!!!!!

j'aime beaucoup ,merveilleux

Sublime! Superbe!

Otimas musicas para ouvir e trabalhar. Obrigado.

I’ve watched Euro Arts and I know this is the original place

To think this gorgeous series of pieces was a failed job application 😂

Excellent interpretation and mastery, congratulations

Those natural horns should had blasted through the opening movement highlighting those impossible syncopated rhythms (at least in baroque music). I wish I had been present! Fantastic recording!

Bravo, l'ensemble!

Bravo

Piękne Koncerty Brandenburskie w znakomitym wykonaniu.

For a second during the intro, I thought this was in the Spiegelhall where they were premiered. The first violin and viola in the third one (Allegro) rock!. Great versions, on par with the Freiburger Barockorchester.

still the best

divertente e divertito trionfo di melodia armonia ritmo

Our dog, Bobby, used to sing Johnny Cash songs while playing an archlute similar to the one here. Hoomeyow!!

Лучшее исполнение!! ЧУДО ЧУДНОЕ! Браво .музыкантам!!!!!

Harpsichord player and a conductor 😯

Los conciertos de Brandeburgo son una herencia para la posteridad. Creaciones originales.

rockin' o u t ~~

So gorgeous! Perhaps the sound engineer could have clarified the solo violinist a little more in 2nd mvmt. But, have you ever heard a more perfect version?

I love the fact that they show the venue from outside at the beginning

BWV 1046 Concerto in F Major, No. 1 When we look at the personnel of the Köthen Palace Orchestra, we do not find any horn players. Bach probably composed this concerto at a time when the two horn players who were guests at the court were participating in concerts. The "violino piccolo", the soloist in the piece, was tuned three notes higher than a normal violin. The first version of the work was played as an introduction to a performance of the Hunting Cantata BWV 208 in 1716. This version did not include the violino piccolo and the polonaise from the dances in the third and fourth movements. In 1726 and 1729 Bach used parts of the work in his Cantatas BWV 207 and BWV 52. The first movement is allegro in character, although it has no specific title. The horns immediately give the work the air of a hunting party. It is a typical concerto grosso in structure. Although there are sections played with the orchestra (tutti), there are also sections where only the soloist is heard (solo). The horns are not included in the second movement adagio. The first oboe enters with a very emotional theme. The violin (violino piccolo) repeats the same theme and the oboes accompany it with eighth notes. In the movement, which usually develops as a dialog between oboe and violin, the bass part, occasionally joined by the bassoon, supports this movement. Towards the end of the movement, the oboe's cadence-like measure seems to emphasize which instrument has the weight and importance. In the third movement, Allegro, we return to the exuberant character with the participation of the horns. This time the solo violin is in the foreground. Although he is accompanied by other solo instruments, he has the most lively part. The last part of the piece consists of menuet and polonaise dances. The menuet, which is usually played repeatedly with the trio section in between, is used twice in this movement. There is also polonaise in between. However, Bach changed the instrumental groups in each dance and repetition, thus avoiding the timbral monotony in this rather long movement. The general structure of the movement and the instruments used are as follows: menuet (tutti), trio (2 oboes, bassoon), menuet (tutti), polonaise (strings), menuet (tutti), trio (two horns and three oboes), menuet (tutti). BWV 1047 Concerto in F Major, No. 2 The soloists of this concerto were musicians who were regular employees at the Köthen Palace. The three-movement work has a typical "concerto grosso" structure. The first movement, which has no title, is in allegro tempo as in Concerto I. In contrast to the string orchestra, there is another group of soloists. The theme, which we hear from the whole orchestra at the beginning of the piece, lasts for eight bars. In the first solo section, the violin announces a new theme. In the tutti sections, the orchestra continues to play the first theme. Each time the solo part comes, a different soloist repeats the violin's theme. Thus, groupings are formed between solo and tutti instruments, with different colors emerging each time. The second movement is for andante, block flute, oboe, violin and sustained bass. We witness a masterful conversation between the three solo instruments. The theme that begins with the violin is repeated by each instrument. It is one of the finest examples of Bach's incredible genius for chamber music. The last movement, allegro assai, is a work of counterpoint in which fugue writing predominates rather than concerto grosso structure. The theme announced by the trumpet, which is not included in the second movement, is heard in all instruments and parts respectively BWV 1048 Concerto in G Major, No. 3 Probably composed in 1718, Bach used strings throughout and divided each group into three parts. This resulted in three violin, three viola and three cello parts. Naturally, these parts are supported by the continuous bass instruments (harpsichord and bass), which are the constant group of every concerto. Although the first movement has no specific title, it is played in allegro tempo, as in the previous concertos. The third movement also bears the title allegro. The three instrumental groups take on different roles throughout these two movements. Sometimes one of the groups stands out as a soloist, sometimes one group accompanies the others. The typical concerto grosso structure dominates the movements. Although the second movement is titled adagio, it is usually limited to a few chords of the harpsichord. Bach's intention here is to give the performers and listeners a little breathing space without playing two fast movements one after the other. BWV 1049 Concerto in G Major, No. 4 It is reminiscent of Concerto II in its general structure. During his years in Leipzig, Bach arranged this work once more for solo harpsichord instead of solo violin and transposed it to F major (BWV 1057). The first movement, entitled Allegro, begins with the theme we hear in succession in the block flutes. In the twelfth measure, the violin joins the same theme. The orchestra continues its accompaniment, occasionally including some of the soloists. The second movement andante, with its flowing theme of eighth notes, constantly alternates between solo and tutti. Very impressive echo effects occur during this alternation. The final movement presto begins with a theme heard in the orchestra, reminiscent of fugue writing. Then the solo instruments join this movement. In the sections where the solo instruments are left alone, there are passages that require great technical skill, especially for the violin. BWV 1050 Concerto in D Major, No. 5 This work is probably the latest of the six concertos. It also shows quite interesting features in terms of structure. At first glance, it appears to be a concerto grosso, but it can also be perceived as a harpsichord concerto. As we have seen in the pages on the Köthen years, in 1719 the new harpsichord ordered from the Berlin instrument maker Michael Mietke arrived at the palace, Bach personally took care of the order and purchase of the instrument and composed a new work, probably to show Prince Lepold the full capabilities of the instrument. The most important clue that strengthens the argument that Bach intended the harpsichord part for himself in this work is the different composition of the orchestra accompanying the soloists. In Bach's time, the composition of orchestras was very different from today. Two or three people played in each group, and a string orchestra, especially in the accompaniment position, would be around ten people. Bach often played viola in the orchestra during concerts at court. The fact that there are only first violins in the orchestra of Concerto V instead of the usual two violin groups, and that the second violin players were probably shifted here to make up for the shortage of the viola part, was a solution thought to compensate for Bach's absence in the orchestra. Even though the V. Concerto has the characteristics of a concerto grosso, it is mostly a concerto with three soloists. In this respect, Mozart's Sinfonia Concertante for Violin and Viola can be considered the first example of Beethoven's Triple Concerto and Brahms' Double Concerto. The first movement, Allegro, begins with the introduction of the orchestra. The harpsichord serves both as accompaniment and soloist. In the first solo part, the flute and violin announce the same melody. After a while, the harpsichord is freed from accompaniment and comes to the fore as a soloist. However, the importance of the movement and the concerto in terms of music history is the harpsichord's cadenza, which lasts for more than sixty measures. Here we find the first example of cadences, which in later years were included in the first movements of solo concertos in order for the soloist to fully display his technical skill. Bach had put all his skill into playing a brand new harpsichord to the fullest and to prove to Prince Leopold what an extraordinary instrument he had acquired. The title of the second movement, affettuoso, indicates that the piece should be played with feeling. It is a typical chamber music piece with only solo instruments. It is like one of the slow movements of the composer's trio sonatas, of which we have examined many examples in the previous sections. A calm, relaxed and emotional melody is heard in all instruments. The final movement, allegro, is in the style of a gigue, although it evokes the writing of a fugue. The display of the soloists' (especially the harpsichord) skills is realized in a very lively atmosphere. BWV 1051 Concerto in B-flat Major, No. 6 Bach found an ideal solution for Prince Leopold, who was a very good gamba player, to play with his subordinate musicians in the orchestra at his court and applied it in Concerto VI. The composer, who did not include violins in the orchestra at all, divided the violas into two, wrote two viola da gamba parts, and assigned the cellos and double bass the task of accompaniment. Thus, Bach played in one of the viola parts and Leopold in one of the gamba parts and they enjoyed making music together. Although the first movement has no specific title, it is dominated by an upbeat and flowing theme. Groups are used together and separately in various ways. The second movement, adagio ma non tanto, develops as a duet between two violas. Gambas do not play at all during the movement. The last movement, allegro, has the character of a gigue with the continuous repetition of the triadic movement..

音楽の父バッハ万歳!

☮️

#1 1:19 |

Peggio di questo trombettista mi ricordo solo uno al Teatro della Pergola, che fece quasi scena muta e in seguito produsse alcuni suoni inarticolati simili a versi animali. Credevo che Fabio Biondi lo volesse ammazzare!

The Brandenburg Concertos like I've never heard, at the beginning, but after....can't here the archlute I think it is

How many of you string players could keep up THAT bunch, particularly in the 3rd Concerto?

Why rush through such beautiful music. Slow down.

클래식 포에버

High quality of performance and musicians but all tempi are so faster...

37:20 was FAST! Please, let me enjoy the music a little bit!

1:23

1:10:27

dommage...la prise de son est mauvaise..................................

Very good ensemble. I know nr 1 F with the pair of horns played in up position what deliver a very convincing "hunting sound" but the intonation is bad.

I thought i was at mexico listening to mariachi. 😂 What is this?

1:04:10, this brother needs to seriously take a lesson from Carl Richter on playing this solo, because it's not crisp, accelerating, as Richter's!

Technically competent but played too fast--just because one can doesn't mean one should. The camera is a bit spasmodic; it moves around too much but is accordant with the frenzied tempos.

Más música clásica y menos cotilleo, que dejen a las niñas tranquilas

tempi too fast, rather brutal.

Why so terribly much in a hurry?????????????

Poor sound quality.

I feel that this mixing has too much reflected sound.

Diese Interpretation sagt mir nicht zu. Sie berührt mich nicht, mir klingt diese schöne Musik viel zu gehetzt.

Playing too fast ruins the true texture of Bach's composition. Horrible venue - just a big echo chamber that muddles the musical filigree.