Some baroque concertos rely on the same stiff formulae and stock devices — a sequence here, a minor section there, always returning to the same well-worn theme.
Not so the Brandenburgs. These stand as the epitome of variety and interest, not only in their diverse range of soloists but the endlessly inventive material itself — polyphony at its most graceful and nimble. The third is written for just string forces, but it explores the full possibilities of textures and combinations within those constraints.
The outer movements bristle with purpose and are separated by just a brief pause for thought, a few suspenseful chords. Their energy, in part, derives from short rhythmic patterns that act as engines throughout. Ideas ricochet through the section at dizzying speed, particularly in the final movement. Here we’ve gone from dancing to tumbling, with cascading lines that follow hot on the heels of the other. It’s a tour-de-force for both composer and ensemble, reflecting perhaps the new freedom and happiness Bach felt at being in the Cöthen court after years in the organ loft.
