Though dedicated to the Margrave of Brandenburg in 1721, the six
Brandenburg Concertos were most likely neither conceived as a group nor
originally intended for the music-loving prince. The works are scored for
an ensemble like the one Bach had at his disposal in Köthen, and represent
different stylistic and structural principles. The concertos Nos. 1, 3 and
6 call for the interplay of instrumental choruses of equal importance, with
specific instruments providing only sporadic moments of solo playing. The
concertos Nos. 2, 4 and 5, in turn, present a string foundation above which
a variety of solo instruments take their turn in the spotlight, though
never overshadowing the lead soloist, a trumpet in No. 2, a violin in
No. 4, the harpsichord in No. 5. Recorded in the late 1960s, this
interpretation of the Brandenburg Concerto No. 3 impressively confirms
Herbert von Karajan's affinity to Bach, a composer one does not immediately
identify with the legendary maestro.
