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Brandenburg Concertos composed by Sebastian Bach during the early part of the 18th century attract the attention of many modern orchestras because of their complex rhythmic patterns. As a result, there are variations of such concertos as Brandenburg Concerto no. 2 that was played by both period and modern instruments. Period instruments are used in order to achieve the sound typical for the Baroque era, when modern instruments are used to demonstrate the benefits of changed or advanced instruments (Sadie 112). In order to understand the variety of the sound in Brandenburg Concerto no. 2, it is important to compare and contrast the concerto performances made by period and modern instruments and focus on such aspects as differences in the sound of instruments, differences in voices and techniques used by performers as well as differences in performers’ intentions.
Gustav Leonhardt leading the Leonhardt Consort focused on the use of period instruments in order to reflect the characteristic features of the sound typical for the Baroque era. The unique sound of Brandenburg Concerto no. 2 played by the period instruments is a result of focusing on clarion, recorder, oboe, violin, viola, violone, and basso continuo. Thus, the sound of a trumpet that is used for clarion playing in this variant is characterized by the lower pitch. Still, the tone is more vivid in comparison with a clarion. In its turn, the use of a recorder adds the brilliance to the overall sound. Furthermore, solo voices and violin voices seem to be more combined to play in unison (Yang 37). In addition, performers aim to focus on the authentic cadence and make the rhythm stronger.
In his turn, Raymond Leppard leading the English Chamber Orchestra adapted Brandenburg Concerto no. 2 in terms of using modern instruments and focusing on other approaches to ornamentation. Thus, in modern versions of the concerto, a clarino or a valve trumpet can be changed with a piccolo trumpet. The timbre of the piccolo trumpet can be discussed as brighter than in the previous versions of the concerto. As a result, the pitch becomes higher (Boyd 76). Still, the performers intend to add the depth to the sound while focusing on the texture and on colorful vibrato of violins. Changes in the sound are also observed because of using the traditional flute instead of the original recorder.
While referring to the differences that are characteristic for two performances of Brandenburg Concerto no. 2, it is important to mention variations in the nature of the sound that is mellower in the modern performance because of the accentuated violins and little use of the sound typical for harpsichord. As a result, the ornamentation seemed to be changed, and textural contrasts sound to be more prominent in the original version of Brandenburg Concerto no. 2 (Schulenberg 112). Direct changes in the harmonic and rhythmic structures are not observed, but there are few changes in accents supported with violins and a flute that can be heard in the modern performance of Brandenburg Concerto no. 2.
In this context, it is possible to state that the use of different instruments influences the sound of the concerto significantly, as it is noticed with references to Brandenburg Concerto no. 2, played by the Leonhardt Consort and the English Chamber Orchestra. In addition, the selection of instruments influences the conductor and performers’ choice of techniques in order to adapt the original sound to the modern performance.
Works Cited
Boyd, Malcolm. Bach: The Brandenburg Concertos. New York: Cambridge University Press, 1993. Print.
Sadie, Julie Anne. Companion to Baroque Music. San Francisco: University of California Press, 1998. Print.
Schulenberg, David. Music of the Baroque. New York: OUP USA, 2008. Print.
Yang, Yaokun. An Analytical Study on Performance Practices. New York: AbbottPress, 2014. Print.
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