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.
Bach, Suite (Overture) No. 2 in B minor, BWV 1067
Commanding the podium with his slender figure, theatrical shock of hair and penetrating blue eyes, Herbert von Karajan projected the hieratic image of the conductor as officiant of some quasi-mystic rite. And anyone who ever saw him conduct live or on his many audiovisual recordings will agree that in his performances, music did indeed become a religion and Karajan its high-priest. Karajan (1908-1989) embodied classical music in the general consciousness as an epoch-making conductor, media star, opera producer, festival director and festival founder. But in spite of his Promethean and widely varied activities, he remained a superb conductor, with a grasp of the standard orchestral and operatic repertory from Mozart to Schoenberg that was unsurpassed among his peers.