|
Einleitung
Stationen der Forschung
Die Widmung
Rezeption
Konzert I · F-Dur
Die Frühfassung: Eine Kantatenouvertüre?
Entstehung und Funktion der Frühfassung:
Eine Jagd-Musik?
Satz 1: Allegro
Satz 2: Adagio
Satz 3: Allegro
Entstehungsgeschichte
Satz 4: Menuett -- Trio I -- Polonaise --
Trio II
Konzert II ·
F-Dur
Satz 2: Andante
Satz 1: Allegro
Satz 3: Allegro assai
Semantik: Eine Ballettmusik?
Rezeption: Wie der Schlusssatz Schule
machte
Konzert III · G-Dur
Besetzung: 3 mal 3 plus 1
Satz 1: Allegro
Zwei Adagio-Akkorde
Satz 3: Allegro
Semantik: Toben -- Staunen -- Rasen
Konzert IV · G-Dur
Satz 1: Allegro
Satz 2: Andante
Satz 3: Presto
Beethoven und das IV. Brandenburgische
Konzert
Konzert V · D-Dur
Satz 1: Allegro
Motivverbindungen zwischen den Sätzen
Satz 2: Affettuoso
Satz 3: Allegro
Goethe und das V. Brandenburgische
Konzert
Konzert VI · B-Dur
Philologie: Was teilen die Handschriften
mit?
Stilkritik: Wie wurde komponiert?
Semantik: Was bedeutet die Musik?
Zyklusfragen
Anhang
Anmerkungen; Literatur; Personenregister;
Sachregister |
|
|
 |
|
comprehensive discussion of the individual
movements
|
To start with, it has to be said that Schleuning has the
clear advantage of having 10-years of advancement in research. In fact, I was
immediately struck by the first section ‘Stationen der Forschung’ in which the
author outlines the changing focuses of the recent Bach scholarship in the last
fifty years or so: here he identifies four phases in which the origin of the
Brandenburg Concertos has been debated --- firstly Köthen (mainly by Smend and
Besseler), then Weimar (argued by Krey and Geck), again Weimar (by Wolff), then
back to Köthen (by Rampe and Sackmann). As far as I know there are as many as
sixty papers, articles, books and dissertations on the Brandenburg Concertos
that appeared since 1990, and many of them actually discusses the origin of the
work, particularly concentrating on the stylistic issues in the selected
movements of the work. Schleuning’s concise summary of account seems fair and
very helpful to students and scholars alike.
The remaining
portion of the introduction briefly covers two of the oft-discussed materials,
namely the dedication and the reception history of the work. Unlike Boyd,
Schleuning does not ponder upon such specific musical features as
instrumentations and ritornello structure, but goes straight into the discussion
of individual concertos where he expands all the essential features he sees
therein, often in greater details. So when used as a study guide of a specific
concerto, Schleuning’s comprehensive approach will surely be user friendly. The
abundant use of music examples, charts and tables, likewise, helps his readers
to follow his discussion. |
