Imagine sending the greatest piece of music you’ve ever written to a prospective boss and getting zero response. No thank you. No paycheck. Not even a "we'll keep your resume on file." That’s exactly what happened to Johann Sebastian Bach. In 1721, he bundled up six of his most innovative orchestral works and sent them to Christian Ludwig, the Margrave of Brandenburg.
He was basically ghosted.
The Johann Sebastian Bach Brandenburg Concertos are now considered the gold standard of Baroque music, but for over a hundred years, they sat in a library gathering dust. They weren’t even called the "Brandenburg Concertos" back then. Bach titled them Six Concerts avec plusieurs instruments (Six Concertos with several instruments). It wasn’t until 1850—a century after Bach died—that biographer Philipp Spitta gave them the name we use today. Honestly, it’s a miracle we have them at all. During World War II, the original manuscript was nearly destroyed when a train carrying it came under aerial bombardment. A librarian supposedly tucked the scores under his coat and ran into a forest to save them.
The Most Expensive Job Application in History
Bach was working in Köthen at the time, but things were getting weird. His boss, Prince Leopold, had recently married a woman who didn't care for music, and the budget for the court orchestra was being slashed. Bach needed out. He remembered meeting the Margrave of Brandenburg a couple of years earlier and decided to send him a "musical gift" to see if a job offer might follow.
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It was the ultimate flex.
Instead of writing six similar pieces, Bach chose six works that showed off every possible trick in his bag. He used different instruments for every single one. You've got hunting horns in the first, a screamingly high trumpet in the second, and a harpsichord that goes absolutely rogue in the fifth. He wasn't just writing tunes; he was showing the Margrave that he could handle any ensemble, no matter how strange the lineup.
The Margrave probably didn't even have an orchestra good enough to play them. Most historians think the scores were never performed in Brandenburg during Bach's life. They were too hard. The trumpet part in No. 2 is so high it’s still a nightmare for modern professionals. The harpsichord solo in No. 5 was literally the first time a keyboard instrument had ever been treated like a rock star soloist in a concerto. Before this, the harpsichord just sat in the back clicking away to keep time. Bach changed that forever.
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Breaking Down the Six Wonders
People often ask which one is the "best." That’s like picking a favorite kid. Each one has a totally different vibe.
The Heavy Hitters: 1, 2, and 3
- Concerto No. 1: This is the big, "outdoor" sounding one. It’s the only one with four movements instead of three. It features two hunting horns that sound like they’re brawling with the rest of the orchestra. It’s rowdy and regal at the same time.
- Concerto No. 2: The "Virtuoso" one. It features a recorder, an oboe, a violin, and that famous "natural" trumpet. Because Baroque trumpets didn't have valves, the player had to hit those high notes using nothing but their lips. It’s stressful to watch but incredible to hear.
- Concerto No. 3: Pure string energy. It’s written for three violins, three violas, and three cellos. There’s no real slow movement in the middle—just two weird chords where Bach basically says "improvise something here."
The Innovators: 4, 5, and 6
- Concerto No. 4: A playful dance between a solo violin and two "echo flutes" (usually played by recorders today). It’s light, breezy, and deceptively complex.
- Concerto No. 5: The game-changer. About nine minutes into the first movement, the orchestra suddenly stops, and the harpsichord goes on a wild, three-minute solo. This is basically the birth of the piano concerto. Bach was likely the soloist for the premiere in Köthen.
- Concerto No. 6: The "Dark" one. It has no violins. Instead, it uses lower strings like violas and violas da gamba. It feels earthy, rich, and almost melancholic, though it still has plenty of that classic Bach drive.
Why They Still Sound "Fresh" in 2026
It’s easy to think of 300-year-old music as stuffy. But the Johann Sebastian Bach Brandenburg Concertos are anything but. They have this weird, clockwork-like energy that feels almost like jazz or modern techno in its relentless pulse.
One of the biggest debates today is how to play them. In the mid-20th century, people played them with huge, 80-piece symphony orchestras. It sounded like a wall of mush. Today, most experts prefer "Historically Informed Performance" (HIP). This means using gut strings instead of steel, valveless trumpets, and smaller groups where there’s only one person per part.
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When you hear a group like the Netherlands Bach Society or Akademie für Alte Musik Berlin play these, you realize how "punk" Bach actually was. The rhythms are jagged. The harmonies clash on purpose. It’s not "relaxing" music; it’s high-octane intellectual stimulation.
What You Should Do Next
If you’re new to this stuff, don’t try to listen to all six at once. It’s too much. Start with Concerto No. 3 if you like high energy, or No. 5 if you want to hear that insane harpsichord breakdown.
Look for recordings by Trevor Pinnock and the English Concert if you want a classic "authentic" sound. If you want something with more "bite," check out Cafe Zimmermann's recordings. They play with a level of aggression that makes you realize why people in the 1700s thought Bach was a bit of a rebel.
Pay attention to the "dialogue." Bach doesn't just have one melody; he has four or five happening at the same time, all fighting for your attention like a heated dinner party conversation where everyone is brilliant. Once your ear learns to pick out the different voices, you’ll never be bored by Baroque music again.
Actionable Insights for Your Next Listen:
- Spot the "Mistakes": In Concerto No. 1, listen for the horns playing "out of tune" or clashing with the violins. Bach did this on purpose to mimic the sound of a chaotic hunt.
- The No-Violin Test: Listen to Concerto No. 6 and see if you can feel the "weight" of the music without the high-pitched violins. It’s a completely different texture.
- Watch a Video: Don't just listen. Watch a performance of Concerto No. 2 on YouTube. Seeing the trumpet player's face turn red trying to hit those notes adds a whole new level of respect for the music.