A Moment of Bach Alex & Christian Guebert

This delightful jig closes out our miniseries on Brandenburg 6.  Here we speak about the third movement's jumpy beats. and how these rhythmic anticipations give the whole piece a bouncy energy.  Bach, the expert violist among so many other things, gives the two viola parts the most intricate material, playing off each other and passing along the musical line.  Yet, in the ritornellos, he always doubles them, allowing for a rich, sweet viola tone to dominate in this delightful musical treat.
Netherlands Bach Society performs Brandenburg 6 (skip to 3rd movement); Shunske Sato, artistic director

Welcome back to our yearly miniseries on the Brandenburg Concertos of J. S. Bach! This is part two of three. Today we look at the languid and luscious slow movement of Brandenburg Concerto No. 6.
Music is (often) a setup of expectations, and then the satisfying fulfillment of those expectations OR the clever subversion of those expectations. Bach is especially good at this principle. We focus first on the unusual written-out cello part, separate from the basso continuo, creating a new entity but bound to the bass still (heterophony). Then we look at Christian's two moments, both of expectation and then subversion.
Brandenburg 6 - movement 2 - Netherlands Bach Society

Welcome to our yearly miniseries on the Brandenburg Concertos of J. S. Bach!  Here we jump into Brandenburg 6, delighting in the weirdness that results when Bach decides to omit violins, preferring a dark, low sound of violas, violas de gamba, cello, and violone.  This brings us to some more examples across Bach's oeuvre, as well as some others by Brahms, Bruce Broughton, and John Williams.  As any creative person knows, setting limitations for yourself -- "no violins", for example -- is actually a good strategy for stimulating creativity, and results in a more unique creative output.  How fortunate for us, then, that Bach seems to agree.
Brandenburg 6 - movement 1 - Netherlands Bach Society
Other pieces that were used as audio examples:
BWV 18 (cantata with 4 violas and no violins) - Netherlands Bach Society
BWV 80 (Ein feste burg), middle movement (unison chorale) - Netherlands Bach Society
Brahms - A German Requiem - movement 1: University of Chicago Orchestra, University Choir, Motet Choir, Members of the Rockefeller Chapel Choir, James Kallembach, conductor (recording used under Creative Commons Attribution Non-commercial No Derivatives 3.0 license) - refer to the first entry on this IMSLP page
Other pieces that we talked about, but did not play as examples:
Bruce Broughton - score from Tombstone (1993) - Gunfight at the O. K. Corral (4 bassoons can be heard in the first minute of this scene)
John Williams - score from Harry Potter and the Sorcerer's Stone (2001) - Hogwarts Forever (French horn quartet) (can be heard from 0:00 - 1:50)

Today we return to the 7th of the Goldberg Variations, the "Canary Jig." We discuss that peculiar name, and then we get into some smaller moments. Soaring flares up the keyboard, surprising altered tones, and crunchy grace notes are all over. Pushing forward into the ending, a high note leads us to the finish. We discuss why the contour of the hands makes this ending so satisfying.
Goldberg var. no. 7 as performed by Jean Rondeau for the Netherlands Bach Society

Just after Good Shepherd Sunday, we settle in to this comforting pastorale.  Not the famous opening movement -- no, this is another beautiful sicilienne-type dance, a bass aria, in which Bach gives a masterclass on melodic writing in just 5 seconds of music.  Melodic shape, sequence, pedal point, and effective parallel motion in triads -- these are all showcased in the first few measures.  Then, Alex points out his favorite moment, in the B section of the aria: a long note sung by the bass soloist.
Du Hirte Israel, höre performed by the Netherlands Bach Society (this link takes you straight to the bass aria "Beglückte Herde"

In our second look at the monumental Goldberg Variations, Christian selects the beginning of the sprightly and innocent "gigue" (jig), a particular dance set here for an interplay between two hands. The jaunty rhythm of the dance is rather uneven; this leads us into a discussion about how music is naturally not even in this way (and when it is, it's too square). We discuss the Goldberg bass line which underpins the whole sequence of 30 variations and discover how it works with this one also. 
In two weeks, Christian will return to this variation and get more into the weeds with particular notes.
Goldberg var. no. 7 as performed by Jean Rondeau for the Netherlands Bach Society