J. S. Bach: The Brandenburg Concertos

J. S. Bach's Brandenburg Concertos No. 1-6 with Concerto Copenhagen with musical direction by Lars Ulrik Mortensen.

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Concerto Copenhagen

Lars Ulrik Mortensen – Musical Direction

Recorded in Eslöv Church, Eslöv, Sweden, 7.–11. February 2017
℗ & © 2018 CPO


The orchestra’s piccolo violin is spot on

»The baroque ensemble Concerto Copenhagen has completed a supreme recording of ’The Brandenburg Concertos’[…] Delivered to perfection […] another spot on Bach-recording«
6 out of 6 hearts

Thomas Michelsen
Politiken – 26/9 2018


»Without neglecting the precision: True Brandenburg-Boogie«
4 out of 5 stars



Neue Presse Hannover – 29/9 2018

Delightful Brandenburg Concertos

»[…] recording of complete perfection«
5 out of 6 stars



Peter Dürrfeld
Kristeligt Dagblad – 24/9 2018


»It's been a long time since I have heard the Brandenburg Concertos in such a well-chosen pace«



Sjur Haga Bringeland
Tid og Dag – 21/9 2018
The Brandenburg Concertos

The Brandenburg Concertos

Podcast on Concerto Copenhagen's new release with J. S. Bach's Brandenburg Concertos. Musical direction led by Lars Ulrik Mortensen.

Bach's Brandenburg Concertos

Bach's Brandenburg Concertos

J. S. Bach's Brandenburg Concertos – concerts and recording One hundred years of solitude Having said "Baroque music", one must say Brandenburg concertos, because to the general music listener’s consciousness, the six instrumental concertos by Bach gained status as the epitome of baroque music. And it would no doubt have amazed the master himself, because the birth of the concertos is influenced by random factors; they have emerged spread over a number of years, they were never played during his lifetime, and they form a loosely composed bouquet, not a planned whole. In March 1721 of his own accord Bach sent a series of concerts “for several instruments” to the margrave of Brandenburg. As is customary it was a series of six (the first “perfect” number because the sum of the numbers that it is divided with is six), mostly transcripts of earlier works in more or less revised form. Bach’s fair copy seems carried out in a hurry, it contains many untypical clerical errors, the collection of instruments is unusual mixed,  the music technically demanding and style highly oscillating, from traditional concerti grossi to pioneering innovations - the Fifth concerto is perhaps the mother of all piano concertos. In an attached letter Bach "very humble" is asking the count “not to pay attention to the pieces imperfection" and mentions that he hopes for employment in the service of the count. Apparently he never received an answer, but that should the count be forgiven for - without his archives parts of this invaluable pile of notes could very well be among the countless Bach works that were lost (- First, Fourth and Fifth concerto and a rate from the Third found handed down in other, earlier or later works by Bach). It took almost exactly a hundred years after Bach's death, before the concertos were found, played and printed. And their enormous popularity today let to wait another hundred years, it spread only as the gramophone became a household item.