Footnotes
1 Malcolm Boyd, Bach: The Brandenburg Concertos, 38.
2 '...I desire nothing more than to be employed on occasions more worthy of you and your service...'
3 Philipp Spitta, Johann Sebastian Bach, His Work and Influence on the Music of Germany, 1685-1750, 129.
6 Michael Marissen, in The Social and Religious Designs of J. S. Bach's Brandenburg Concertos.
9 George Stauffer, 'Bach as Reviser of His Own Keyboard Works', in Early Music 13 (1985), p. 194, and echoed by Marissen, p. 107.
13 W. Fischer, in 'Zur Entwicklungsgeschichte des Wiener klassischen Stils', Studien zur Musikwissenschaft, 3 (1915), pp. 24-84, labelled and described the three components of which a complete ritornello statement is typically made: Vordersatz, Fortspinnung, and Epilog. This twentieth-century theoretical construction has entered the vocabulary of concerto discussion. While some of the Brandenburg ritornelli do not fit this scheme, that of the fifth concerto's first movement can be more or less successfully mapped onto it.
15 Susan McClary, 'The Blasphemy of Talking Politics during the Bach Year', in Music and Society: The Politics of Composition, Performance, and Reception, 25.
16 J. A. Fuller-Maitland, Bach's 'Brandenburg' Concertos, 34.
25 J. Peter Burkholder, 'Rule-breaking as a Rhetorical Sign', in Festa Musicologica: Essays in Honor of George J. Buelow, 385.
26 Philip Whitmore, 'Towards an Understanding of the Capriccio', in Journal of the Royal Musical Association 113/1 (1988), p. 55.