Stockfelt’s observation is an important guideline, for comparing Baroque era music to the Classical era requires more than an understanding of their respective aesthetics. Bach preceded Haydn by a century and to that extent is disadvantaged by lack of precedents to model his style upon. Bach is such a towering figure in classical music on account of this historical background. An erudite listener will have to bear this upon the mind in order to fully be able to appreciate the Brandenburg concerto No. 4. In contrast, Joseph Haydn’s education in music comprised of the distilled knowledge of the Baroque masters (more of Handel than that of Bach). In this sense, Haydn inherited a fairly well-entrenched musical tradition to which he added his own innovations. Despite their different entry points into the history of music, both Bach and Haydn shared the same tendency for invention and experimentation. This is amply evident in the two pieces analyzed herein. The listening experience will be considerably enhanced if the listener is cognizant of the historical context of the two pieces – both within and without music.
- CULTURE: CLASSICAL CD REVIEWS : J. S. Bach: Keyboard Concertos – Angela Hewitt (piano)/Australian CO (Hyperion CDA67307/8) Pounds 12.99. (2005, June 30). The Birmingham Post (England), p. 13.
- Kanny, M. (2013, April 4). Brandenburg Concertos Recall Baroque Music’s Heyday. Tribune-Review/Pittsburgh Tribune-Review.
- Kee, P. (2006, Winter). Haydn’s Last Symphony: Input from London? Musical Times,147(1897), 57+.