- $19 for rear orchestra or front balcony seating (up to $51 value)
- Click to view the seating chart
- Audiences are invited to join the symphony for a one-hour pre-show discussion (as part of the Classical Conversations series) or an informal Q&A after the show
Experience a performance by the Grammy award-winning Nashville Symphony of 300 year-old ground-breaking classics, featuring Oregon Bach Festival’s artistic director Matt Halls and Mark Niehaus, a renowned Bach soloist and trumpeter.
The orchestra also boasts a harpsichord and two violas da gamba.
Bach: The Brandenburg Concertos, Nos. 1–6
In 1721 Johann Sebastian Bach presented Margrave Christian Ludwig of Brandenburg with a gift—if that’s what you call it when someone never pays you for something. When Bach sent over a bound manuscript, it was likely a job application of sorts, with the six spirited concertos designed to impress or curry favor with the powerful man. It didn’t work, though—Margrave never thanked, paid, or hired Bach. That was, perhaps, a pretty lousy decision on his part.
The six concertos were intended to be performed as a set, containing within them a dramatic arc, a lively musical chase through page after page of virtuosic chamber music. Each calls on a different collection of instruments, including a number of challenging solos, and each has a character all its own.
- Brandenburg Concerto No. 1: Like many of Bach’s compositions, the first concerto is deeply influenced by Vivaldi and other Italian composers. However, there’s one element that stands out: hunting horns, which make a resonant contrast to the wind instruments that fill the score.
- Brandenburg Concerto No. 2.: Bach’s position as a Kapellmeister (music director) in Coethen allowed him to compose with musical virtuosos in mind, and in this concerto, he pushes a trumpet soloist to soar through shimmering flourishes.
- Brandenburg Concerto No. 3: The composer’s fascination with the Italian style comes through again in this concerto, which alternates between small groups of soloists and the full ensemble to become a dynamic musical conversation.
- Brandenburg Concerto No. 4: As with the second concerto, the fourth in the series offers a worthy challenge for musicians, here daring the violinist to climb to ever-greater heights.
- Brandenburg Concerto No. 5: Again Bach pushes a soloist to command every bit of their skill—and this time, the soloist was himself. The composer usually played viola, but here he switched to harpsichord, and according to NPR’s Performance Today, “gave it a knock-out part and, in the process, invented the modern keyboard concerto.”
- Brandenburg Concerto No. 6: Thumbing his nose at convention, Bach wrote the most difficult parts in the suite’s final concerto for viola and cello, letting the violins fall silent. While this may have sprung simply from the composer’s desire to experiment, there’s a more practical theory: his employer, Prince Leopold, played the viola himself.
Schermerhorn Symphony Center
Even though it opened in 2006, Schermerhorn Symphony Center looks like it's been a part of the landscape for centuries. That's because the center, which is named for Nashville Symphony's late maestro Kenneth Schermerhorn, took its design cues from famed European concert halls. Its classic appearance is enhanced by 30 soundproof windows, which allow natural sunlight or unnatural spaceship lights to stream in. A custom-built organ rings out through the hall, and a convertible seating design allows the hall to morph into a ballroom floor for cabaret shows or weddings.
Schermerhorn Symphony Center
1 Symphony Pl.
Nashville, TN 37201