Bach’s Brandenburg Concerto No. 5 in D major reminded me of a few of the operatic pieces in its presentation of repetition and non-repetition. The first movement begins monophonically, and we hear the ripieno play the ritornello theme in full. Although we continue to hear the ritornello theme throughout the first movement, it is fragmented into shorter pieces rather than being presented in its full form. The repetition of the ritornello theme adds a sense of constancy to an otherwise chaotic movement. This need of constancy is particularly felt during the second half of the first allegro with the presentation of the harpsichord solo. Unlike the ritornello theme, the harpsichord solo is unpredictable, as it lacks a steady melody and cadenza. Most notably, the harpsichord seems to play the fastest notes out of all the instruments, and the second half is remarkably tense. Bach deceptively adds a few cadences, prompting the listener to believe that the harpsichord solo has ended. However, the ripieno eventually rejoins and repeats the full ritornello theme, allowing for the much needed release of tension.

As noted by Greenberg, Bach was the first to dedicate a lengthy solo to the harpsichord, and this solo was most certainly impressive. While the movement departed frequently from the ritornello theme, exemplified by the harpsichord solo, the listener knows that the repetition will eventually return. This is characteristic of Baroque music: “the theme, the control element, the invisible ‘hand of God'” (Greenberg, 100). Unlike some of the operas, Bach’s concerto still maintains a heavy emphasis on religion and almost acts as a devotion to God: Whenever there is a sense of inconstancy, God will add control and structure.

The harpsichord continues its spotlight in the affettuoso, which, unlike the first allegro, is a showcase of the concertino: the flute, violin, and harpsichord. The harpsichord acts independently, while the flute and violin play homophonically and act as a support to the harpsichord’s intermittent solos. But the concertino is finally united at the end of the affettuoso, in which the flute, violin, and harpsichord play homophonically, transitioning the affetuoso to the third movement, the last allegro. The last allegro begins with the concertino but unlike the affettuoso, the tempo is much faster. After about thirty seconds, the ripieno accompanies the concertino, and the last movement embodies a fugue-like form. The initial exposition is followed by slight and short restatements and a series of episodes such as the harpsichord solos. Much like some of the operatic pieces, such as Mozart’s Don Giovanni, Bach’s overture, or exposition, introduced portions of the rest of the piece that would later be presented.