Various - An Introduction to... Bach Brandenburg Concertos Nos 4 & 5 [CD]

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The Brandenburgs As Concerti Grossi

Opening Music; Analysis And Phony Analysis; Shaw Quote; Music: Motif No.1

Introduction: Melody, Theme And Motif; Bach's Opening Gambit

Music, Energy And Relationship

Onwards And Upwards: Motif No.2 And Its Function

The Outlines Of A Melody Emerge

The Two Elements Of Motif No.2 And The Effect Of Their Combination

The Opening Bar Again

The 'Motto' Rhythm Hidden Even Within The Opening Bar

Motif No.2: Ta/Dee-Ya, Dee-Ya, Dee-Ya

Motif No.3, Introduced By The Two Recorders, Has A Kind Of 'Hovering' Character; It's Repetition In

Motif No.3, And An Important Feature Of Its Rhythm

Motif No.3, Repeated For A Second, 'Directed' Listen

Beethoven Fifth Symphony (Opening)

Bach Reminds Us Of The Opening

Motif No.4

Motif No.4 - A Steadily Rising Derivative Of Motif No.1

Motif No.5

Motif No.5, A Lovely, Bouncy, Syncopated Flourish, In Which All The Instruments Join

Motif No.6

Opening Ritornello (Complete)

Episode 1: A 'Love Duet'

Episode 1 Begins With Virtuoso Entry Of The Solo Violin, Made Up Of Alternating Arpeggios And Rising

Episode 1 Continued; Violin And Flute Reverse Direction Of Their Theme; The 'Love Song' Motif Answer

Motif No.3 Returns, Courtesy Of The Recorders, Recently Sidelined By The Violin, Which Now Accompani

'False' Ritornello; Soloists Interrupt; Rising 'Sighing' Motif; Harpsichord Continues Downwards

Ritonello 2, A Varied Repeat Of Ritornello 1, Arrives After Much Harmonic Movement, This Time In E M

Four Things Going On At Once, In Violin, Flute, Harpsichord Right Hand, Harpsichord Left Hand

Episode 2, Part 1, Preceded By The 'Fanfare' Motif From Which Its First Them Derives

The Orchestra Returns, Picking Up At Exactly The Spot Where It Was Interrupted

Episode 2 Continued, With More Bravura Dazzle From The Solo Violin; Key Shifts From A Minor To C Maj

The Harpsichord Intervenes With Derivative Of Motif 4; Key Shifts From A Major To B Minor

Repeat Of Section For Purposes Of Hearing The Harmonic Movement

The Orchestra Returns To Foreground And Brings This Section To An End

Ritornello 3, With The Prominent Participation Of The Soloists

Harpsichord Emerges As Virtuoso; A Series Of Expectations Are Frustrated

Episode 3 Prove Retrospective, Featuring Transposed Repeats Of Earlier Material

A Backwards Look; Blurred Distinctions Between Soloists And Orchestra; 'Mozartian' Development

Ritornello 4, Not Altogether What It Might Seem; Solo Violin Takes 'Motto' Motif, Orchestral Violins

Out Of The Twilight Zone; A Sequence Of Surprises

Episode 4. Cue To Part 1, Focusing On 'Soloistic' Counterpoint Provided By The Continuo

The Epoch-Making Harpsichord Cadenza And The Final Ritornello

Return To Ritornello 4 To Hear Sources Of Episode 4, Part 2

Cue To First Movement

Episode 4 Continued, With Emphasis Placed On Conversational Interchanges Between Orchestral Violins

First Movement (Complete)

Return To Opening Ritornello In Order To Enhance Awareness Of The Contrast Between G Major And B Min

Introduction; The Opening Ritornello

Ritornello 5, Beginning

The First Bar; The First Main Building Block

Ritornello 5 Continued, With Emphasis On The Determined Banishment Of B Minor

The Flute Motif

Cue To Complete Performance Of First Movement

Opening Of The First Solo Episode

First Movement (Complete)

An Important Motif; The Second Main Building Block

Introduction: Rhythmic Motif Provides Basis For Whole Movement; The Kernel From Which Much Of The Mo

The Second Main Theme

The Melody Not Much To Write Home About; Nor Is The Meek 'Answer' Offered By The Soloists

Ritornello 2; Violin And Flute As 'Orchestra'

Putting The Two Together, Thereby Establishing A Relationship

Episode 2; Inversion Of Original Motifs

Contrast And Syncopation - Their Relationship In Opening Section

More On Episode 2

Listening From The 'Bottom Up'

Episode 1 And Episode 2 Compared

The Intertwining And Alteration Of Solo And Orchestra; The Irregularity Of Metrical Groupings

Episode 2; Key Shifts From D Major To F Sharp Minor

The Next Orchestral Phrase; Slowing The Pace But Not The Tempo

Ritornello 3: An Exact Transposition Of Ritornello 1

The First Section (Complete)

Episode 3 Contrasted With Episode 1

The Next Section; Foreground Symmetry And Background Variety

Episode 3 Described In Detail

The Central Section's Groupings Are Hugely Asymmetrical

Rotornello 4; Second Main Theme's First Appearance In A Ritornello

Cue To Second Movement As A Whole

Episode 4: Dominated By Inversions

Second Movement (Complete)

Cue To Second Movement

Introduction To The Third Movement...

Second Movement (Complete)

Fugue Subject

Introduction: Ritornello 1

First Counter-Subject

The Fugue Subject: Close Juxtaposition Of Contrasting Elements

Second Counter-Subject

Flute Takes The 'Answer', With Countersubject In The Violin

Bass Entry Of The Subject

Contrary Motion As A Contrapuntal Device

Exposition (Complete)

Contrary Motion As A Listening Aid; A New Theme

First Episode; The Us Of Fragmentary Derivatives

Playing With The Counter-Subject; A Musical Game Of Tag

The Difference A Detail Can Make!

Hidden Rhythms: Background Variety Behind Foreground Uniformity

Harmonic Rhythm Defined; Back To The Beginning To Find The Seed...

Fugal Writing And The Compatibility Of Parts; The Exposition

...And Now The Blossom

Episode 1, Taken By Soloists, Contains Importand 'Seeds'

The First Solo Episode; A Confusion Of Terms; Onwards, To The Introduction Of The Solo Episode, Then

The Orchestra Enters At Last, But By Stealth

Ritornello 2 Complete

Stretto And Musical Football

Solo Episode 2 Dominated by Thrilling Virtuosity From The Solo Violin

Key Changes To B Minor, Introducing Extensive Middle Section

Ritornello 3: Highly Contrapuntal And Dominated By Subject-Derivatives, With Much Harmonic Fluidity

The Middle Section A Precursor Of The Mozartian 'Development'

Ritornello 3 Continues: Engine Of Harmonic Motion Repeated At Higher Pitch

The Fugue Subject Out In Force: First Four Immediately Consecutive Entries Yet

More On Ritornello 3: The Use Of Long, Sustained, Slightly Syncopated Notes In Upper Strings And Rec

Ambiguity Of Mode And A Scottish Twist

Ritornello 3 (Complete)

Middle Section Continued; Harpsichord Dominates

Solo Episode 3 - Less Solo Than Earlier Ones, What With (Albeit Very Discreet) Orchestral Accompanim

Cue To Last Movement

The Two Recorders Converse In Canon, Accompanied For Six Exhilarating Bars By Cello 'Continuo'

Last Movement (Complete)

Finishing Solo Exposition 3: Orchestral Cellos Introduce What Sounds Like It's Going To Be The Compl

Approaching The Final Ritornello; Stretto Explained

Cue To Final Ritornello, Noting Tension-Building 'Pedal Point' In Cellos And Double Bass

Coda - The 'Tail-Piece', With Its Surprising 'Hammer Strokes'

Cue To Third Movement

Third Movement (Complete)