Johann Sebastian Bach , Jeremy Siepmann , Helmut-Muhler Bruhl Classics Explained: Brandenburg Concertos 4 & 5 Genres: Special Interest , Classical Track Listings (65) - Disc #1 The Brandenburgs As Concerti Grossi Introduction: Melody, Theme And Motif; Bach's Opening Gambit Onwards And Upwards: Motif No.2 And Its Function The Two Elements Of Motif No.2 And The Effect Of Their Combination The 'Motto' Rhythm Hidden Even Within The Opening Bar Motif No.3, Introduced By The Two Recorders, Has A Kind Of 'Hovering' Character; It's Repetition In Rising Sequences Motif No.3, Repeated For A Second, 'Directed' Listen Bach Reminds Us Of The Opening Motif No.4 - A Steadily Rising Derivative Of Motif No.1 Motif No.5, A Lovely, Bouncy, Syncopated Flourish, In Which All The Instruments Join Opening Ritornello (Complete) Episode 1 Begins With Virtuoso Entry Of The Solo Violin, Made Up Of Alternating Arpeggios And Rising Scale-Steps Motif No.3 Returns, Courtesy Of The Recorders, Recently Sidelined By The Violin, Which Now Accompanies, With 'Motto' Motif Ritonello 2, A Varied Repeat Of Ritornello 1, Arrives After Much Harmonic Movement, This Time In E Minor. Episode 2, Part 1, Preceded By The 'Fanfare' Motif From Which Its First Them Derives Episode 2 Continued, With More Bravura Dazzle From The Solo Violin; Key Shifts From A Minor To C Major Repeat Of Section For Purposes Of Hearing The Harmonic Movement Ritornello 3, With The Prominent Participation Of The Soloists Episode 3 Prove Retrospective, Featuring Transposed Repeats Of Earlier Material Ritornello 4, Not Altogether What It Might Seem; Solo Violin Takes 'Motto' Motif, Orchestral Violins Take Motif No.4 Episode 4. Cue To Part 1, Focusing On 'Soloistic' Counterpoint Provided By The Continuo Return To Ritornello 4 To Hear Sources Of Episode 4, Part 2 Episode 4 Continued, With Emphasis Placed On Conversational Interchanges Between Orchestral Violins And The Recorders Return To Opening Ritornello In Order To Enhance Awareness Of The Contrast Between G Major And B Minor Ritornello 5, Beginning Ritornello 5 Continued, With Emphasis On The Determined Banishment Of B Minor Cue To Complete Performance Of First Movement First Movement (Complete) Introduction: Rhythmic Motif Provides Basis For Whole Movement; The Kernel From Which Much Of The Movement Derives The Melody Not Much To Write Home About; Nor Is The Meek 'Answer' Offered By The Soloists Putting The Two Together, Thereby Establishing A Relationship Contrast And Syncopation - Their Relationship In Opening Section Listening From The 'Bottom Up' The Intertwining And Alteration Of Solo And Orchestra; The Irregularity Of Metrical Groupings The Next Orchestral Phrase; Slowing The Pace But Not The Tempo The First Section (Complete) The Next Section; Foreground Symmetry And Background Variety The Central Section's Groupings Are Hugely Asymmetrical Cue To Second Movement As A Whole Second Movement (Complete) Introduction To The Third Movement... Fugue Subject First Counter-Subject Second Counter-Subject Bass Entry Of The Subject Exposition (Complete) First Episode; The Us Of Fragmentary Derivatives The Difference A Detail Can Make! Harmonic Rhythm Defined; Back To The Beginning To Find The Seed... ...And Now The Blossom The First Solo Episode; A Confusion Of Terms; Onwards, To The Introduction Of The Solo Episode, Then To The Episode Itself Ritornello 2 Complete Solo Episode 2 Dominated by Thrilling Virtuosity From The Solo Violin Ritornello 3: Highly Contrapuntal And Dominated By Subject-Derivatives, With Much Harmonic Fluidity Ritornello 3 Continues: Engine Of Harmonic Motion Repeated At Higher Pitch More On Ritornello 3: The Use Of Long, Sustained, Slightly Syncopated Notes In Upper Strings And Recorders Ritornello 3 (Complete) Solo Episode 3 - Less Solo Than Earlier Ones, What With (Albeit Very Discreet) Orchestral Accompaniment The Two Recorders Converse In Canon, Accompanied For Six Exhilarating Bars By Cello 'Continuo' Finishing Solo Exposition 3: Orchestral Cellos Introduce What Sounds Like It's Going To Be The Complete Fugue Subject But Isn't 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) Track Listings (59) - Disc #2 Opening Music; Analysis And Phony Analysis; Shaw Quote; Music: Motif No.1 Music, Energy And Relationship The Outlines Of A Melody Emerge The Opening Bar Again Motif No.2: Ta/Dee-Ya, Dee-Ya, Dee-Ya Motif No.3, And An Important Feature Of Its Rhythm Beethoven Fifth Symphony (Opening) Motif No.4 Motif No.5 Motif No.6 Episode 1: A 'Love Duet' Episode 1 Continued; Violin And Flute Reverse Direction Of Their Theme; The 'Love Song' Motif Answered 'False' Ritornello; Soloists Interrupt; Rising 'Sighing' Motif; Harpsichord Continues Downwards Four Things Going On At Once, In Violin, Flute, Harpsichord Right Hand, Harpsichord Left Hand The Orchestra Returns, Picking Up At Exactly The Spot Where It Was Interrupted The Harpsichord Intervenes With Derivative Of Motif 4; Key Shifts From A Major To B Minor The Orchestra Returns To Foreground And Brings This Section To An End Harpsichord Emerges As Virtuoso; A Series Of Expectations Are Frustrated A Backwards Look; Blurred Distinctions Between Soloists And Orchestra; 'Mozartian' Development Out Of The Twilight Zone; A Sequence Of Surprises The Epoch-Making Harpsichord Cadenza And The Final Ritornello Cue To First Movement First Movement (Complete) Introduction; The Opening Ritornello The First Bar; The First Main Building Block The Flute Motif Opening Of The First Solo Episode An Important Motif; The Second Main Building Block The Second Main Theme Ritornello 2; Violin And Flute As 'Orchestra' Episode 2; Inversion Of Original Motifs More On Episode 2 Episode 1 And Episode 2 Compared Episode 2; Key Shifts From D Major To F Sharp Minor Ritornello 3: An Exact Transposition Of Ritornello 1 Episode 3 Contrasted With Episode 1 Episode 3 Described In Detail Rotornello 4; Second Main Theme's First Appearance In A Ritornello Episode 4: Dominated By Inversions Cue To Second Movement Second Movement (Complete) Introduction: Ritornello 1 The Fugue Subject: Close Juxtaposition Of Contrasting Elements Flute Takes The 'Answer', With Countersubject In The Violin Contrary Motion As A Contrapuntal Device Contrary Motion As A Listening Aid; A New Theme Playing With The Counter-Subject; A Musical Game Of Tag Hidden Rhythms: Background Variety Behind Foreground Uniformity Fugal Writing And The Compatibility Of Parts; The Exposition Episode 1, Taken By Soloists, Contains Importand 'Seeds' The Orchestra Enters At Last, But By Stealth Stretto And Musical Football Key Changes To B Minor, Introducing Extensive Middle Section The Middle Section A Precursor Of The Mozartian 'Development' The Fugue Subject Out In Force: First Four Immediately Consecutive Entries Yet Ambiguity Of Mode And A Scottish Twist Middle Section Continued; Harpsichord Dominates Cue To Last Movement Last Movement (Complete)
Track Listings (65) - Disc #1