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Classics Explained: BACH, J.S. - Brandenburg Concertos Nos 4 5



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Facts
Item number 8558055-56
Barcode 636943805527
Release date 01/05/2002
Category Baroque
Label Naxos Educational
Media type CD
Number of units 2
Disc: 1
Brandenburg Concerto No. 4 in G - Third Movement
1 The Brandenburgs as concerti grossi
2 Introduction: Melody, Theme and Motif; Bach's open
3 Onwards and upwards: Motif No. 2 and its function
4 The two elements of Motif No. 2 and the effect of
5 The 'motto' rhythm hidden even within the opening
6 Motif No. 3, introduced by the two recorders, has
7 Motif No. 3 repeated for a second, 'directed' list
8 Bach reminds us of the opening
9 Motif No. 4 - a steadily rising derivative of Moti
10 Motif No. 5, a lovely, bouncy, syncopated flourish
11 Opening Ritornello (complete)
12 Episode 1 begins with virtuoso entry of the solo v
13 Motif No. 3 returns, courtesy of the recorders, re
14 Ritornello 2, a varied repeat of Ritornello 1, arr
15 Episode 2, Part 1, preceded by the 'fanfare' motif
16 Episode 2 continued, with more bravura dazzle from
17 Repeat of section for purposes of hearing the harm
18 Ritornello 3, with the prominent participation of
19 Episode 3 proves retrospective, featuring transpos
20 Ritornello 4, not altogether what it might seem; s
21 Episode 4. Cue to Part 1, focusing on 'soloistic'
22 Return to Ritornello 4 to hear sources of Episode
23 Episode 4 continued, with emphasis placed on conve
24 Return to opening Ritornello in order to enhance a
25 Ritornello 5, beginning
26 Ritornello 5 continued, with emphasis on the deter
27 Cue to complete performance of First Movement
28 First Movement (complete)
29 Introduction: Rhythmic Motif provides basis for wh
30 The melody not much to write home about; nor is th
31 Putting the two together, thereby establishing a r
32 Contrast and syncopation - their relationship in o
33 Listening from the 'botton up'
34 The intertwining and alternation of solo and orche
35 The next orchestral phrase; slowing the pace but n
36 The First Section (complete)
37 The next section; foreground symmetry and backgrou
38 The central section's groupings are hugely asymmet
39 Cue to Second Movement as a whole
40 Second Movement (complete)
41 Introduction to the Third Movement...
42 Fugue subject
43 First counter-subject
44 Second counter-subject
45 Bass entry of the subject
46 Exposition (complete)
47 First Episode; the use of fragmentary derivatives
48 The difference a detail can make!
49 Harmonic Rhythm defined; back to the beginning to
50 ...and now the blossom
51 The First Solo Episode; a confusion of terms; onwa
52 Ritornello 2 complete
53 Solo Episode 2 dominated by thrilling virtuosity f
54 Ritornello 3: highly contrapuntal and dominated by
55 Ritornello 3 continues: engine of harmonic motion
56 More on Ritornello 3: the use of long, sustained,
57 Ritornello 3 (complete)
58 Solo Episode 3 - less solo than earlier ones, what
59 The two recorders converse in canon, accompanied f
60 Finishing Solo Exposition 3: orchestral cellos int
61 Approaching the final Ritornello; stretto explaine
62 Cue to Finale Ritornello, noting tension-building
63 Coda - the 'tail-piece', with its surprising 'hamm
64 Cue to Third Movement
65 Third Movement (complete)
Disc: 2
Brandenburg Concerto No. 5 in D - Third Movement
1 Opening Music; analysis and phony analysis; Shaw q
2 Music, energy and relationship
3 The outlines of a melody emerge
4 The opening bar again
5 Motif No. 2: ta / dee-ya, dee-ya, dee-ya
6 Motif No. 3, and an important feature of its rhyth
7 Beethoven Fifth Symphony (opening)
8 Motif No. 4
9 Motif No. 5
10 Motif No. 6
11 Episode 1: a 'Love Duet'
12 Episode 1 continued; violin and flute reverse dire
13 'False' Ritornello; soloists interrupt; rising 'si
14 Four things going on at once, in violin, flute, ha
15 The orchestra returns, picking up at exactly the s
16 The harpsichord intervenes with derivative of Moti
17 The orchestra returns to foreground and brings thi
18 Harpsichord emerges as virtuoso; a series of expec
19 A backwards look; blurred distinctions between sol
20 Out of the Twilight Zone; a sequence of surprises
21 The epoch-making harpsichord cadenza and the final
22 Cue to First Movement
23 First Movement (complete)
24 Introduction; the opening Ritornello
25 The first bar; the first main building block
26 The flute motif
27 Opening of the first solo episode
28 An important motif; the second main building block
29 The second main theme
30 Ritornello 2; violin and flute as 'orchestra'
31 Episode 2; inversion of original motifs
32 More on Episode 2
33 Episode 1 and Episode 2 compared
34 Episode 2; key shifts from D major to F sharp mino
35 Ritornello 3: an exact transposition of Ritornello
36 Episode 3 contrasted with Episode 1
37 Episode 3 described in detail
38 Ritornello 4; second main theme's first appearance
39 Episode 4: dominated by inversions
40 Cue to Second Movement
41 Second Movement (complete)
42 Introduction: Ritornello 1
43 The Fugue Subject: close juxtaposition of contrast
44 Flute takes the 'answer', with countersubject in t
45 Contrary motion as a contrapuntal device
46 Contrary motion as a listening aid; a new theme
47 Playing with the counter-subject; a musical game o
48 Hidden rhythms: background variety behind foregrou
49 Fugal writing and the compatibility of parts; the
50 Episode 1, taken by soloists, contains important '
51 The orchestra enters at last, but by stealth
52 Stretto and musical football
53 Key changes to B minor, introducing extensive Midd
54 The Middle Section a precursor of the Mozartian 'd
55 The Fugue Subject out in force: first four immedia
56 Ambiguity of mode and a Scottish twist
57 Middle Section sontinued; harpsichord dominates
58 Cue to Last Movement
59 Last Movement (complete)
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