JOHANN SEBASTIAN BACH
   
   
     
1  Brandenburg Concerto No. 4 in G 1:28
     
 Brandenburg Concerto No. 4 in G - First Movement  
2 Introduction: Melody, Theme and Motif; Bach's opening gambit 2:15
3 Onwards and upwards: Motif No. 2 and its function 0:51
4 The two elements of Motif No. 2 and the effect of their combination 0:28
5 The 'motto' rhythm hidden even within the opening bar 1:07
6 Motif No. 3, introduced by the two recorders, has a kind of 'hovering' character 0:26
7 Motif No. 3 repeated for a second, 'directed' listen 0:23
8 Bach reminds us of the opening 0:17
9 Motif No. 4 - a steadily rising derivative of Motif No. 1 0:19
10 Motif No. 5, a lovely, bouncy, syncopated flourish, in which all the instruments join 0:23
11 Opening Ritornello (complete) 1:47
12 Episode 1 begins with virtuoso entry of the solo violin, made up of alternating arpeggios 1:15
13 Motif No. 3 returns, courtesy of the recorders, recently sidelined by the violin 0:47
14 Ritornello 2, a varied repeat of Ritornello 1, arrives after much harmonic movement 0:43
15 Episode 2, Part 1, preceded by the 'fanfare' motif from which its first theme derives 0:59
16 Episode 2 continued, with more bravura dazzle from the solo violin 1:05
17 Repeat of section for purposes of hearing the harmonic movement 0:47
18 Ritornello 3, with the prominent participation of the soloists 0:47
19 Episode 3 proves retrospective, featuring transposed repeats of earlier material 0:49
20 Ritornello 4, not altogether what it might seem; solo violin takes 'motto' motif 0:48
21 Episode 4. Cue to Part 1, focusing on 'soloistic' counterpoint provided by the continuo 0:56
22 Return to Ritornello 4 to hear sources of Episode 4, Part 2 0:36
23 Episode 4 continued, with emphasis placed on conversational interchanges 0:28
24 Return to opening Ritornello in order to enhance awareness of the contrast 0:53
25 Ritornello 5, beginning 0:10
26 Ritornello 5 continued, with emphasis on the determined banishment of B minor 0:56
27 Cue to complete performance of First Movement 0:46
28 First Movement (complete) 6:19
     
 Brandenburg Concerto No. 4 in G - Second Movement  
29 Introduction: Rhythmic Motif provides basis for whole movement 1:17
30 The melody not much to write home about; nor is the meek 'answer' offered by the soloists 0:14
31 Putting the two together, thereby establishing a relationship 0:21
32 Contrast and syncopation - their relationship in opening section 2:18
33 Listening from the 'botton up' 2:48
34 The intertwining and alternation of solo and orchestra; the irregularity of metrical groupings 2:14
35 The next orchestral phrase; slowing the pace but not the tempo 0:28
36 The First Section (complete) 1:36
37 The next section; foreground symmetry and background variety 1:29
38 The central section's groupings are hugely asymmetrical 1:12
39 Cue to Second Movement as a whole 0:11
40 Second Movement (complete) 3:17
     
 Brandenburg Concerto No. 4 in G - Third Movement  
41 Introduction to the Third Movement... 4:57
42 Fugue subject 1:04
43 First counter-subject 0:31
44 Second counter-subject 0:51
45 Bass entry of the subject 0:14
46 Exposition (complete) 0:33
47 First Episode; the use of fragmentary derivatives 0:33
48 The difference a detail can make! 0:15
49 Harmonic Rhythm defined; back to the beginning to find the seed... 1:06
50 ...and now the blossom 0:21
51 The First Solo Episode; a confusion of terms; onwards, to the introduction of the solo episode 1:59
52 Ritornello 2 complete 1:11
53 Solo Episode 2 dominated by thrilling virtuosity from the solo violin 1:47
54 Ritornello 3: highly contrapuntal and dominated by subject-derivatives, with much harmonic fluidity 0:46
55 Ritornello 3 continues: engine of harmonic motion repeated at higher pitch 0:06
56 More on Ritornello 3: the use of long, sustained, slightly syncopated notes in upper strings 0:21
57 Ritornello 3 (complete) 0:31
58 Solo Episode 3 - less solo than earlier ones, what with (albeit very discreet) 0:28
59 The two recorders converse in canon, accompanied for six exhilarating bars by cello 'continuo' 0:22
60 Finishing Solo Exposition 3: orchestral cellos introduce what sounds 0:33
61 Approaching the final Ritornello; stretto explained 0:56
62 Cue to Finale Ritornello, noting tension-building 'pedal point' in cellos and double bass 1:02
63 Coda - the 'tail-piece', with its surprising 'hammer strokes' 0:58
64 Cue to Third Movement 0:19
65 Third Movement (complete) 4:31
     
   
   
 Brandenburg Concerto No. 5 in D - First Movement  
1 Opening Music; analysis and phony analysis; Shaw quote; music: Motif No. 1 3:07
2 Music, energy and relationship 0:58
3 The outlines of a melody emerge 0:41
4 The opening bar again 0:25
5 Motif No. 2: ta / dee-ya, dee-ya, dee-ya 0:11
6 Motif No. 3, and an important feature of its rhythm 0:32
7 Beethoven Fifth Symphony (opening) 0:19
8 Motif No. 4 0:12
9 Motif No. 5 0:04
10 Motif No. 6 0:05
11 Episode 1: a 'Love Duet' 1:39
12 Episode 1 continued; violin and flute reverse direction of their theme 1:01
13 'False' Ritornello; soloists interrupt; rising 'sighing' motif; harpsichord continues downwards 0:59
14 Four things going on at once, in violin, flute, harpsichord right hand, harpsichord left hand 0:39
15 The orchestra returns, picking up at exactly the spot where it was interrupted 0:28
16 The harpsichord intervenes with derivative of Motif 4; key shifts from A major to B minor 0:25
17 The orchestra returns to foreground and brings this section to an end 0:41
18 Harpsichord emerges as virtuoso; a series of expectations are frustrated 2:32
19 A backwards look; blurred distinctions between soloists and orchestra; 'Mozartian' development 4:35
20 Out of the Twilight Zone; a sequence of surprises 1:57
21 The epoch-making harpsichord cadenza and the final Ritornello 4:50
22 Cue to First Movement 0:52
23 First Movement (complete) 8:59
     
 Brandenburg Concerto No. 5 in D - Second Movement  
24 Introduction; the opening Ritornello 2:33
25 The first bar; the first main building block 0:16
26 The flute motif 0:16
27 Opening of the first solo episode 1:04
28 An important motif; the second main building block 0:17
29 The second main theme 0:32
30 Ritornello 2; violin and flute as 'orchestra' 0:52
31 Episode 2; inversion of original motifs 0:38
32 More on Episode 2 0:10
33 Episode 1 and Episode 2 compared 0:21
34 Episode 2; key shifts from D major to F sharp minor 0:49
35 Ritornello 3: an exact transposition of Ritornello 1 0:46
36 Episode 3 contrasted with Episode 1 0:33
37 Episode 3 described in detail 1:05
38 Ritornello 4; second main theme's first appearance in a Ritornello 0:57
39 Episode 4: dominated by inversions 1:34
40 Cue to Second Movement 0:06
41 Second Movement (complete) 5:39
     
 Brandenburg Concerto No. 5 in D - Third Movement  
42 Introduction: Ritornello 1 0:54
43 The Fugue Subject: close juxtaposition of contrasting elements 1:21
44 Flute takes the 'answer', with countersubject in the violin 0:33
45 Contrary motion as a contrapuntal device 0:23
46 Contrary motion as a listening aid; a new theme 0:31
47 Playing with the counter-subject; a musical game of tag 0:51
48 Hidden rhythms: background variety behind foreground uniformity 0:43
49 Fugal writing and the compatibility of parts; the Exposition 1:35
50 Episode 1, taken by soloists, contains important 'seeds' 0:37
51 The orchestra enters at last, but by stealth 1:19
52 Stretto and musical football 1:02
53 Key changes to B minor, introducing extensive Middle Section 1:24
54 The Middle Section a precursor of the Mozartian 'development' 3:05
55 The Fugue Subject out in force: first four immediately consecutive entries yet 1:51
56 Ambiguity of mode and a Scottish twist 0:38
57 Middle Section sontinued; harpsichord dominates 2:10
58 Cue to Last Movement 0:19
59 Last Movement (complete) 4:55