Title: Introduction to Con Brandenburg 4/5
Artist: Bach / Siepmann / Cologne Co
Label: Naxos
Product Type: COMPACT DISCS
UPC: 636943805527
Genre: Books on Tape/Cd, Classical



Tracks:
1.1 The Brandenburgs As Concerti Grossi
1.2 Introduction: Melody, Theme and Motif; Bach's Opening Gambit
1.3 Onwards and Upwards: Motif No.2 and It's Function
1.4 The Two Elements of Motif No.2 and the Effect of Their Combination
1.5 The 'Motto' Rhythm Hidden Even Within the Opening Bar
1.6 Motif No.3, Introduced By the Two Recorders, Has a Kind of 'Hovering' Character; It's Repetition in Rising Sequences
1.7 Motif No.3, Repeated for a Second, 'Directed' Listen
1.8 Bach Reminds Us of the Opening
1.9 Motif No.4 - a Steadily Rising Derivative of Motif No.1
1.10 Motif No.5, a Lovely, Bouncy, Syncopated Flourish, in Which All the Instruments Join
1.11 Opening Ritornello (Complete)
1.12 Episode 1 Begins with Virtuoso Entry of the Solo Violin, Made Up of Alternating Arpeggios and Rising Scale-Steps
1.13 Motif No.3 Returns, Courtesy of the Recorders, Recently Sidelined By the Violin, Which Now Accompanies, with 'Motto' Motif
1.14 Ritonello 2, a Varied Repeat of Ritornello 1, Arrives After Much Harmonic Movement, This Time in E Minor
1.15 Episode 2, Part 1, Preceded By the 'Fanfare' Motif from Which It's First Them Derives
1.16 Episode 2 Continued, with More Bravura Dazzle from the Solo Violin; Key Shifts from a Minor to C Major
1.17 Repeat of Section for Purposes of Hearing the Harmonic Movement
1.18 Ritornello 3, with the Prominent Participation of the Soloists
1.19 Episode 3 Prove Retrospective, Featuring Transposed Repeats of Earlier Material
1.20 Ritornello 4, Not Altogether What It Might Seem; Solo Violin Takes 'Motto' Motif, Orchestral Violins Take Motif No.4
1.21 Episode 4. Cue to Part 1, Focusing on 'Soloistic' Counterpoint Provided By the Continuo
1.22 Return to Ritornello 4 to Hear Sources of Episode 4, Part 2
1.23 Episode 4 Continued, with Emphasis Placed on Conversational Interchanges Between Orchestral Violins and the Recorders
1.24 Return to Opening Ritornello in Order to Enhance Awareness of the Contrast Between G Major and B Minor
1.25 Ritornello 5, Beginning
1.26 Ritornello 5 Continued, with Emphasis on the Determined Banishment of B Minor
1.27 Cue to Complete Performance of First Movement
1.28 First Movement (Complete)
1.29 Introduction: Rhythmic Motif Provides Basis for Whole Movement; the Kernel from Which Much of the Movement Derives
1.30 The Melody Not Much to Write Home About; Nor Is the Meek 'Answer' Offered By the Soloists
1.31 Putting the Two Together, Thereby Establishing a Relationship
1.32 Contrast and Syncopation - Their Relationship in Opening Section
1.33 Listening from the 'Bottom Up'
1.34 The Intertwining and Alteration of Solo and Orchestra; the Irregularity of Metrical Groupings
1.35 The Next Orchestral Phrase; Slowing the Pace But Not the Tempo
1.36 The First Section (Complete)
1.37 The Next Section; Foreground Symmetry and Background Variety
1.38 The Central Section's Groupings Are Hugely Asymmetrical
1.39 Cue to Second Movement As a Whole
1.40 Second Movement (Complete)
1.41 Introduction to the Third Movement
1.42 Fugue Subject
1.43 First Counter-Subject
1.44 Second Counter-Subject
1.45 Bass Entry of the Subject
1.46 Exposition (Complete)
1.47 First Episode; the Us of Fragmentary Derivatives
1.48 The Difference a Detail Can Make!
1.49 Harmonic Rhythm Defined; Back to the Beginning to Find the Seed
1.50 ... And Now the Blossom
1.51 The First Solo Episode; a Confusion of Terms; Onwards, to the Introduction of the Solo Episode, Then to the Episode Itself
1.52 Ritornello 2 Complete
1.53 Solo Episode 2 Dominated By Thrilling Virtuosity from the Solo Violin
1.54 Ritornello 3: Highly Contrapuntal and Dominated By Subject-Derivatives, with Much Harmonic Fluidity
1.55 Ritornello 3 Continues: Engine of Harmonic Motion Repeated at Higher Pitch
1.56 More on Ritornello 3: The Use of Long, Sustained, Slightly Syncopated Notes in Upper Strings and Recorders
1.57 Ritornello 3 (Complete)
1.58 Solo Episode 3 - Less Solo Than Earlier Ones, What with (Albeit Very Discreet) Orchestral Accompaniment
1.59 The Two Recorders Converse in Canon, Accompanied for Six Exhilarating Bars By Cello 'Continuo'
1.60 Finishing Solo Exposition 3: Orchestral Cellos Introduce What Sounds Like It's Going to Be the Complete Fugue Subject But Isn't
1.61 Approaching the Final Ritornello; Stretto Explained
1.62 Cue to Final Ritornello, Noting Tension-Building 'Pedal Point' in Cellos and Double Bass
1.63 Coda - the 'Tail-Piece', with It's Surprising 'Hammer Strokes'
1.64 Cue to Third Movement
1.65 Third Movement (Complete)
2.1 Opening Music; Analysis and Phony Analysis; Shaw Quote; Music: Motif No.1
2.2 Music, Energy and Relationship
2.3 The Outlines of a Melody Emerge
2.4 The Opening Bar Again
2.5 Motif No.2: Ta/Dee-Ya, Dee-Ya, Dee-Ya
2.6 Motif No.3, and An Important Feature of It's Rhythm
2.7 Beethoven Fifth Symphony (Opening)
2.8 Motif No.4
2.9 Motif No.5
2.10 Motif No.6
2.11 Episode 1: A 'Love Duet'
2.12 Episode 1 Continued; Violin and Flute Reverse Direction of Their Theme; the 'Love Song' Motif Answered
2.13 'False' Ritornello; Soloists Interrupt; Rising 'Sighing' Motif; Harpsichord Continues Downwards
2.14 Four Things Going on at Once, in Violin, Flute, Harpsichord Right Hand, Harpsichord Left Hand
2.15 The Orchestra Returns, Picking Up at Exactly the Spot Where It Was Interrupted
2.16 The Harpsichord Intervenes with Derivative of Motif 4; Key Shifts from a Major to B Minor
2.17 The Orchestra Returns to Foreground and Brings This Section to An End
2.18 Harpsichord Emerges As Virtuoso; a Series of Expectations Are Frustrated
2.19 A Backwards Look; Blurred Distinctions Between Soloists and Orchestra; 'Mozartian' Development
2.20 Out of the Twilight Zone; a Sequence of Surprises
2.21 The Epoch-Making Harpsichord Cadenza and the Final Ritornello
2.22 Cue to First Movement
2.23 First Movement (Complete)
2.24 Introduction; the Opening Ritornello
2.25 The First Bar; the First Main Building Block
2.26 The Flute Motif
2.27 Opening of the First Solo Episode
2.28 An Important Motif; the Second Main Building Block
2.29 The Second Main Theme
2.30 Ritornello 2; Violin and Flute As 'Orchestra'
2.31 Episode 2; Inversion of Original Motifs
2.32 More on Episode 2
2.33 Episode 1 and Episode 2 Compared
2.34 Episode 2; Key Shifts from D Major to F Sharp Minor
2.35 Ritornello 3: An Exact Transposition of Ritornello 1
2.36 Episode 3 Contrasted with Episode 1
2.37 Episode 3 Described in Detail
2.38 Rotornello 4; Second Main Theme's First Appearance in a Ritornello
2.39 Episode 4: Dominated By Inversions
2.40 Cue to Second Movement
2.41 Second Movement (Complete)
2.42 Introduction: Ritornello 1
2.43 The Fugue Subject: Close Juxtaposition of Contrasting Elements
2.44 Flute Takes the 'Answer', with Countersubject in the Violin
2.45 Contrary Motion As a Contrapuntal Device
2.46 Contrary Motion As a Listening Aid; a New Theme
2.47 Playing with the Counter-Subject; a Musical Game of Tag
2.48 Hidden Rhythms: Background Variety Behind Foreground Uniformity
2.49 Fugal Writing and the Compatibility of Parts; the Exposition
2.50 Episode 1, Taken By Soloists, Contains Importand 'Seeds'
2.51 The Orchestra Enters at Last, But By Stealth
2.52 Stretto and Musical Football
2.53 Key Changes to B Minor, Introducing Extensive Middle Section
2.54 The Middle Section a Precursor of the Mozartian 'Development'
2.55 The Fugue Subject Out in Force: First Four Immediately Consecutive Entries Yet
2.56 Ambiguity of Mode and a Scottish Twist
2.57 Middle Section Continued; Harpsichord Dominates
2.58 Cue to Last Movement
2.59 Last Movement (Complete)