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Brandenburg Concerto No. 4 in G: The Brandenburgs as concerti grossi
Brandenburg Concerto No. 4 in G - First Movement: Introduction: Melody, Theme and Motif; Bach's opening gambit
Brandenburg Concerto No. 4 in G - First Movement: Onwards and upwards: Motif No. 2 and its function
Brandenburg Concerto No. 4 in G - First Movement: The two elements of Motif No. 2 and the effect of their combination
Brandenburg Concerto No. 4 in G - First Movement: The 'motto' rhythm hidden even within the opening bar
Brandenburg Concerto No. 4 in G - First Movement: Motif No. 3, introduced by the two recorders, has a kind of 'hovering' character
Brandenburg Concerto No. 4 in G - First Movement: Motif No. 3 repeated for a second, 'directed' listen
Brandenburg Concerto No. 4 in G - First Movement: Bach reminds us of the opening
Brandenburg Concerto No. 4 in G - First Movement: Motif No. 4 - a steadily rising derivative of Motif No. 1
Brandenburg Concerto No. 4 in G - First Movement: Motif No. 5, a lovely, bouncy, syncopated flourish, in which all the instruments join
Brandenburg Concerto No. 4 in G - First Movement: Opening Ritornello (complete)
Brandenburg Concerto No. 4 in G - First Movement: Episode 1 begins with virtuoso entry of the solo violin, made up of alternating arpeggios
Brandenburg Concerto No. 4 in G - First Movement: Motif No. 3 returns, courtesy of the recorders, recently sidelined by the violin
Brandenburg Concerto No. 4 in G - First Movement: Ritornello 2, a varied repeat of Ritornello 1, arrives after much harmonic movement
Brandenburg Concerto No. 4 in G - First Movement: Episode 2, Part 1, preceded by the 'fanfare' motif from which its first theme derives
Brandenburg Concerto No. 4 in G - First Movement: Episode 2 continued, with more bravura dazzle from the solo violin
Brandenburg Concerto No. 4 in G - First Movement: Repeat of section for purposes of hearing the harmonic movement
Brandenburg Concerto No. 4 in G - First Movement: Ritornello 3, with the prominent participation of the soloists
Brandenburg Concerto No. 4 in G - First Movement: Episode 3 proves retrospective, featuring transposed repeats of earlier material
Brandenburg Concerto No. 4 in G - First Movement: Ritornello 4, not altogether what it might seem; solo violin takes 'motto' motif
Brandenburg Concerto No. 4 in G - First Movement: Episode 4. Cue to Part 1, focusing on 'soloistic' counterpoint provided by the continuo
Brandenburg Concerto No. 4 in G - First Movement: Return to Ritornello 4 to hear sources of Episode 4, Part 2
Brandenburg Concerto No. 4 in G - First Movement: Episode 4 continued, with emphasis placed on conversational interchanges
Brandenburg Concerto No. 4 in G - First Movement: Return to opening Ritornello in order to enhance awareness of the contrast
Brandenburg Concerto No. 4 in G - First Movement: Ritornello 5, beginning
Brandenburg Concerto No. 4 in G - First Movement: Ritornello 5 continued, with emphasis on the determined banishment of B Minor
Brandenburg Concerto No. 4 in G - First Movement: Cue to complete performance of First Movement
Brandenburg Concerto No. 4 in G - First Movement: First Movement (complete)
Brandenburg Concerto No. 4 in G - Second Movement: Introduction: Rhythmic Motif provides basis for whole movement
Brandenburg Concerto No. 4 in G - Second Movement: The melody not much to write home about; nor is the meek 'answer' offered by the soloists
Brandenburg Concerto No. 4 in G - Second Movement: Putting the two together, thereby establishing a relationship
Brandenburg Concerto No. 4 in G - Second Movement: Contrast and syncopation - their relationship in opening section
Brandenburg Concerto No. 4 in G - Second Movement: Listening from the 'botton up'
Brandenburg Concerto No. 4 in G - Second Movement: The intertwining and alternation of solo and orchestra; the irregularity of metrical groupings
Brandenburg Concerto No. 4 in G - Second Movement: The next orchestral phrase; slowing the pace but not the tempo
Brandenburg Concerto No. 4 in G - Second Movement: The First Section (complete)
Brandenburg Concerto No. 4 in G - Second Movement: The next section; foreground symmetry and background variety
Brandenburg Concerto No. 4 in G - Second Movement: The central section's groupings are hugely asymmetrical
Brandenburg Concerto No. 4 in G - Second Movement: Cue to Second Movement as a whole
Brandenburg Concerto No. 4 in G - Second Movement: Second Movement (complete)
Brandenburg Concerto No. 4 in G - Third Movement: Introduction to the Third Movement...
Brandenburg Concerto No. 4 in G - Third Movement: Fugue subject
Brandenburg Concerto No. 4 in G - Third Movement: First counter-subject
Brandenburg Concerto No. 4 in G - Third Movement: Second counter-subject
Brandenburg Concerto No. 4 in G - Third Movement: Bass entry of the subject
Brandenburg Concerto No. 4 in G - Third Movement: Exposition (complete)
Brandenburg Concerto No. 4 in G - Third Movement: First Episode; the use of fragmentary derivatives
Brandenburg Concerto No. 4 in G - Third Movement: The difference a detail can make!
Brandenburg Concerto No. 4 in G - Third Movement: Harmonic Rhythm defined; back to the beginning to find the seed...
Brandenburg Concerto No. 4 in G - Third Movement: ...and now the blossom
Brandenburg Concerto No. 4 in G - Third Movement: The First Solo Episode; a confusion of terms; onwards, to the introduction of the solo episode
Brandenburg Concerto No. 4 in G - Third Movement: Ritornello 2 complete
Brandenburg Concerto No. 4 in G - Third Movement: Solo Episode 2 dominated by thrilling virtuosity from the solo violin
Brandenburg Concerto No. 4 in G - Third Movement: Ritornello 3: highly contrapuntal and dominated by subject-derivatives, with much harmonic fluidity
Brandenburg Concerto No. 4 in G - Third Movement: Ritornello 3 continues: engine of harmonic motion repeated at higher pitch
Brandenburg Concerto No. 4 in G - Third Movement: More on Ritornello 3: the use of long, sustained, slightly syncopated notes in upper strings
Brandenburg Concerto No. 4 in G - Third Movement: Ritornello 3 (complete)
Brandenburg Concerto No. 4 in G - Third Movement: Solo Episode 3 - less solo than earlier ones, what with (albeit very discreet)
Brandenburg Concerto No. 4 in G - Third Movement: The two recorders converse in canon, accompanied for six exhilarating bars by cello 'continuo'
Brandenburg Concerto No. 4 in G - Third Movement: Finishing Solo Exposition 3: orchestral cellos introduce what sounds
Brandenburg Concerto No. 4 in G - Third Movement: Approaching the final Ritornello; stretto explained
Brandenburg Concerto No. 4 in G - Third Movement: Cue to Finale Ritornello, noting tension-building 'pedal point' in cellos and double bass
Brandenburg Concerto No. 4 in G - Third Movement: Coda - the 'tail-piece', with its surprising 'hammer strokes'
Brandenburg Concerto No. 4 in G - Third Movement: Cue to Third Movement
Brandenburg Concerto No. 4 in G - Third Movement: Third Movement (complete)
Brandenburg Concerto No. 5 in D - First Movement: Opening Music; analysis and phony analysis; Shaw quote; music: Motif No. 1
Brandenburg Concerto No. 5 in D - First Movement: Music, energy and relationship
Brandenburg Concerto No. 5 in D - First Movement: The outlines of a melody emerge
Brandenburg Concerto No. 5 in D - First Movement: The opening bar again
Brandenburg Concerto No. 5 in D - First Movement: Motif No. 2: ta / dee-ya, dee-ya, dee-ya
Brandenburg Concerto No. 5 in D - First Movement: Motif No. 3, and an important feature of its rhythm
Brandenburg Concerto No. 5 in D - First Movement: Beethoven Fifth Symphony (opening)
Brandenburg Concerto No. 5 in D - First Movement: Motif No. 4
Brandenburg Concerto No. 5 in D - First Movement: Motif No. 5
Brandenburg Concerto No. 5 in D - First Movement: Motif No. 6
Brandenburg Concerto No. 5 in D - First Movement: Episode 1: a 'Love Duet'
Brandenburg Concerto No. 5 in D - First Movement: Episode 1 continued; violin and flute reverse direction of their theme
Brandenburg Concerto No. 5 in D - First Movement: 'False' Ritornello; soloists interrupt; rising 'sighing' motif; harpsichord continues downwards
Brandenburg Concerto No. 5 in D - First Movement: Four things going on at once, in violin, flute, harpsichord right hand, harpsichord left hand
Brandenburg Concerto No. 5 in D - First Movement: The orchestra returns, picking up at exactly the spot where it was interrupted
Brandenburg Concerto No. 5 in D - First Movement: The harpsichord intervenes with derivative of Motif 4; key shifts from A Major to B Minor
Brandenburg Concerto No. 5 in D - First Movement: The orchestra returns to foreground and brings this section to an end
Brandenburg Concerto No. 5 in D - First Movement: Harpsichord emerges as virtuoso; a series of expectations are frustrated
Brandenburg Concerto No. 5 in D - First Movement: A backwards look; blurred distinctions between soloists and orchestra; 'Mozartian' development
Brandenburg Concerto No. 5 in D - First Movement: Out of the Twilight Zone; a sequence of surprises
Brandenburg Concerto No. 5 in D - First Movement: The epoch-making harpsichord cadenza and the final Ritornello
Brandenburg Concerto No. 5 in D - First Movement: Cue to First Movement
Brandenburg Concerto No. 5 in D - First Movement: First Movement (complete)
Brandenburg Concerto No. 5 in D - Second Movement: Introduction; the opening Ritornello
Brandenburg Concerto No. 5 in D - Second Movement: The first bar; the first main building block
Brandenburg Concerto No. 5 in D - Second Movement: The flute motif
Brandenburg Concerto No. 5 in D - Second Movement: Opening of the first solo episode
Brandenburg Concerto No. 5 in D - Second Movement: An important motif; the second main building block
Brandenburg Concerto No. 5 in D - Second Movement: The second main theme
Brandenburg Concerto No. 5 in D - Second Movement: Ritornello 2; violin and flute as 'orchestra'
Brandenburg Concerto No. 5 in D - Second Movement: Episode 2; inversion of original motifs
Brandenburg Concerto No. 5 in D - Second Movement: More on Episode 2
Brandenburg Concerto No. 5 in D - Second Movement: Episode 1 and Episode 2 compared
Brandenburg Concerto No. 5 in D - Second Movement: Episode 2; key shifts from D Major to F-Sharp Minor
Brandenburg Concerto No. 5 in D - Second Movement: Ritornello 3: an exact transposition of Ritornello 1
Brandenburg Concerto No. 5 in D - Second Movement: Episode 3 contrasted with Episode 1
Brandenburg Concerto No. 5 in D - Second Movement: Episode 3 described in detail
Brandenburg Concerto No. 5 in D - Second Movement: Ritornello 4; second main theme's first appearance in a Ritornello
Brandenburg Concerto No. 5 in D - Second Movement: Episode 4: dominated by inversions
Brandenburg Concerto No. 5 in D - Second Movement: Cue to Second Movement
Brandenburg Concerto No. 5 in D - Second Movement: Second Movement (complete)
Brandenburg Concerto No. 5 in D - Third Movement: Introduction: Ritornello 1
Brandenburg Concerto No. 5 in D - Third Movement: The Fugue Subject: close juxtaposition of contrasting elements
Brandenburg Concerto No. 5 in D - Third Movement: Flute takes the 'answer', with countersubject in the violin
Brandenburg Concerto No. 5 in D - Third Movement: Contrary motion as a contrapuntal device
Brandenburg Concerto No. 5 in D - Third Movement: Contrary motion as a listening aid; a new theme
Brandenburg Concerto No. 5 in D - Third Movement: Playing with the counter-subject; a musical game of tag
Brandenburg Concerto No. 5 in D - Third Movement: Hidden rhythms: background variety behind foreground uniformity
Brandenburg Concerto No. 5 in D - Third Movement: Fugal writing and the compatibility of parts; the Exposition
Brandenburg Concerto No. 5 in D - Third Movement: Episode 1, taken by soloists, contains important 'seeds'
Brandenburg Concerto No. 5 in D - Third Movement: The orchestra enters at last, but by stealth
Brandenburg Concerto No. 5 in D - Third Movement: Stretto and musical football
Brandenburg Concerto No. 5 in D - Third Movement: Key changes to B Minor, introducing extensive Middle Section
Brandenburg Concerto No. 5 in D - Third Movement: The Middle Section a precursor of the Mozartian 'development'
Brandenburg Concerto No. 5 in D - Third Movement: The Fugue Subject out in force: first four immediately consecutive entries yet
Brandenburg Concerto No. 5 in D - Third Movement: Ambiguity of mode and a Scottish twist
Brandenburg Concerto No. 5 in D - Third Movement: Middle Section sontinued; harpsichord dominates
Brandenburg Concerto No. 5 in D - Third Movement: Cue to Last Movement
Brandenburg Concerto No. 5 in D - Third Movement: Last Movement (complete)
℗© 2002 Naxos
