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Jeremy Siepmann

Brandenburg Concerto No. 4 in G - First Movement: Return to opening Ritornello in order to enhance awareness of the contrast

Jeremy Siepmann

Classics Explained: Bach, J.S. - Brandenburg Concertos Nos 4 & 5 (Siepmann)

53 SEGUNDOS • JUL 26 2002

Lista de canciones del álbum

1
Brandenburg Concerto No. 4 in G: The Brandenburgs as concerti grossi
01:28
2
Brandenburg Concerto No. 4 in G - First Movement: Introduction: Melody, Theme and Motif; Bach's opening gambit
02:15
3
Brandenburg Concerto No. 4 in G - First Movement: Onwards and upwards: Motif No. 2 and its function
00:51
4
Brandenburg Concerto No. 4 in G - First Movement: The two elements of Motif No. 2 and the effect of their combination
00:29
5
Brandenburg Concerto No. 4 in G - First Movement: The 'motto' rhythm hidden even within the opening bar
01:07
6
Brandenburg Concerto No. 4 in G - First Movement: Motif No. 3, introduced by the two recorders, has a kind of 'hovering' character
00:27
7
Brandenburg Concerto No. 4 in G - First Movement: Motif No. 3 repeated for a second, 'directed' listen
00:23
8
Brandenburg Concerto No. 4 in G - First Movement: Bach reminds us of the opening
00:17
9
Brandenburg Concerto No. 4 in G - First Movement: Motif No. 4 - a steadily rising derivative of Motif No. 1
00:19
10
Brandenburg Concerto No. 4 in G - First Movement: Motif No. 5, a lovely, bouncy, syncopated flourish, in which all the instruments join
00:23
11
Brandenburg Concerto No. 4 in G - First Movement: Opening Ritornello (complete)
01:47
12
Brandenburg Concerto No. 4 in G - First Movement: Episode 1 begins with virtuoso entry of the solo violin, made up of alternating arpeggios
01:15
13
Brandenburg Concerto No. 4 in G - First Movement: Motif No. 3 returns, courtesy of the recorders, recently sidelined by the violin
00:47
14
Brandenburg Concerto No. 4 in G - First Movement: Ritornello 2, a varied repeat of Ritornello 1, arrives after much harmonic movement
00:43
15
Brandenburg Concerto No. 4 in G - First Movement: Episode 2, Part 1, preceded by the 'fanfare' motif from which its first theme derives
00:59
16
Brandenburg Concerto No. 4 in G - First Movement: Episode 2 continued, with more bravura dazzle from the solo violin
01:05
17
Brandenburg Concerto No. 4 in G - First Movement: Repeat of section for purposes of hearing the harmonic movement
00:48
18
Brandenburg Concerto No. 4 in G - First Movement: Ritornello 3, with the prominent participation of the soloists
00:47
19
Brandenburg Concerto No. 4 in G - First Movement: Episode 3 proves retrospective, featuring transposed repeats of earlier material
00:49
20
Brandenburg Concerto No. 4 in G - First Movement: Ritornello 4, not altogether what it might seem; solo violin takes 'motto' motif
00:48
21
Brandenburg Concerto No. 4 in G - First Movement: Episode 4. Cue to Part 1, focusing on 'soloistic' counterpoint provided by the continuo
00:56
22
Brandenburg Concerto No. 4 in G - First Movement: Return to Ritornello 4 to hear sources of Episode 4, Part 2
00:37
23
Brandenburg Concerto No. 4 in G - First Movement: Episode 4 continued, with emphasis placed on conversational interchanges
00:28
24
Brandenburg Concerto No. 4 in G - First Movement: Return to opening Ritornello in order to enhance awareness of the contrast
00:53
25
Brandenburg Concerto No. 4 in G - First Movement: Ritornello 5, beginning
00:10
26
Brandenburg Concerto No. 4 in G - First Movement: Ritornello 5 continued, with emphasis on the determined banishment of B Minor
00:56
27
Brandenburg Concerto No. 4 in G - First Movement: Cue to complete performance of First Movement
00:46
28
Brandenburg Concerto No. 4 in G - First Movement: First Movement (complete)
06:20
29
Brandenburg Concerto No. 4 in G - Second Movement: Introduction: Rhythmic Motif provides basis for whole movement
01:17
30
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
00:14
31
Brandenburg Concerto No. 4 in G - Second Movement: Putting the two together, thereby establishing a relationship
00:21
32
Brandenburg Concerto No. 4 in G - Second Movement: Contrast and syncopation - their relationship in opening section
02:18
33
Brandenburg Concerto No. 4 in G - Second Movement: Listening from the 'botton up'
02:48
34
Brandenburg Concerto No. 4 in G - Second Movement: The intertwining and alternation of solo and orchestra; the irregularity of metrical groupings
02:14
35
Brandenburg Concerto No. 4 in G - Second Movement: The next orchestral phrase; slowing the pace but not the tempo
00:28
36
Brandenburg Concerto No. 4 in G - Second Movement: The First Section (complete)
01:37
37
Brandenburg Concerto No. 4 in G - Second Movement: The next section; foreground symmetry and background variety
01:29
38
Brandenburg Concerto No. 4 in G - Second Movement: The central section's groupings are hugely asymmetrical
01:12
39
Brandenburg Concerto No. 4 in G - Second Movement: Cue to Second Movement as a whole
00:11
40
Brandenburg Concerto No. 4 in G - Second Movement: Second Movement (complete)
03:17
41
Brandenburg Concerto No. 4 in G - Third Movement: Introduction to the Third Movement...
04:57
42
Brandenburg Concerto No. 4 in G - Third Movement: Fugue subject
01:04
43
Brandenburg Concerto No. 4 in G - Third Movement: First counter-subject
00:31
44
Brandenburg Concerto No. 4 in G - Third Movement: Second counter-subject
00:51
45
Brandenburg Concerto No. 4 in G - Third Movement: Bass entry of the subject
00:14
46
Brandenburg Concerto No. 4 in G - Third Movement: Exposition (complete)
00:33
47
Brandenburg Concerto No. 4 in G - Third Movement: First Episode; the use of fragmentary derivatives
00:33
48
Brandenburg Concerto No. 4 in G - Third Movement: The difference a detail can make!
00:15
49
Brandenburg Concerto No. 4 in G - Third Movement: Harmonic Rhythm defined; back to the beginning to find the seed...
01:07
50
Brandenburg Concerto No. 4 in G - Third Movement: ...and now the blossom
00:21
51
Brandenburg Concerto No. 4 in G - Third Movement: The First Solo Episode; a confusion of terms; onwards, to the introduction of the solo episode
01:59
52
Brandenburg Concerto No. 4 in G - Third Movement: Ritornello 2 complete
01:11
53
Brandenburg Concerto No. 4 in G - Third Movement: Solo Episode 2 dominated by thrilling virtuosity from the solo violin
01:47
54
Brandenburg Concerto No. 4 in G - Third Movement: Ritornello 3: highly contrapuntal and dominated by subject-derivatives, with much harmonic fluidity
00:47
55
Brandenburg Concerto No. 4 in G - Third Movement: Ritornello 3 continues: engine of harmonic motion repeated at higher pitch
00:06
56
Brandenburg Concerto No. 4 in G - Third Movement: More on Ritornello 3: the use of long, sustained, slightly syncopated notes in upper strings
00:21
57
Brandenburg Concerto No. 4 in G - Third Movement: Ritornello 3 (complete)
00:31
58
Brandenburg Concerto No. 4 in G - Third Movement: Solo Episode 3 - less solo than earlier ones, what with (albeit very discreet)
00:28
59
Brandenburg Concerto No. 4 in G - Third Movement: The two recorders converse in canon, accompanied for six exhilarating bars by cello 'continuo'
00:22
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Brandenburg Concerto No. 4 in G - Third Movement: Finishing Solo Exposition 3: orchestral cellos introduce what sounds
00:34
61
Brandenburg Concerto No. 4 in G - Third Movement: Approaching the final Ritornello; stretto explained
00:56
62
Brandenburg Concerto No. 4 in G - Third Movement: Cue to Finale Ritornello, noting tension-building 'pedal point' in cellos and double bass
01:02
63
Brandenburg Concerto No. 4 in G - Third Movement: Coda - the 'tail-piece', with its surprising 'hammer strokes'
00:58
64
Brandenburg Concerto No. 4 in G - Third Movement: Cue to Third Movement
00:20
65
Brandenburg Concerto No. 4 in G - Third Movement: Third Movement (complete)
04:32
66
Brandenburg Concerto No. 5 in D - First Movement: Opening Music; analysis and phony analysis; Shaw quote; music: Motif No. 1
03:08
67
Brandenburg Concerto No. 5 in D - First Movement: Music, energy and relationship
00:59
68
Brandenburg Concerto No. 5 in D - First Movement: The outlines of a melody emerge
00:42
69
Brandenburg Concerto No. 5 in D - First Movement: The opening bar again
00:25
70
Brandenburg Concerto No. 5 in D - First Movement: Motif No. 2: ta / dee-ya, dee-ya, dee-ya
00:11
71
Brandenburg Concerto No. 5 in D - First Movement: Motif No. 3, and an important feature of its rhythm
00:32
72
Brandenburg Concerto No. 5 in D - First Movement: Beethoven Fifth Symphony (opening)
00:20
73
Brandenburg Concerto No. 5 in D - First Movement: Motif No. 4
00:12
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Brandenburg Concerto No. 5 in D - First Movement: Motif No. 5
00:05
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Brandenburg Concerto No. 5 in D - First Movement: Motif No. 6
00:06
76
Brandenburg Concerto No. 5 in D - First Movement: Episode 1: a 'Love Duet'
01:39
77
Brandenburg Concerto No. 5 in D - First Movement: Episode 1 continued; violin and flute reverse direction of their theme
01:01
78
Brandenburg Concerto No. 5 in D - First Movement: 'False' Ritornello; soloists interrupt; rising 'sighing' motif; harpsichord continues downwards
00:59
79
Brandenburg Concerto No. 5 in D - First Movement: Four things going on at once, in violin, flute, harpsichord right hand, harpsichord left hand
00:39
80
Brandenburg Concerto No. 5 in D - First Movement: The orchestra returns, picking up at exactly the spot where it was interrupted
00:28
81
Brandenburg Concerto No. 5 in D - First Movement: The harpsichord intervenes with derivative of Motif 4; key shifts from A Major to B Minor
00:25
82
Brandenburg Concerto No. 5 in D - First Movement: The orchestra returns to foreground and brings this section to an end
00:42
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Brandenburg Concerto No. 5 in D - First Movement: Harpsichord emerges as virtuoso; a series of expectations are frustrated
02:33
84
Brandenburg Concerto No. 5 in D - First Movement: A backwards look; blurred distinctions between soloists and orchestra; 'Mozartian' development
04:36
85
Brandenburg Concerto No. 5 in D - First Movement: Out of the Twilight Zone; a sequence of surprises
01:57
86
Brandenburg Concerto No. 5 in D - First Movement: The epoch-making harpsichord cadenza and the final Ritornello
04:51
87
Brandenburg Concerto No. 5 in D - First Movement: Cue to First Movement
00:52
88
Brandenburg Concerto No. 5 in D - First Movement: First Movement (complete)
09:00
89
Brandenburg Concerto No. 5 in D - Second Movement: Introduction; the opening Ritornello
02:34
90
Brandenburg Concerto No. 5 in D - Second Movement: The first bar; the first main building block
00:16
91
Brandenburg Concerto No. 5 in D - Second Movement: The flute motif
00:16
92
Brandenburg Concerto No. 5 in D - Second Movement: Opening of the first solo episode
01:04
93
Brandenburg Concerto No. 5 in D - Second Movement: An important motif; the second main building block
00:17
94
Brandenburg Concerto No. 5 in D - Second Movement: The second main theme
00:33
95
Brandenburg Concerto No. 5 in D - Second Movement: Ritornello 2; violin and flute as 'orchestra'
00:52
96
Brandenburg Concerto No. 5 in D - Second Movement: Episode 2; inversion of original motifs
00:38
97
Brandenburg Concerto No. 5 in D - Second Movement: More on Episode 2
00:10
98
Brandenburg Concerto No. 5 in D - Second Movement: Episode 1 and Episode 2 compared
00:21
99
Brandenburg Concerto No. 5 in D - Second Movement: Episode 2; key shifts from D Major to F-Sharp Minor
00:49
100
Brandenburg Concerto No. 5 in D - Second Movement: Ritornello 3: an exact transposition of Ritornello 1
00:47
101
Brandenburg Concerto No. 5 in D - Second Movement: Episode 3 contrasted with Episode 1
00:34
102
Brandenburg Concerto No. 5 in D - Second Movement: Episode 3 described in detail
01:05
103
Brandenburg Concerto No. 5 in D - Second Movement: Ritornello 4; second main theme's first appearance in a Ritornello
00:57
104
Brandenburg Concerto No. 5 in D - Second Movement: Episode 4: dominated by inversions
01:34
105
Brandenburg Concerto No. 5 in D - Second Movement: Cue to Second Movement
00:06
106
Brandenburg Concerto No. 5 in D - Second Movement: Second Movement (complete)
05:39
107
Brandenburg Concerto No. 5 in D - Third Movement: Introduction: Ritornello 1
00:54
108
Brandenburg Concerto No. 5 in D - Third Movement: The Fugue Subject: close juxtaposition of contrasting elements
01:21
109
Brandenburg Concerto No. 5 in D - Third Movement: Flute takes the 'answer', with countersubject in the violin
00:33
110
Brandenburg Concerto No. 5 in D - Third Movement: Contrary motion as a contrapuntal device
00:23
111
Brandenburg Concerto No. 5 in D - Third Movement: Contrary motion as a listening aid; a new theme
00:32
112
Brandenburg Concerto No. 5 in D - Third Movement: Playing with the counter-subject; a musical game of tag
00:51
113
Brandenburg Concerto No. 5 in D - Third Movement: Hidden rhythms: background variety behind foreground uniformity
00:44
114
Brandenburg Concerto No. 5 in D - Third Movement: Fugal writing and the compatibility of parts; the Exposition
01:35
115
Brandenburg Concerto No. 5 in D - Third Movement: Episode 1, taken by soloists, contains important 'seeds'
00:37
116
Brandenburg Concerto No. 5 in D - Third Movement: The orchestra enters at last, but by stealth
01:19
117
Brandenburg Concerto No. 5 in D - Third Movement: Stretto and musical football
01:02
118
Brandenburg Concerto No. 5 in D - Third Movement: Key changes to B Minor, introducing extensive Middle Section
01:24
119
Brandenburg Concerto No. 5 in D - Third Movement: The Middle Section a precursor of the Mozartian 'development'
03:06
120
Brandenburg Concerto No. 5 in D - Third Movement: The Fugue Subject out in force: first four immediately consecutive entries yet
01:51
121
Brandenburg Concerto No. 5 in D - Third Movement: Ambiguity of mode and a Scottish twist
00:38
122
Brandenburg Concerto No. 5 in D - Third Movement: Middle Section sontinued; harpsichord dominates
02:11
123
Brandenburg Concerto No. 5 in D - Third Movement: Cue to Last Movement
00:19
124
Brandenburg Concerto No. 5 in D - Third Movement: Last Movement (complete)
04:55
125
Classics Explained: Bach, J.S. - Brandenburg Concertos Nos 4 & 5 (Siepmann)
00:00
Classics Explained: Bach, J.S. - Brandenburg Concertos Nos 4 & 5 (Siepmann)
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Brandenburg Concerto No. 4 in G - First Movement: Return to opening Ritornello in order to enhance awareness of the contrast
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