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

CD - 1

Johann Sebastian Bach

Brandenburg Concerto No. 4 in G

 

1. The Brandenburgs as concerti grossi

00:01:28

Brandenburg Concerto No. 4 in G - First Movement

 

2. Introduction: Melody, Theme and Motif; Bach's opening gambit

00:02:15

 

3. Onwards and upwards: Motif No. 2 and its function

00:00:51

 

4. The two elements of Motif No. 2 and the effect of their combination

00:00:28

 

5. The 'motto' rhythm hidden even within the opening bar

00:01:07

 

6. Motif No. 3, introduced by the two recorders, has a kind of 'hovering' character

00:00:26

 

7. Motif No. 3 repeated for a second, 'directed' listen

00:00:23

 

8. Bach reminds us of the opening

00:00:17

 

9. Motif No. 4 - a steadily rising derivative of Motif No. 1

00:00:19

 

10. Motif No. 5, a lovely, bouncy, syncopated flourish, in which all the instruments join

00:00:23

 

11. Opening Ritornello (complete)

00:01:47

 

12. Episode 1 begins with virtuoso entry of the solo violin, made up of alternating arpeggios

00:01:15

 

13. Motif No. 3 returns, courtesy of the recorders, recently sidelined by the violin

00:00:47

 

14. Ritornello 2, a varied repeat of Ritornello 1, arrives after much harmonic movement

00:00:43

 

15. Episode 2, Part 1, preceded by the 'fanfare' motif from which its first theme derives

00:00:59

 

16. Episode 2 continued, with more bravura dazzle from the solo violin

00:01:05

 

17. Repeat of section for purposes of hearing the harmonic movement

00:00:47

 

18. Ritornello 3, with the prominent participation of the soloists

00:00:47

 

19. Episode 3 proves retrospective, featuring transposed repeats of earlier material

00:00:49

 

20. Ritornello 4, not altogether what it might seem; solo violin takes 'motto' motif

00:00:48

 

21. Episode 4. Cue to Part 1, focusing on 'soloistic' counterpoint provided by the continuo

00:00:56

 

22. Return to Ritornello 4 to hear sources of Episode 4, Part 2

00:00:36

 

23. Episode 4 continued, with emphasis placed on conversational interchanges

00:00:28

 

24. Return to opening Ritornello in order to enhance awareness of the contrast

00:00:53

 

25. Ritornello 5, beginning

00:00:10

 

26. Ritornello 5 continued, with emphasis on the determined banishment of B Minor

00:00:56

 

27. Cue to complete performance of First Movement

00:00:46

 

28. First Movement (complete)

00:06:19

Brandenburg Concerto No. 4 in G - Second Movement

 

29. Introduction: Rhythmic Motif provides basis for whole movement

00:01:17

 

30. The melody not much to write home about; nor is the meek 'answer' offered by the soloists

00:00:14

 

31. Putting the two together, thereby establishing a relationship

00:00:21

 

32. Contrast and syncopation - their relationship in opening section

00:02:18

 

33. Listening from the 'botton up'

00:02:48

 

34. The intertwining and alternation of solo and orchestra; the irregularity of metrical groupings

00:02:14

 

35. The next orchestral phrase; slowing the pace but not the tempo

00:00:28

 

36. The First Section (complete)

00:01:36

 

37. The next section; foreground symmetry and background variety

00:01:29

 

38. The central section's groupings are hugely asymmetrical

00:01:12

 

39. Cue to Second Movement as a whole

00:00:11

 

40. Second Movement (complete)

00:03:17

Brandenburg Concerto No. 4 in G - Third Movement

 

41. Introduction to the Third Movement...

00:04:57

 

42. Fugue subject

00:01:04

 

43. First counter-subject

00:00:31

 

44. Second counter-subject

00:00:51

 

45. Bass entry of the subject

00:00:14

 

46. Exposition (complete)

00:00:33

 

47. First Episode; the use of fragmentary derivatives

00:00:33

 

48. The difference a detail can make!

00:00:15

 

49. Harmonic Rhythm defined; back to the beginning to find the seed...

00:01:06

 

50. ...and now the blossom

00:00:21

 

51. The First Solo Episode; a confusion of terms; onwards, to the introduction of the solo episode

00:01:59

 

52. Ritornello 2 complete

00:01:11

 

53. Solo Episode 2 dominated by thrilling virtuosity from the solo violin

00:01:47

 

54. Ritornello 3: highly contrapuntal and dominated by subject-derivatives, with much harmonic fluidity

00:00:46

 

55. Ritornello 3 continues: engine of harmonic motion repeated at higher pitch

00:00:06

 

56. More on Ritornello 3: the use of long, sustained, slightly syncopated notes in upper strings

00:00:21

 

57. Ritornello 3 (complete)

00:00:31

 

58. Solo Episode 3 - less solo than earlier ones, what with (albeit very discreet)

00:00:28

 

59. The two recorders converse in canon, accompanied for six exhilarating bars by cello 'continuo'

00:00:22

 

60. Finishing Solo Exposition 3: orchestral cellos introduce what sounds

00:00:33

 

61. Approaching the final Ritornello; stretto explained

00:00:56

 

62. Cue to Finale Ritornello, noting tension-building 'pedal point' in cellos and double bass

00:01:02

 

63. Coda - the 'tail-piece', with its surprising 'hammer strokes'

00:00:58

 

64. Cue to Third Movement

00:00:19

 

65. Third Movement (complete)

00:04:31

CD - 2

Johann Sebastian Bach

Brandenburg Concerto No. 5 in D - First Movement

 

1. Opening Music; analysis and phony analysis; Shaw quote; music: Motif No. 1

00:03:07

 

2. Music, energy and relationship

00:00:58

 

3. The outlines of a melody emerge

00:00:41

 

4. The opening bar again

00:00:25

 

5. Motif No. 2: ta / dee-ya, dee-ya, dee-ya

00:00:11

 

6. Motif No. 3, and an important feature of its rhythm

00:00:32

 

7. Beethoven Fifth Symphony (opening)

00:00:19

 

8. Motif No. 4

00:00:12

 

9. Motif No. 5

00:00:04

 

10. Motif No. 6

00:00:05

 

11. Episode 1: a 'Love Duet'

00:01:39

 

12. Episode 1 continued; violin and flute reverse direction of their theme

00:01:01

 

13. 'False' Ritornello; soloists interrupt; rising 'sighing' motif; harpsichord continues downwards

00:00:59

 

14. Four things going on at once, in violin, flute, harpsichord right hand, harpsichord left hand

00:00:39

 

15. The orchestra returns, picking up at exactly the spot where it was interrupted

00:00:28

 

16. The harpsichord intervenes with derivative of Motif 4; key shifts from A Major to B Minor

00:00:25

 

17. The orchestra returns to foreground and brings this section to an end

00:00:41

 

18. Harpsichord emerges as virtuoso; a series of expectations are frustrated

00:02:32

 

19. A backwards look; blurred distinctions between soloists and orchestra; 'Mozartian' development

00:04:35

 

20. Out of the Twilight Zone; a sequence of surprises

00:01:57

 

21. The epoch-making harpsichord cadenza and the final Ritornello

00:04:50

 

22. Cue to First Movement

00:00:52

 

23. First Movement (complete)

00:08:59

Brandenburg Concerto No. 5 in D - Second Movement

 

24. Introduction; the opening Ritornello

00:02:33

 

25. The first bar; the first main building block

00:00:16

 

26. The flute motif

00:00:16

 

27. Opening of the first solo episode

00:01:04

 

28. An important motif; the second main building block

00:00:17

 

29. The second main theme

00:00:32

 

30. Ritornello 2; violin and flute as 'orchestra'

00:00:52

 

31. Episode 2; inversion of original motifs

00:00:38

 

32. More on Episode 2

00:00:10

 

33. Episode 1 and Episode 2 compared

00:00:21

 

34. Episode 2; key shifts from D Major to F-Sharp Minor

00:00:49

 

35. Ritornello 3: an exact transposition of Ritornello 1

00:00:46

 

36. Episode 3 contrasted with Episode 1

00:00:33

 

37. Episode 3 described in detail

00:01:05

 

38. Ritornello 4; second main theme's first appearance in a Ritornello

00:00:57

 

39. Episode 4: dominated by inversions

00:01:34

 

40. Cue to Second Movement

00:00:06

 

41. Second Movement (complete)

00:05:39

Brandenburg Concerto No. 5 in D - Third Movement

 

42. Introduction: Ritornello 1

00:00:54

 

43. The Fugue Subject: close juxtaposition of contrasting elements

00:01:21

 

44. Flute takes the 'answer', with countersubject in the violin

00:00:33

 

45. Contrary motion as a contrapuntal device

00:00:23

 

46. Contrary motion as a listening aid; a new theme

00:00:31

 

47. Playing with the counter-subject; a musical game of tag

00:00:51

 

48. Hidden rhythms: background variety behind foreground uniformity

00:00:43

 

49. Fugal writing and the compatibility of parts; the Exposition

00:01:35

 

50. Episode 1, taken by soloists, contains important 'seeds'

00:00:37

 

51. The orchestra enters at last, but by stealth

00:01:19

 

52. Stretto and musical football

00:01:02

 

53. Key changes to B Minor, introducing extensive Middle Section

00:01:24

 

54. The Middle Section a precursor of the Mozartian 'development'

00:03:05

 

55. The Fugue Subject out in force: first four immediately consecutive entries yet

00:01:51

 

56. Ambiguity of mode and a Scottish twist

00:00:38

 

57. Middle Section sontinued; harpsichord dominates

00:02:10

 

58. Cue to Last Movement

00:00:19

 

59. Last Movement (complete)

00:04:55