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