Tracklist:

The Brandenburgs As Concerti Grossi
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 Combinati
The 'Motto' Rhythm Hidden Even Within The Opening Bar
Motif No.3, Introduced By The Two Recorders, Has A Kind Of 'Hove
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
Opening Ritornello (Complete)
Episode 1 Begins With Virtuoso Entry Of The Solo Violin, Made Up
Motif No.3 Returns, Courtesy Of The Recorders, Recently Sideline
Ritonello 2, A Varied Repeat Of Ritornello 1, Arrives After Much
Episode 2, Part 1, Preceded By The 'Fanfare' Motif From Which It
Episode 2 Continued, With More Bravura Dazzle From The Solo Viol
Repeat Of Section For Purposes Of Hearing The Harmonic Movement
Ritornello 3, With The Prominent Participation Of The Soloists
Episode 3 Prove Retrospective, Featuring Transposed Repeats Of E
Ritornello 4, Not Altogether What It Might Seem; Solo Violin Tak
Episode 4. Cue To Part 1, Focusing On 'Soloistic' Counterpoint P
Return To Ritornello 4 To Hear Sources Of Episode 4, Part 2
Episode 4 Continued, With Emphasis Placed On Conversational Inte
Return To Opening Ritornello In Order To Enhance Awareness Of Th
Ritornello 5, Beginning
Ritornello 5 Continued, With Emphasis On The Determined Banishme
Cue To Complete Performance Of First Movement
First Movement (Complete)
Introduction: Rhythmic Motif Provides Basis For Whole Movement;
The Melody Not Much To Write Home About; Nor Is The Meek 'Answer
Putting The Two Together, Thereby Establishing A Relationship
Contrast And Syncopation - Their Relationship In Opening Section
Listening From The 'Bottom Up'
The Intertwining And Alteration Of Solo And Orchestra; The Irreg
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)
Introduction To The Third Movement...
Fugue Subject
First Counter-Subject
Second Counter-Subject
Bass Entry Of The Subject
Exposition (Complete)
First Episode; The Us 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 In
Ritornello 2 Complete
Solo Episode 2 Dominated by Thrilling Virtuosity From The Solo V
Ritornello 3: Highly Contrapuntal And Dominated By Subject-Deriv
Ritornello 3 Continues: Engine Of Harmonic Motion Repeated At Hi
More On Ritornello 3: The Use Of Long, Sustained, Slightly Synco
Ritornello 3 (Complete)
Solo Episode 3 - Less Solo Than Earlier Ones, What With (Albeit
The Two Recorders Converse In Canon, Accompanied For Six Exhilar
Finishing Solo Exposition 3: Orchestral Cellos Introduce What So
Approaching The Final Ritornello; Stretto Explained
Cue To Final Ritornello, Noting Tension-Building 'Pedal Point' I
Coda - The 'Tail-Piece', With Its Surprising 'Hammer Strokes'
Cue To Third Movement
Third Movement (Complete)
Opening Music; Analysis And Phony Analysis; Shaw Quote; Music: M
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
'False' Ritornello; Soloists Interrupt; Rising 'Sighing' Motif;
Four Things Going On At Once, In Violin, Flute, Harpsichord Righ
The Orchestra Returns, Picking Up At Exactly The Spot Where It W
The Harpsichord Intervenes With Derivative Of Motif 4; Key Shift
The Orchestra Returns To Foreground And Brings This Section To A
Harpsichord Emerges As Virtuoso; A Series Of Expectations Are Fr
A Backwards Look; Blurred Distinctions Between Soloists And Orch
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)
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
Rotornello 4; Second Main Theme's First Appearance In A Ritornel
Episode 4: Dominated By Inversions
Cue To Second Movement
Second Movement (Complete)
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 Importand '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 Consecuti
Ambiguity Of Mode And A Scottish Twist
Middle Section Continued; Harpsichord Dominates
Cue To Last Movement
Last Movement (Complete)

UPC: 636943805527
Label: Naxos
Release Date: 7.16.02
Format: CD

J Bach S - Introduction To Con Brandenburg 4/5 (2 CD)