124 Tracks, 2:32:39
- 01:28The Brandenburgs as concerti grossi
- 02:15Introduction: Melody, Theme and Motif; Bach's opening gambit
- 00:51Onwards and upwards: Motif No. 2 and its function
- 00:29The two elements of Motif No. 2 and the effect of their combination
- 01:07The 'motto' rhythm hidden even within the opening bar
- 00:27Motif No. 3, introduced by the two recorders, has a kind of 'hovering' character
- 00:23Motif No. 3 repeated for a second, 'directed' listen
- 00:17Bach reminds us of the opening
- 00:20Motif No. 4 - a steadily rising derivative of Motif No. 1
- 00:23Motif No. 5, a lovely, bouncy, syncopated flourish, in which all the instruments join
- 01:47Opening Ritornello (complete)
- 01:15Episode 1 begins with virtuoso entry of the solo violin, made up of alternating arpeggios
- 00:47Motif No. 3 returns, courtesy of the recorders, recently sidelined by the violin
- 00:44Ritornello 2, a varied repeat of Ritornello 1, arrives after much harmonic movement
- 00:59Episode 2, Part 1, preceded by the 'fanfare' motif from which its first theme derives
- 01:05Episode 2 continued, with more bravura dazzle from the solo violin
- 00:48Repeat of section for purposes of hearing the harmonic movement
- 00:48Ritornello 3, with the prominent participation of the soloists
- 00:50Episode 3 proves retrospective, featuring transposed repeats of earlier material
- 00:49Ritornello 4, not altogether what it might seem; solo violin takes 'motto' motif
- 00:57Episode 4. Cue to Part 1, focusing on 'soloistic' counterpoint provided by the continuo
- 00:37Return to Ritornello 4 to hear sources of Episode 4, Part 2
- 00:29Episode 4 continued, with emphasis placed on conversational interchanges
- 00:54Return to opening Ritornello in order to enhance awareness of the contrast
- 00:10Ritornello 5, beginning
- 00:57Ritornello 5 continued, with emphasis on the determined banishment of B Minor
- 00:46Cue to complete performance of First Movement
- 06:20First Movement (complete)
- 01:18Introduction: Rhythmic Motif provides basis for whole movement
- 00:15The melody not much to write home about; nor is the meek 'answer' offered by the soloists
- 00:22Putting the two together, thereby establishing a relationship
- 02:19Contrast and syncopation - their relationship in opening section
- 02:48Listening from the 'botton up'
- 02:15The intertwining and alternation of solo and orchestra; the irregularity of metrical groupings
- 00:29The next orchestral phrase; slowing the pace but not the tempo
- 01:37The First Section (complete)
- 01:29The next section; foreground symmetry and background variety
- 01:13The central section's groupings are hugely asymmetrical
- 00:12Cue to Second Movement as a whole
- 03:18Second Movement (complete)
- 04:57Introduction to the Third Movement...
- 01:04Fugue subject
- 00:32First counter-subject
- 00:51Second counter-subject
- 00:14Bass entry of the subject
- 00:34Exposition (complete)
- 00:34First Episode; the use of fragmentary derivatives
- 00:15The difference a detail can make!
- 01:07Harmonic Rhythm defined; back to the beginning to find the seed...
- 00:21...and now the blossom
- 01:59The First Solo Episode; a confusion of terms; onwards, to the introduction of the solo episode
- 01:11Ritornello 2 complete
- 01:48Solo Episode 2 dominated by thrilling virtuosity from the solo violin
- 00:47Ritornello 3: highly contrapuntal and dominated by subject-derivatives, with much harmonic fluidity
- 00:06Ritornello 3 continues: engine of harmonic motion repeated at higher pitch
- 00:21More on Ritornello 3: the use of long, sustained, slightly syncopated notes in upper strings
- 00:32Ritornello 3 (complete)
- 00:29Solo Episode 3 - less solo than earlier ones, what with (albeit very discreet)
- 00:23The two recorders converse in canon, accompanied for six exhilarating bars by cello 'continuo'
- 00:34Finishing Solo Exposition 3: orchestral cellos introduce what sounds
- 00:57Approaching the final Ritornello; stretto explained
- 01:03Cue to Finale Ritornello, noting tension-building 'pedal point' in cellos and double bass
- 00:58Coda - the 'tail-piece', with its surprising 'hammer strokes'
- 00:20Cue to Third Movement
- 04:32Third Movement (complete)
- 03:08Opening Music; analysis and phony analysis; Shaw quote; music: Motif No. 1
- 00:59Music, energy and relationship
- 00:42The outlines of a melody emerge
- 00:25The opening bar again
- 00:12Motif No. 2: ta / dee-ya, dee-ya, dee-ya
- 00:32Motif No. 3, and an important feature of its rhythm
- 00:20Beethoven Fifth Symphony (opening)
- 00:13Motif No. 4
- 00:05Motif No. 5
- 00:06Motif No. 6
- 01:39Episode 1: a 'Love Duet'
- 01:02Episode 1 continued; violin and flute reverse direction of their theme
- 00:59'False' Ritornello; soloists interrupt; rising 'sighing' motif; harpsichord continues downwards
- 00:40Four things going on at once, in violin, flute, harpsichord right hand, harpsichord left hand
- 00:29The orchestra returns, picking up at exactly the spot where it was interrupted
- 00:26The harpsichord intervenes with derivative of Motif 4; key shifts from A Major to B Minor
- 00:42The orchestra returns to foreground and brings this section to an end
- 02:33Harpsichord emerges as virtuoso; a series of expectations are frustrated
- 04:36A backwards look; blurred distinctions between soloists and orchestra; 'Mozartian' development
- 01:58Out of the Twilight Zone; a sequence of surprises
- 04:51The epoch-making harpsichord cadenza and the final Ritornello
- 00:53Cue to First Movement
- 09:00First Movement (complete)
- 02:34Introduction; the opening Ritornello
- 00:16The first bar; the first main building block
- 00:17The flute motif
- 01:04Opening of the first solo episode
- 00:17An important motif; the second main building block
- 00:33The second main theme
- 00:53Ritornello 2; violin and flute as 'orchestra'
- 00:39Episode 2; inversion of original motifs
- 00:11More on Episode 2
- 00:22Episode 1 and Episode 2 compared
- 00:50Episode 2; key shifts from D Major to F-Sharp Minor
- 00:47Ritornello 3: an exact transposition of Ritornello 1
- 00:34Episode 3 contrasted with Episode 1
- 01:06Episode 3 described in detail
- 00:57Ritornello 4; second main theme's first appearance in a Ritornello
- 01:34Episode 4: dominated by inversions
- 00:07Cue to Second Movement
- 05:39Second Movement (complete)
- 00:54Introduction: Ritornello 1
- 01:22The Fugue Subject: close juxtaposition of contrasting elements
- 00:33Flute takes the 'answer', with countersubject in the violin
- 00:23Contrary motion as a contrapuntal device
- 00:32Contrary motion as a listening aid; a new theme
- 00:52Playing with the counter-subject; a musical game of tag
- 00:44Hidden rhythms: background variety behind foreground uniformity
- 01:35Fugal writing and the compatibility of parts; the Exposition
- 00:38Episode 1, taken by soloists, contains important 'seeds'
- 01:19The orchestra enters at last, but by stealth
- 01:03Stretto and musical football
- 01:25Key changes to B Minor, introducing extensive Middle Section
- 03:06The Middle Section a precursor of the Mozartian 'development'
- 01:52The Fugue Subject out in force: first four immediately consecutive entries yet
- 00:39Ambiguity of mode and a Scottish twist
- 02:11Middle Section sontinued; harpsichord dominates
- 00:20Cue to Last Movement
- 04:55Last Movement (complete)