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



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Facts
Item number 8558055-56
Barcode 636943805527
Release date 7/1/2002
Category Spoken Word
Label NAXOS EDUCATIONAL
Media type COMPACT DISC
Number of units 2
Performers
Non-Classical Artist Siepmann, Jeremy
Disc: 1
1 The Brandenburgs as concerti grossi 00:01:28 Siepmann, Jeremy
2 Introduction: Melody, Theme and Motif; Bach's open 00:02:15 Siepmann, Jeremy
3 Onwards and upwards: Motif No. 2 and its function 00:00:51 Siepmann, Jeremy
4 The two elements of Motif No. 2 and the effect of 00:00:28 Siepmann, Jeremy
5 The 'motto' rhythm hidden even within the opening 00:01:07 Siepmann, Jeremy
6 Motif No. 3, introduced by the two recorders, has 00:00:26 Siepmann, Jeremy
7 Motif No. 3 repeated for a second, 'directed' list 00:00:23 Siepmann, Jeremy
8 Bach reminds us of the opening 00:00:17 Siepmann, Jeremy
9 Motif No. 4 - a steadily rising derivative of Moti 00:00:19 Siepmann, Jeremy
10 Motif No. 5, a lovely, bouncy, syncopated flourish 00:00:23 Siepmann, Jeremy
11 Opening Ritornello (complete) 00:01:47 Siepmann, Jeremy
12 Episode 1 begins with virtuoso entry of the solo v 00:01:15 Siepmann, Jeremy
13 Motif No. 3 returns, courtesy of the recorders, re 00:00:47 Siepmann, Jeremy
14 Ritornello 2, a varied repeat of Ritornello 1, arr 00:00:43 Siepmann, Jeremy
15 Episode 2, Part 1, preceded by the 'fanfare' motif 00:00:59 Siepmann, Jeremy
16 Episode 2 continued, with more bravura dazzle from 00:01:05 Siepmann, Jeremy
17 Repeat of section for purposes of hearing the harm 00:00:47 Siepmann, Jeremy
18 Ritornello 3, with the prominent participation of 00:00:47 Siepmann, Jeremy
19 Episode 3 proves retrospective, featuring transpos 00:00:49 Siepmann, Jeremy
20 Ritornello 4, not altogether what it might seem; s 00:00:48 Siepmann, Jeremy
21 Episode 4. Cue to Part 1, focusing on 'soloistic' 00:00:56 Siepmann, Jeremy
22 Return to Ritornello 4 to hear sources of Episode 00:00:36 Siepmann, Jeremy
23 Episode 4 continued, with emphasis placed on conve 00:00:28 Siepmann, Jeremy
24 Return to opening Ritornello in order to enhance a 00:00:53 Siepmann, Jeremy
25 Ritornello 5, beginning 00:00:10 Siepmann, Jeremy
26 Ritornello 5 continued, with emphasis on the deter 00:00:56 Siepmann, Jeremy
27 Cue to complete performance of First Movement 00:00:46 Siepmann, Jeremy
28 First Movement (complete) 00:06:19 Siepmann, Jeremy
29 Introduction: Rhythmic Motif provides basis for wh 00:01:17 Siepmann, Jeremy
30 The melody not much to write home about; nor is th 00:00:14 Siepmann, Jeremy
31 Putting the two together, thereby establishing a r 00:00:21 Siepmann, Jeremy
32 Contrast and syncopation - their relationship in o 00:02:18 Siepmann, Jeremy
33 Listening from the 'botton up' 00:02:48 Siepmann, Jeremy
34 The intertwining and alternation of solo and orche 00:02:14 Siepmann, Jeremy
35 The next orchestral phrase; slowing the pace but n 00:00:28 Siepmann, Jeremy
36 The First Section (complete) 00:01:36 Siepmann, Jeremy
37 The next section; foreground symmetry and backgrou 00:01:29 Siepmann, Jeremy
38 The central section's groupings are hugely asymmet 00:01:12 Siepmann, Jeremy
39 Cue to Second Movement as a whole 00:00:11 Siepmann, Jeremy
40 Second Movement (complete) 00:03:17 Siepmann, Jeremy
41 Introduction to the Third Movement... 00:04:57 Siepmann, Jeremy
42 Fugue subject 00:01:04 Siepmann, Jeremy
43 First counter-subject 00:00:31 Siepmann, Jeremy
44 Second counter-subject 00:00:51 Siepmann, Jeremy
45 Bass entry of the subject 00:00:14 Siepmann, Jeremy
46 Exposition (complete) 00:00:33 Siepmann, Jeremy
47 First Episode; the use of fragmentary derivatives 00:00:33 Siepmann, Jeremy
48 The difference a detail can make! 00:00:15 Siepmann, Jeremy
49 Harmonic Rhythm defined; back to the beginning to 00:01:06 Siepmann, Jeremy
50 ...and now the blossom 00:00:21 Siepmann, Jeremy
51 The First Solo Episode; a confusion of terms; onwa 00:01:59 Siepmann, Jeremy
52 Ritornello 2 complete 00:01:11 Siepmann, Jeremy
53 Solo Episode 2 dominated by thrilling virtuosity f 00:01:47 Siepmann, Jeremy
54 Ritornello 3: highly contrapuntal and dominated by 00:00:46 Siepmann, Jeremy
55 Ritornello 3 continues: engine of harmonic motion 00:00:06 Siepmann, Jeremy
56 More on Ritornello 3: the use of long, sustained, 00:00:21 Siepmann, Jeremy
57 Ritornello 3 (complete) 00:00:31 Siepmann, Jeremy
58 Solo Episode 3 - less solo than earlier ones, what 00:00:28 Siepmann, Jeremy
59 The two recorders converse in canon, accompanied f 00:00:22 Siepmann, Jeremy
60 Finishing Solo Exposition 3: orchestral cellos int 00:00:33 Siepmann, Jeremy
61 Approaching the final Ritornello; stretto explaine 00:00:56 Siepmann, Jeremy
62 Cue to Finale Ritornello, noting tension-building 00:01:02 Siepmann, Jeremy
63 Coda - the 'tail-piece', with its surprising 'hamm 00:00:58 Siepmann, Jeremy
64 Cue to Third Movement 00:00:19 Siepmann, Jeremy
65 Third Movement (complete) 00:04:31 Siepmann, Jeremy
Disc: 2
1 Opening Music; analysis and phony analysis; Shaw q 00:03:07 Siepmann, Jeremy
2 Music, energy and relationship 00:00:58 Siepmann, Jeremy
3 The outlines of a melody emerge 00:00:41 Siepmann, Jeremy
4 The opening bar again 00:00:25 Siepmann, Jeremy
5 Motif No. 2: ta / dee-ya, dee-ya, dee-ya 00:00:11 Siepmann, Jeremy
6 Motif No. 3, and an important feature of its rhyth 00:00:32 Siepmann, Jeremy
7 Beethoven Fifth Symphony (opening) 00:00:19 Siepmann, Jeremy
8 Motif No. 4 00:00:12 Siepmann, Jeremy
9 Motif No. 5 00:00:04 Siepmann, Jeremy
10 Motif No. 6 00:00:05 Siepmann, Jeremy
11 Episode 1: a 'Love Duet' 00:01:39 Siepmann, Jeremy
12 Episode 1 continued; violin and flute reverse dire 00:01:01 Siepmann, Jeremy
13 'False' Ritornello; soloists interrupt; rising 'si 00:00:59 Siepmann, Jeremy
14 Four things going on at once, in violin, flute, ha 00:00:39 Siepmann, Jeremy
15 The orchestra returns, picking up at exactly the s 00:00:28 Siepmann, Jeremy
16 The harpsichord intervenes with derivative of Moti 00:00:25 Siepmann, Jeremy
17 The orchestra returns to foreground and brings thi 00:00:41 Siepmann, Jeremy
18 Harpsichord emerges as virtuoso; a series of expec 00:02:32 Siepmann, Jeremy
19 A backwards look; blurred distinctions between sol 00:04:35 Siepmann, Jeremy
20 Out of the Twilight Zone; a sequence of surprises 00:01:57 Siepmann, Jeremy
21 The epoch-making harpsichord cadenza and the final 00:04:50 Siepmann, Jeremy
22 Cue to First Movement 00:00:52 Siepmann, Jeremy
23 First Movement (complete) 00:08:59 Siepmann, Jeremy
24 Introduction; the opening Ritornello 00:02:33 Siepmann, Jeremy
25 The first bar; the first main building block 00:00:16 Siepmann, Jeremy
26 The flute motif 00:00:16 Siepmann, Jeremy
27 Opening of the first solo episode 00:01:04 Siepmann, Jeremy
28 An important motif; the second main building block 00:00:17 Siepmann, Jeremy
29 The second main theme 00:00:32 Siepmann, Jeremy
30 Ritornello 2; violin and flute as 'orchestra' 00:00:52 Siepmann, Jeremy
31 Episode 2; inversion of original motifs 00:00:38 Siepmann, Jeremy
32 More on Episode 2 00:00:10 Siepmann, Jeremy
33 Episode 1 and Episode 2 compared 00:00:21 Siepmann, Jeremy
34 Episode 2; key shifts from D Major to F-Sharp Mino 00:00:49 Siepmann, Jeremy
35 Ritornello 3: an exact transposition of Ritornello 00:00:46 Siepmann, Jeremy
36 Episode 3 contrasted with Episode 1 00:00:33 Siepmann, Jeremy
37 Episode 3 described in detail 00:01:05 Siepmann, Jeremy
38 Ritornello 4; second main theme's first appearance 00:00:57 Siepmann, Jeremy
39 Episode 4: dominated by inversions 00:01:34 Siepmann, Jeremy
40 Cue to Second Movement 00:00:06 Siepmann, Jeremy
41 Second Movement (complete) 00:05:39 Siepmann, Jeremy
42 Introduction: Ritornello 1 00:00:54 Siepmann, Jeremy
43 The Fugue Subject: close juxtaposition of contrast 00:01:21 Siepmann, Jeremy
44 Flute takes the 'answer', with countersubject in t 00:00:33 Siepmann, Jeremy
45 Contrary motion as a contrapuntal device 00:00:23 Siepmann, Jeremy
46 Contrary motion as a listening aid; a new theme 00:00:31 Siepmann, Jeremy
47 Playing with the counter-subject; a musical game o 00:00:51 Siepmann, Jeremy
48 Hidden rhythms: background variety behind foregrou 00:00:43 Siepmann, Jeremy
49 Fugal writing and the compatibility of parts; the 00:01:35 Siepmann, Jeremy
50 Episode 1, taken by soloists, contains important ' 00:00:37 Siepmann, Jeremy
51 The orchestra enters at last, but by stealth 00:01:19 Siepmann, Jeremy
52 Stretto and musical football 00:01:02 Siepmann, Jeremy
53 Key changes to B Minor, introducing extensive Midd 00:01:24 Siepmann, Jeremy
54 The Middle Section a precursor of the Mozartian 'd 00:03:05 Siepmann, Jeremy
55 The Fugue Subject out in force: first four immedia 00:01:51 Siepmann, Jeremy
56 Ambiguity of mode and a Scottish twist 00:00:38 Siepmann, Jeremy
57 Middle Section sontinued; harpsichord dominates 00:02:10 Siepmann, Jeremy
58 Cue to Last Movement 00:00:19 Siepmann, Jeremy
59 Last Movement (complete) 00:04:55 Siepmann, Jeremy
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