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

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Brandenburg Concerto No. 4 in G (more info)
Composed by: Johann Sebastian Bach


1.   The Brandenburgs as concerti grossi - 1:28


Brandenburg Concerto No. 4 in G - First Movement (more info)
Composed by: Johann Sebastian Bach


2.   Introduction: Melody, Theme and Motif; Bach's opening gambit - 2:15
3.   Onwards and upwards: Motif No. 2 and its function - 0:51
4.   The two elements of Motif No. 2 and the effect of their combination - 0:28
5.   The 'motto' rhythm hidden even within the opening bar - 1:07
6.   Motif No. 3, introduced by the two recorders, has a kind of 'hovering' character - 0:26
7.   Motif No. 3 repeated for a second, 'directed' listen - 0:23
8.   Bach reminds us of the opening - 0:17
9.   Motif No. 4 - a steadily rising derivative of Motif No. 1 - 0:19
10.   Motif No. 5, a lovely, bouncy, syncopated flourish, in which all the instruments join - 0:23
11.   Opening Ritornello (complete) - 1:47
12.   Episode 1 begins with virtuoso entry of the solo violin, made up of alternating arpeggios - 1:15
13.   Motif No. 3 returns, courtesy of the recorders, recently sidelined by the violin - 0:47
14.   Ritornello 2, a varied repeat of Ritornello 1, arrives after much harmonic movement - 0:43
15.   Episode 2, Part 1, preceded by the 'fanfare' motif from which its first theme derives - 0:59
16.   Episode 2 continued, with more bravura dazzle from the solo violin - 1:05
17.   Repeat of section for purposes of hearing the harmonic movement - 0:47
18.   Ritornello 3, with the prominent participation of the soloists - 0:47
19.   Episode 3 proves retrospective, featuring transposed repeats of earlier material - 0:49
20.   Ritornello 4, not altogether what it might seem; solo violin takes 'motto' motif - 0:48
21.   Episode 4. Cue to Part 1, focusing on 'soloistic' counterpoint provided by the continuo - 0:56
22.   Return to Ritornello 4 to hear sources of Episode 4, Part 2 - 0:36
23.   Episode 4 continued, with emphasis placed on conversational interchanges - 0:28
24.   Return to opening Ritornello in order to enhance awareness of the contrast - 0:53
25.   Ritornello 5, beginning - 0:10
26.   Ritornello 5 continued, with emphasis on the determined banishment of B minor - 0:56
27.   Cue to complete performance of First Movement - 0:46
28.   First Movement (complete) - 6:19


Brandenburg Concerto No. 4 in G - Second Movement (more info)
Composed by: Johann Sebastian Bach


29.   Introduction: Rhythmic Motif provides basis for whole movement - 1:17
30.   The melody not much to write home about; nor is the meek 'answer' offered by the soloists - 0:14
31.   Putting the two together, thereby establishing a relationship - 0:21
32.   Contrast and syncopation - their relationship in opening section - 2:18
33.   Listening from the 'botton up' - 2:48
34.   The intertwining and alternation of solo and orchestra; the irregularity of metrical groupings - 2:14
35.   The next orchestral phrase; slowing the pace but not the tempo - 0:28
36.   The First Section (complete) - 1:36
37.   The next section; foreground symmetry and background variety - 1:29
38.   The central section's groupings are hugely asymmetrical - 1:12
39.   Cue to Second Movement as a whole - 0:11
40.   Second Movement (complete) - 3:17


Brandenburg Concerto No. 4 in G - Third Movement (more info)
Composed by: Johann Sebastian Bach


41.   Introduction to the Third Movement... - 4:57
42.   Fugue subject - 1:04
43.   First counter-subject - 0:31
44.   Second counter-subject - 0:51
45.   Bass entry of the subject - 0:14
46.   Exposition (complete) - 0:33
47.   First Episode; the use of fragmentary derivatives - 0:33
48.   The difference a detail can make! - 0:15
49.   Harmonic Rhythm defined; back to the beginning to find the seed... - 1:06
50.   ...and now the blossom - 0:21
51.   The First Solo Episode; a confusion of terms; onwards, to the introduction of the solo episode - 1:59
52.   Ritornello 2 complete - 1:11
53.   Solo Episode 2 dominated by thrilling virtuosity from the solo violin - 1:47
54.   Ritornello 3: highly contrapuntal and dominated by subject-derivatives, with much harmonic fluidity - 0:46
55.   Ritornello 3 continues: engine of harmonic motion repeated at higher pitch - 0:06
56.   More on Ritornello 3: the use of long, sustained, slightly syncopated notes in upper strings - 0:21
57.   Ritornello 3 (complete) - 0:31
58.   Solo Episode 3 - less solo than earlier ones, what with (albeit very discreet) - 0:28
59.   The two recorders converse in canon, accompanied for six exhilarating bars by cello 'continuo' - 0:22
60.   Finishing Solo Exposition 3: orchestral cellos introduce what sounds - 0:33
61.   Approaching the final Ritornello; stretto explained - 0:56
62.   Cue to Finale Ritornello, noting tension-building 'pedal point' in cellos and double bass - 1:02
63.   Coda - the 'tail-piece', with its surprising 'hammer strokes' - 0:58
64.   Cue to Third Movement - 0:19
65.   Third Movement (complete) - 4:31

Brandenburg Concerto No. 5 in D - First Movement (more info)
Composed by: Johann Sebastian Bach


1.   Opening Music; analysis and phony analysis; Shaw quote; music: Motif No. 1 - 3:07
2.   Music, energy and relationship - 0:58
3.   The outlines of a melody emerge - 0:41
4.   The opening bar again - 0:25
5.   Motif No. 2: ta / dee-ya, dee-ya, dee-ya - 0:11
6.   Motif No. 3, and an important feature of its rhythm - 0:32
7.   Beethoven Fifth Symphony (opening) - 0:19
8.   Motif No. 4 - 0:12
9.   Motif No. 5 - 0:04
10.   Motif No. 6 - 0:05
11.   Episode 1: a 'Love Duet' - 1:39
12.   Episode 1 continued; violin and flute reverse direction of their theme - 1:01
13.   'False' Ritornello; soloists interrupt; rising 'sighing' motif; harpsichord continues downwards - 0:59
14.   Four things going on at once, in violin, flute, harpsichord right hand, harpsichord left hand - 0:39
15.   The orchestra returns, picking up at exactly the spot where it was interrupted - 0:28
16.   The harpsichord intervenes with derivative of Motif 4; key shifts from A major to B minor - 0:25
17.   The orchestra returns to foreground and brings this section to an end - 0:41
18.   Harpsichord emerges as virtuoso; a series of expectations are frustrated - 2:32
19.   A backwards look; blurred distinctions between soloists and orchestra; 'Mozartian' development - 4:35
20.   Out of the Twilight Zone; a sequence of surprises - 1:57
21.   The epoch-making harpsichord cadenza and the final Ritornello - 4:50
22.   Cue to First Movement - 0:52
23.   First Movement (complete) - 8:59


Brandenburg Concerto No. 5 in D - Second Movement (more info)
Composed by: Johann Sebastian Bach


24.   Introduction; the opening Ritornello - 2:33
25.   The first bar; the first main building block - 0:16
26.   The flute motif - 0:16
27.   Opening of the first solo episode - 1:04
28.   An important motif; the second main building block - 0:17
29.   The second main theme - 0:32
30.   Ritornello 2; violin and flute as 'orchestra' - 0:52
31.   Episode 2; inversion of original motifs - 0:38
32.   More on Episode 2 - 0:10
33.   Episode 1 and Episode 2 compared - 0:21
34.   Episode 2; key shifts from D major to F sharp minor - 0:49
35.   Ritornello 3: an exact transposition of Ritornello 1 - 0:46
36.   Episode 3 contrasted with Episode 1 - 0:33
37.   Episode 3 described in detail - 1:05
38.   Ritornello 4; second main theme's first appearance in a Ritornello - 0:57
39.   Episode 4: dominated by inversions - 1:34
40.   Cue to Second Movement - 0:06
41.   Second Movement (complete) - 5:39


Brandenburg Concerto No. 5 in D - Third Movement (more info)
Composed by: Johann Sebastian Bach


42.   Introduction: Ritornello 1 - 0:54
43.   The Fugue Subject: close juxtaposition of contrasting elements - 1:21
44.   Flute takes the 'answer', with countersubject in the violin - 0:33
45.   Contrary motion as a contrapuntal device - 0:23
46.   Contrary motion as a listening aid; a new theme - 0:31
47.   Playing with the counter-subject; a musical game of tag - 0:51
48.   Hidden rhythms: background variety behind foreground uniformity - 0:43
49.   Fugal writing and the compatibility of parts; the Exposition - 1:35
50.   Episode 1, taken by soloists, contains important 'seeds' - 0:37
51.   The orchestra enters at last, but by stealth - 1:19
52.   Stretto and musical football - 1:02
53.   Key changes to B minor, introducing extensive Middle Section - 1:24
54.   The Middle Section a precursor of the Mozartian 'development' - 3:05
55.   The Fugue Subject out in force: first four immediately consecutive entries yet - 1:51
56.   Ambiguity of mode and a Scottish twist - 0:38
57.   Middle Section sontinued; harpsichord dominates - 2:10
58.   Cue to Last Movement - 0:19
59.   Last Movement (complete) - 4:55

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