Classics Explained:Bach,Brandenburgische Konzerte
Classics Explained:Bach,Brandenburgische Konzerte
2
CDs
CD (Compact Disc)
Herkömmliche CD, die mit allen CD-Playern und Computerlaufwerken, aber auch mit den meisten SACD- oder Multiplayern abspielbar ist.
- Eine Werkeinführung in englischer Sprache mit einem 94-seitigen Booklet. Autor & Sprecher: Jeremy Siepmann
- Künstler: Jando, BRTN Philharmonic Orchestra Brussels, Rahbari
- Label: Naxos, DDD, 92
- Bestellnummer: 6440529
- Erscheinungstermin: 13.5.2002
- Tracklisting
- Mitwirkende
Disk 1 von 2 (CD)
- 1 Johann Sebastian Bach: Brandenburg Concerto No. 4 in G: The Brandenburgs as concerti grossi
- 2 Johann Sebastian Bach: Brandenburg Concerto No. 4 in G - First Movement: Introduction: Melody, Theme and Motif; Bach's opening gambit
- 3 Johann Sebastian Bach: Brandenburg Concerto No. 4 in G - First Movement: Onwards and upwards: Motif No. 2 and its function
- 4 Johann Sebastian Bach: Brandenburg Concerto No. 4 in G - First Movement: The two elements of Motif No. 2 and the effect of their combination
- 5 Johann Sebastian Bach: Brandenburg Concerto No. 4 in G - First Movement: The 'motto' rhythm hidden even within the opening bar
- 6 Johann Sebastian Bach: Brandenburg Concerto No. 4 in G - First Movement: Motif No. 3, introduced by the two recorders, has a kind of 'hovering'
- 7 Johann Sebastian Bach: Brandenburg Concerto No. 4 in G - First Movement: Motif No. 3 repeated for a second, 'directed' listen
- 8 Johann Sebastian Bach: Brandenburg Concerto No. 4 in G - First Movement: Bach reminds us of the opening
- 9 Johann Sebastian Bach: Brandenburg Concerto No. 4 in G - First Movement: Motif No. 4 - a steadily rising derivative of Motif No. 1
- 10 Johann Sebastian Bach: Brandenburg Concerto No. 4 in G - First Movement: Motif No. 5, a lovely, bouncy, syncopated flourish, in which all the i
- 11 Johann Sebastian Bach: Brandenburg Concerto No. 4 in G - First Movement: Opening Ritornello (complete)
- 12 Johann Sebastian Bach: Brandenburg Concerto No. 4 in G - First Movement: Episode 1 begins with virtuoso entry of the solo violin, made up of al
- 13 Johann Sebastian Bach: Brandenburg Concerto No. 4 in G - First Movement: Motif No. 3 returns, courtesy of the recorders, recently sidelined by
- 14 Johann Sebastian Bach: Brandenburg Concerto No. 4 in G - First Movement: Ritornello 2, a varied repeat of Ritornello 1, arrives after much harm
- 15 Johann Sebastian Bach: Brandenburg Concerto No. 4 in G - First Movement: Episode 2, Part 1, preceded by the 'fanfare' motif from which its firs
- 16 Johann Sebastian Bach: Brandenburg Concerto No. 4 in G - First Movement: Episode 2 continued, with more bravura dazzle from the solo violin
- 17 Johann Sebastian Bach: Brandenburg Concerto No. 4 in G - First Movement: Repeat of section for purposes of hearing the harmonic movement
- 18 Johann Sebastian Bach: Brandenburg Concerto No. 4 in G - First Movement: Ritornello 3, with the prominent participation of the soloists
- 19 Johann Sebastian Bach: Brandenburg Concerto No. 4 in G - First Movement: Episode 3 proves retrospective, featuring transposed repeats of earlie
- 20 Johann Sebastian Bach: Brandenburg Concerto No. 4 in G - First Movement: Ritornello 4, not altogether what it might seem; solo violin takes 'mo
- 21 Johann Sebastian Bach: Brandenburg Concerto No. 4 in G - First Movement: Episode 4. Cue to Part 1, focusing on 'soloistic' counterpoint provide
- 22 Johann Sebastian Bach: Brandenburg Concerto No. 4 in G - First Movement: Return to Ritornello 4 to hear sources of Episode 4, Part 2
- 23 Johann Sebastian Bach: Brandenburg Concerto No. 4 in G - First Movement: Episode 4 continued, with emphasis placed on conversational interchang
- 24 Johann Sebastian Bach: Brandenburg Concerto No. 4 in G - First Movement: Return to opening Ritornello in order to enhance awareness of the cont
- 25 Johann Sebastian Bach: Brandenburg Concerto No. 4 in G - First Movement: Ritornello 5, beginning
- 26 Johann Sebastian Bach: Brandenburg Concerto No. 4 in G - First Movement: Ritornello 5 continued, with emphasis on the determined banishment of
- 27 Johann Sebastian Bach: Brandenburg Concerto No. 4 in G - First Movement: Cue to complete performance of First Movement
- 28 Johann Sebastian Bach: Brandenburg Concerto No. 4 in G - First Movement: First Movement (complete)
- 29 Johann Sebastian Bach: Brandenburg Concerto No. 4 in G - Second Movement: Introduction: Rhythmic Motif provides basis for whole movement
- 30 Johann Sebastian Bach: Brandenburg Concerto No. 4 in G - Second Movement: The melody not much to write home about; nor is the meek 'answer' off
- 31 Johann Sebastian Bach: Brandenburg Concerto No. 4 in G - Second Movement: Putting the two together, thereby establishing a relationship
- 32 Johann Sebastian Bach: Brandenburg Concerto No. 4 in G - Second Movement: Contrast and syncopation - their relationship in opening section
- 33 Johann Sebastian Bach: Brandenburg Concerto No. 4 in G - Second Movement: Listening from the 'botton up'
- 34 Johann Sebastian Bach: Brandenburg Concerto No. 4 in G - Second Movement: The intertwining and alternation of solo and orchestra; the irregular
- 35 Johann Sebastian Bach: Brandenburg Concerto No. 4 in G - Second Movement: The next orchestral phrase; slowing the pace but not the tempo
- 36 Johann Sebastian Bach: Brandenburg Concerto No. 4 in G - Second Movement: The First Section (complete)
- 37 Johann Sebastian Bach: Brandenburg Concerto No. 4 in G - Second Movement: The next section; foreground symmetry and background variety
- 38 Johann Sebastian Bach: Brandenburg Concerto No. 4 in G - Second Movement: The central section's groupings are hugely asymmetrical
- 39 Johann Sebastian Bach: Brandenburg Concerto No. 4 in G - Second Movement: Cue to Second Movement as a whole
- 40 Johann Sebastian Bach: Brandenburg Concerto No. 4 in G - Second Movement: Second Movement (complete)
- 41 Johann Sebastian Bach: Brandenburg Concerto No. 4 in G - Third Movement: Introduction to the Third Movement...
- 42 Johann Sebastian Bach: Brandenburg Concerto No. 4 in G - Third Movement: Fugue subject
- 43 Johann Sebastian Bach: Brandenburg Concerto No. 4 in G - Third Movement: First counter-subject
- 44 Johann Sebastian Bach: Brandenburg Concerto No. 4 in G - Third Movement: Second counter-subject
- 45 Johann Sebastian Bach: Brandenburg Concerto No. 4 in G - Third Movement: Bass entry of the subject
- 46 Johann Sebastian Bach: Brandenburg Concerto No. 4 in G - Third Movement: Exposition (complete)
- 47 Johann Sebastian Bach: Brandenburg Concerto No. 4 in G - Third Movement: First Episode; the use of fragmentary derivatives
- 48 Johann Sebastian Bach: Brandenburg Concerto No. 4 in G - Third Movement: The difference a detail can make!
- 49 Johann Sebastian Bach: Brandenburg Concerto No. 4 in G - Third Movement: Harmonic Rhythm defined; back to the beginning to find the seed...
- 50 Johann Sebastian Bach: Brandenburg Concerto No. 4 in G - Third Movement: ...and now the blossom
- 51 Johann Sebastian Bach: Brandenburg Concerto No. 4 in G - Third Movement: The First Solo Episode; a confusion of terms; onwards, to the introduc
- 52 Johann Sebastian Bach: Brandenburg Concerto No. 4 in G - Third Movement: Ritornello 2 complete
- 53 Johann Sebastian Bach: Brandenburg Concerto No. 4 in G - Third Movement: Solo Episode 2 dominated by thrilling virtuosity from the solo violin
- 54 Johann Sebastian Bach: Brandenburg Concerto No. 4 in G - Third Movement: Ritornello 3: highly contrapuntal and dominated by subject-derivatives
- 55 Johann Sebastian Bach: Brandenburg Concerto No. 4 in G - Third Movement: Ritornello 3 continues: engine of harmonic motion repeated at higher p
- 56 Johann Sebastian Bach: Brandenburg Concerto No. 4 in G - Third Movement: More on Ritornello 3: the use of long, sustained, slightly syncopated
- 57 Johann Sebastian Bach: Brandenburg Concerto No. 4 in G - Third Movement: Ritornello 3 (complete)
- 58 Johann Sebastian Bach: Brandenburg Concerto No. 4 in G - Third Movement: Solo Episode 3 - less solo than earlier ones, what with (albeit very d
- 59 Johann Sebastian Bach: Brandenburg Concerto No. 4 in G - Third Movement: The two recorders converse in canon, accompanied for six exhilarating
- 60 Johann Sebastian Bach: Brandenburg Concerto No. 4 in G - Third Movement: Finishing Solo Exposition 3: orchestral cellos introduce what sounds
- 61 Johann Sebastian Bach: Brandenburg Concerto No. 4 in G - Third Movement: Approaching the final Ritornello; stretto explained
- 62 Johann Sebastian Bach: Brandenburg Concerto No. 4 in G - Third Movement: Cue to Finale Ritornello, noting tension-building 'pedal point' in cel
- 63 Johann Sebastian Bach: Brandenburg Concerto No. 4 in G - Third Movement: Coda - the 'tail-piece', with its surprising 'hammer strokes'
- 64 Johann Sebastian Bach: Brandenburg Concerto No. 4 in G - Third Movement: Cue to Third Movement
- 65 Johann Sebastian Bach: Brandenburg Concerto No. 4 in G - Third Movement: Third Movement (complete)
Disk 2 von 2 (CD)
- 1 Johann Sebastian Bach: Brandenburg Concerto No. 5 in D - First Movement: Opening Music; analysis and phony analysis; Shaw quote; music: Motif N
- 2 Johann Sebastian Bach: Brandenburg Concerto No. 5 in D - First Movement: Music, energy and relationship
- 3 Johann Sebastian Bach: Brandenburg Concerto No. 5 in D - First Movement: The outlines of a melody emerge
- 4 Johann Sebastian Bach: Brandenburg Concerto No. 5 in D - First Movement: The opening bar again
- 5 Johann Sebastian Bach: Brandenburg Concerto No. 5 in D - First Movement: Motif No. 2: ta / dee-ya, dee-ya, dee-ya
- 6 Johann Sebastian Bach: Brandenburg Concerto No. 5 in D - First Movement: Motif No. 3, and an important feature of its rhythm
- 7 Johann Sebastian Bach: Brandenburg Concerto No. 5 in D - First Movement: Beethoven Fifth Symphony (opening)
- 8 Johann Sebastian Bach: Brandenburg Concerto No. 5 in D - First Movement: Motif No. 4
- 9 Johann Sebastian Bach: Brandenburg Concerto No. 5 in D - First Movement: Motif No. 5
- 10 Johann Sebastian Bach: Brandenburg Concerto No. 5 in D - First Movement: Motif No. 6
- 11 Johann Sebastian Bach: Brandenburg Concerto No. 5 in D - First Movement: Episode 1: a 'Love Duet'
- 12 Johann Sebastian Bach: Brandenburg Concerto No. 5 in D - First Movement: Episode 1 continued; violin and flute reverse direction of their theme
- 13 Johann Sebastian Bach: Brandenburg Concerto No. 5 in D - First Movement: 'False' Ritornello; soloists interrupt; rising 'sighing' motif; harpsi
- 14 Johann Sebastian Bach: Brandenburg Concerto No. 5 in D - First Movement: Four things going on at once, in violin, flute, harpsichord right hand
- 15 Johann Sebastian Bach: Brandenburg Concerto No. 5 in D - First Movement: The orchestra returns, picking up at exactly the spot where it was int
- 16 Johann Sebastian Bach: Brandenburg Concerto No. 5 in D - First Movement: The harpsichord intervenes with derivative of Motif 4; key shifts from
- 17 Johann Sebastian Bach: Brandenburg Concerto No. 5 in D - First Movement: The orchestra returns to foreground and brings this section to an end
- 18 Johann Sebastian Bach: Brandenburg Concerto No. 5 in D - First Movement: Harpsichord emerges as virtuoso; a series of expectations are frustrat
- 19 Johann Sebastian Bach: Brandenburg Concerto No. 5 in D - First Movement: A backwards look; blurred distinctions between soloists and orchestra;
- 20 Johann Sebastian Bach: Brandenburg Concerto No. 5 in D - First Movement: Out of the Twilight Zone; a sequence of surprises
- 21 Johann Sebastian Bach: Brandenburg Concerto No. 5 in D - First Movement: The epoch-making harpsichord cadenza and the final Ritornello
- 22 Johann Sebastian Bach: Brandenburg Concerto No. 5 in D - First Movement: Cue to First Movement
- 23 Johann Sebastian Bach: Brandenburg Concerto No. 5 in D - First Movement: First Movement (complete)
- 24 Johann Sebastian Bach: Brandenburg Concerto No. 5 in D - Second Movement: Introduction; the opening Ritornello
- 25 Johann Sebastian Bach: Brandenburg Concerto No. 5 in D - Second Movement: The first bar; the first main building block
- 26 Johann Sebastian Bach: Brandenburg Concerto No. 5 in D - Second Movement: The flute motif
- 27 Johann Sebastian Bach: Brandenburg Concerto No. 5 in D - Second Movement: Opening of the first solo episode
- 28 Johann Sebastian Bach: Brandenburg Concerto No. 5 in D - Second Movement: An important motif; the second main building block
- 29 Johann Sebastian Bach: Brandenburg Concerto No. 5 in D - Second Movement: The second main theme
- 30 Johann Sebastian Bach: Brandenburg Concerto No. 5 in D - Second Movement: Ritornello 2; violin and flute as 'orchestra'
- 31 Johann Sebastian Bach: Brandenburg Concerto No. 5 in D - Second Movement: Episode 2; inversion of original motifs
- 32 Johann Sebastian Bach: Brandenburg Concerto No. 5 in D - Second Movement: More on Episode 2
- 33 Johann Sebastian Bach: Brandenburg Concerto No. 5 in D - Second Movement: Episode 1 and Episode 2 compared
- 34 Johann Sebastian Bach: Brandenburg Concerto No. 5 in D - Second Movement: Episode 2; key shifts from D major to F sharp minor
- 35 Johann Sebastian Bach: Brandenburg Concerto No. 5 in D - Second Movement: Ritornello 3: an exact transposition of Ritornello 1
- 36 Johann Sebastian Bach: Brandenburg Concerto No. 5 in D - Second Movement: Episode 3 contrasted with Episode 1
- 37 Johann Sebastian Bach: Brandenburg Concerto No. 5 in D - Second Movement: Episode 3 described in detail
- 38 Johann Sebastian Bach: Brandenburg Concerto No. 5 in D - Second Movement: Ritornello 4; second main theme's first appearance in a Ritornello
- 39 Johann Sebastian Bach: Brandenburg Concerto No. 5 in D - Second Movement: Episode 4: dominated by inversions
- 40 Johann Sebastian Bach: Brandenburg Concerto No. 5 in D - Second Movement: Cue to Second Movement
- 41 Johann Sebastian Bach: Brandenburg Concerto No. 5 in D - Second Movement: Second Movement (complete)
- 42 Johann Sebastian Bach: Brandenburg Concerto No. 5 in D - Third Movement: Introduction: Ritornello 1
- 43 Johann Sebastian Bach: Brandenburg Concerto No. 5 in D - Third Movement: The Fugue Subject: close juxtaposition of contrasting elements
- 44 Johann Sebastian Bach: Brandenburg Concerto No. 5 in D - Third Movement: Flute takes the 'answer', with countersubject in the violin
- 45 Johann Sebastian Bach: Brandenburg Concerto No. 5 in D - Third Movement: Contrary motion as a contrapuntal device
- 46 Johann Sebastian Bach: Brandenburg Concerto No. 5 in D - Third Movement: Contrary motion as a listening aid; a new theme
- 47 Johann Sebastian Bach: Brandenburg Concerto No. 5 in D - Third Movement: Playing with the counter-subject; a musical game of tag
- 48 Johann Sebastian Bach: Brandenburg Concerto No. 5 in D - Third Movement: Hidden rhythms: background variety behind foreground uniformity
- 49 Johann Sebastian Bach: Brandenburg Concerto No. 5 in D - Third Movement: Fugal writing and the compatibility of parts; the Exposition
- 50 Johann Sebastian Bach: Brandenburg Concerto No. 5 in D - Third Movement: Episode 1, taken by soloists, contains important 'seeds'
- 51 Johann Sebastian Bach: Brandenburg Concerto No. 5 in D - Third Movement: The orchestra enters at last, but by stealth
- 52 Johann Sebastian Bach: Brandenburg Concerto No. 5 in D - Third Movement: Stretto and musical football
- 53 Johann Sebastian Bach: Brandenburg Concerto No. 5 in D - Third Movement: Key changes to B minor, introducing extensive Middle Section
- 54 Johann Sebastian Bach: Brandenburg Concerto No. 5 in D - Third Movement: The Middle Section a precursor of the Mozartian 'development'
- 55 Johann Sebastian Bach: Brandenburg Concerto No. 5 in D - Third Movement: The Fugue Subject out in force: first four immediately consecutive ent
- 56 Johann Sebastian Bach: Brandenburg Concerto No. 5 in D - Third Movement: Ambiguity of mode and a Scottish twist
- 57 Johann Sebastian Bach: Brandenburg Concerto No. 5 in D - Third Movement: Middle Section sontinued; harpsichord dominates
- 58 Johann Sebastian Bach: Brandenburg Concerto No. 5 in D - Third Movement: Cue to Last Movement
- 59 Johann Sebastian Bach: Brandenburg Concerto No. 5 in D - Third Movement: Last Movement (complete)
