Disc 1

1. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~The Brandenburgs as concerti grossi
2. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~Introduction: Melody, Theme and Motif; Bach's opening gambit
3. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~Onwards and upwards: Motif No. 2 and its function
4. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~The two elements of Motif No. 2 and its function
5. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~The 'motto' rhythm hidden even within the opening bar
6. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~Motif No. 3 introduced by the recorders, has a kind of 'hovering' character; its repetition in risi
7. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~Motif No. 3 repeated for a second, 'directed' listen
8. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~Bach reminds us of the opening
9. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~Motif No. 4 - a steadily rising derivative of Motif No. 1
10. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~Motif No. 5, a lovely, bouncy, syncopated flourish, in which all instruments join
11. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~Opening Ritornello (complete)
12. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~Episode 1 begins with virtuoso energy of the solo violin, made up of alternating arpeggios and risi
13. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~Motif No. 3 returns, courtesy of the recorders, recently sidelined by the violin, which now accompa
14. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~Ritornello 2, a varied repeat of Ritornello 1, arrives after much harmonic movement, this time in E
15. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~Episode 2, Part 1, preceded by the 'fanfare' motif from which its first theme derives
16. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~Episode 2 continued, with more bravura dazzle from the solo violin; key shifts from A minor to C ma
17. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~Repeat of section for purposes of hearing the harmonic movement
18. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~Ritornello 3, with the prominent participation of the soloists
19. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~Episode 3 proves retrospective, featuring transposed repeats of earlier material
20. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~Ritornello 4, not altogether what it might seem; solo violin takes 'motto' motif, orchestral violin
21. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~Episode 4. Cue to part 1, focusing on 'soloistic' counterpoint provided by the continuo
22. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~Return to Ritornello 4 to hear sources of Episode 4, Part 2
23. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~Episode 4 continued, with emphasis placed on conversational interchanges between orchestral violins
24. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~Return to opening Ritornello in order to enhance awareness of the contrast between G major and B mi
25. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~Ritornello 5, beginning
26. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~Ritornello 5, continued with emphasis on the determined banishment of B minor
27. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~Cue to complete performance of First Movement
28. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~First Movement (complete)
29. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~Introduction: Rhythmic Motif provides basis for whole movement; the kernel from which much of the m
30. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~The melody not much to write home about; nor is the meek 'answer' offered by the soloists
31. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~Putting the two together, thereby establishing a relationship
32. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~Contrast and syncopation - their relationship in opening section
33. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~Listening from the 'bottom up'
34. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~The intertwining and alternation of solo and orchestra; the irregularity of metrical groupings
35. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~The next orchestral phrase; slowing the pace but not the tempo
36. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~The First Section (complete)
37. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~The next section; foreground symmetry and background variety
38. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~The central section's groupings are hugely asymmetrical
39. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~Cue to Second Movement as a whole
40. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~Second Movement (complete)
41. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~Introduction to the Third Movement...
42. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~Fugue subject
43. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~First counter-subject
44. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~Second counter-subject
45. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~Bass entry of the subject
46. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~Exposition (complete)
47. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~First Episode; the use of fragmentary derivatives
48. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~The difference a detail can make!
49. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~Harmonic Rhythm defined; back to the beginning to find the seed...
50. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~...and now the blossom
51. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~The First Solo Episode; a confusion of terms; onwards, the the introduction of the solo episode, th
52. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~Ritornello 2 complete
53. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~Solo Episode 2 dominated by thrilling virtuosity from the solo violin
54. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~Ritornello 3: highly contrapuntal and dominated by subject-derivatives, with much harmonic fluidity
55. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~Ritornello 3 continues: engine of harmonic motion repeated at higher pitch
56. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~More on Ritornello 3: the use of long, sustained, slightly syncopated notes in upper strings and re
57. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~Ritornello 3 (complete)
58. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~Solo Episode 3 - less solo than earlier ones, what with (albeit very discreet) orchestral accompani
59. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~The two recorders converse in canon, accompanied for six exhilarating bars by cello 'continuo'
60. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~Finishing Solo Exposition 3: orchestral cellos introduce what sounds like it's going to be the comp
61. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~Approaching the final Ritornello; stretto explained
62. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~Cue to Final Ritornello, noting tension-building 'pedal point' in cellos and double bass
63. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~Coda - the 'tail-piece', with its surprising 'hammer strokes'
64. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~Cue to Third Movement
65. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~Third Movement (complete)

Disc 2

66. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~Opening Music; analysis and phony analysis; Shaw quote; Motif No. 1
67. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~Music, energy and relationship
68. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~The outlines of a melody emerge
69. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~The opening bar again
70. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~Motif No. 2: ta / dee-ya, dee-ya, dee-ya
71. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~Motif No. 3, and an important feature of its rhythm
72. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~Beethoven Fifth Symphony (opening)
73. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~Motif No. 4
74. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~Motif No. 5
75. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~Motif No. 6
76. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~Episode 1: a 'Love Duet'
77. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~Episode 1 continued; violin and flute reverse direction of their theme; the 'love song' Motif answe
78. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~'False' Ritornello; soloists interrupt; rising 'sighing' motif; harpsichord continues downwards
79. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~Four things going on at once, in violin, flute, harpsichord right hand, harpsichord left hand
80. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~The orchestra returns, picking up at exactly the spot where it was interrupted
81. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~The harpsichord intervenes with derivative of Motif 4; key shifts from A major to B minor
82. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~The orchestra returns to the foreground and brings this section to an end
83. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~Harpsichord emerges as virtuoso; a series of expectations are frustrated
84. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~A backwards look; blurred distinctions between soloists and orchestra; 'Mozartian' development
85. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~Out of the Twilight Zone; a sequence of surprises
86. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~The epoch-making harpsichord cadenza and the final Ritornello
87. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~Cue to the First Movement
88. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~First Movement (complete)
89. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~Introduction; the opening of Ritornello
90. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~The first bar; the first main building block
91. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~The flute motif
92. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~Opening of the first solo episode
93. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~An important motif; the second main building block
94. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~The second main theme
95. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~Ritornello 2; violin and flute as 'orchestra'
96. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~Episode 2; inversion of the original motifs
97. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~More on Episode 2
98. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~Episode 1 and Episode 2 compared
99. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~Episode 2; key shifts from D major to F sharp minor
100. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~Ritornello 3; an exact transposition of Ritornello 1
101. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~Episode 3 contrasted with Episode 1
102. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~Episode 3 described in detail
103. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~Ritornello 4; second main theme's first appearance in a Ritornello
104. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~Episode 4: dominated by inversions
105. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~Cue to Second Movement
106. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~Second Movement (complete)
107. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~Introduction: Ritornello 1
108. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~The Fugue Subject: close juxtaposition of contrasting elements
109. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~Flute takes the 'answer', with countersubject in the violin
110. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~Contrary motions as a contrapuntal device
111. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~Contrary motion as a listening aid; a new theme
112. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~Playing with the counter-subject; a musical game of tag
113. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~Hidden rhythms: background variety behind foreground uniformity
114. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~Fugal writing and the compatibility of parts; the Exposition
115. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~Episode 1, taken by soloists, contains important 'seeds'
116. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~The orchestra enters at last, but by stealth
117. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~Stretto and musical football
118. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~Key changes to B minor, introducing extensive Middle Section
119. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~The Middle Section a precursor of the Mozartian 'development'
120. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~The Fugue Subject out in force: first four immediately consecutive entries yet
121. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~Ambiguity of mode and a Scottish twist
122. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~Middle Section continued; harpsichord dominates
123. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~Cue to Last Movement
124. Discussion/Introduction to Bach's "Brandenburg" Concertos Nos. 4 & 5~Last Movement (complete)