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

Jeremy Siepmann

Jul 2002•124 Songs

Jeremy Siepmann

Tracks

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

Advertise With Us

.css-15opob5{left:0;position:absolute;top:0.8rem;} Jeremy Siepmann

Similar Artists .css-1q01m3q{margin:0 0 -2px 0;}

Jeremy Siepmann

Similar Artists