ISBN / ISMN / UPC：

0636943805527

產品介紹

*此價錢只適用於現貨產品*

Tracklist :

Disc 1 <br>

~The Brandenburgs as concerti grossi

~Introduction: Melody, Theme and Motif; Bach's opening gambit

~Onwards and upwards: Motif No. 2 and its function

~The two elements of Motif No. 2 and its function

~The 'motto' rhythm hidden even within the opening bar

~Motif No. 3 introduced by the recorders, has a kind of 'hovering' character; its repetition in risi

~Motif No. 3 repeated for a second, 'directed' listen

~Bach reminds us of the opening

~Motif No. 4 - a steadily rising derivative of Motif No. 1

~Motif No. 5, a lovely, bouncy, syncopated flourish, in which all instruments join

~Opening Ritornello (complete)

~Episode 1 begins with virtuoso energy of the solo violin, made up of alternating arpeggios and risi

~Motif No. 3 returns, courtesy of the recorders, recently sidelined by the violin, which now accompa

~Ritornello 2, a varied repeat of Ritornello 1, arrives after much harmonic movement, this time in E

~Episode 2, Part 1, preceded by the 'fanfare' motif from which its first theme derives

~Episode 2 continued, with more bravura dazzle from the solo violin; key shifts from A minor to C ma

~Repeat of section for purposes of hearing the harmonic movement

~Ritornello 3, with the prominent participation of the soloists

~Episode 3 proves retrospective, featuring transposed repeats of earlier material

~Ritornello 4, not altogether what it might seem; solo violin takes 'motto' motif, orchestral violin

~Episode 4. Cue to part 1, focusing on 'soloistic' counterpoint provided by the continuo

~Return to Ritornello 4 to hear sources of Episode 4, Part 2

~Episode 4 continued, with emphasis placed on conversational interchanges between orchestral violins

~Return to opening Ritornello in order to enhance awareness of the contrast between G major and B mi

~Ritornello 5, beginning

~Ritornello 5, continued with emphasis on the determined banishment of B minor

~Cue to complete performance of First Movement

~First Movement (complete)

~Introduction: Rhythmic Motif provides basis for whole movement; the kernel from which much of the m

~The melody not much to write home about; nor is the meek 'answer' offered by the soloists

~Putting the two together, thereby establishing a relationship

~Contrast and syncopation - their relationship in opening section

~Listening from the 'bottom up'

~The intertwining and alternation of solo and orchestra; the irregularity of metrical groupings

~The next orchestral phrase; slowing the pace but not the tempo

~The First Section (complete)

~The next section; foreground symmetry and background variety

~The central section's groupings are hugely asymmetrical

~Cue to Second Movement as a whole

~Second Movement (complete)

~Introduction to the Third Movement...

~Fugue subject

~First counter-subject

~Second counter-subject

~Bass entry of the subject

~Exposition (complete)

~First Episode; the use of fragmentary derivatives

~The difference a detail can make!

~Harmonic Rhythm defined; back to the beginning to find the seed...

~...and now the blossom

~The First Solo Episode; a confusion of terms; onwards, the the introduction of the solo episode, th

~Ritornello 2 complete

~Solo Episode 2 dominated by thrilling virtuosity from the solo violin

~Ritornello 3: highly contrapuntal and dominated by subject-derivatives, with much harmonic fluidity

~Ritornello 3 continues: engine of harmonic motion repeated at higher pitch

~More on Ritornello 3: the use of long, sustained, slightly syncopated notes in upper strings and re

~Ritornello 3 (complete)

~Solo Episode 3 - less solo than earlier ones, what with (albeit very discreet) orchestral accompani

~The two recorders converse in canon, accompanied for six exhilarating bars by cello 'continuo'

~Finishing Solo Exposition 3: orchestral cellos introduce what sounds like it's going to be the comp

~Approaching the final Ritornello; stretto explained

~Cue to Final Ritornello, noting tension-building 'pedal point' in cellos and double bass

~Coda - the 'tail-piece', with its surprising 'hammer strokes'

~Cue to Third Movement

~Third Movement (complete)

Disc 2: <br>

~Opening Music; analysis and phony analysis; Shaw quote; Motif No. 1

~Music, energy and relationship

~The outlines of a melody emerge

~The opening bar again

~Motif No. 2: ta / dee-ya, dee-ya, dee-ya

~Motif No. 3, and an important feature of its rhythm

~Beethoven Fifth Symphony (opening)

~Motif No. 4

~Motif No. 5

~Motif No. 6

~Episode 1: a 'Love Duet'

~Episode 1 continued; violin and flute reverse direction of their theme; the 'love song' Motif answe

~'False' Ritornello; soloists interrupt; rising 'sighing' motif; harpsichord continues downwards

~Four things going on at once, in violin, flute, harpsichord right hand, harpsichord left hand

~The orchestra returns, picking up at exactly the spot where it was interrupted

~The harpsichord intervenes with derivative of Motif 4; key shifts from A major to B minor

~The orchestra returns to the foreground and brings this section to an end

~Harpsichord emerges as virtuoso; a series of expectations are frustrated

~A backwards look; blurred distinctions between soloists and orchestra; 'Mozartian' development

~Out of the Twilight Zone; a sequence of surprises

~The epoch-making harpsichord cadenza and the final Ritornello

~Cue to the First Movement

~First Movement (complete)

~Introduction; the opening of Ritornello

~The first bar; the first main building block

~The flute motif

~Opening of the first solo episode

~An important motif; the second main building block

~The second main theme

~Ritornello 2; violin and flute as 'orchestra'

~Episode 2; inversion of the original motifs

~More on Episode 2

~Episode 1 and Episode 2 compared

~Episode 2; key shifts from D major to F sharp minor

~Ritornello 3; an exact transposition of Ritornello 1

~Episode 3 contrasted with Episode 1

~Episode 3 described in detail

~Ritornello 4; second main theme's first appearance in a Ritornello

~Episode 4: dominated by inversions

~Cue to Second Movement

~Second Movement (complete)

~Introduction: Ritornello 1

~The Fugue Subject: close juxtaposition of contrasting elements

~Flute takes the 'answer', with countersubject in the violin

~Contrary motions as a contrapuntal device

~Contrary motion as a listening aid; a new theme

~Playing with the counter-subject; a musical game of tag

~Hidden rhythms: background variety behind foreground uniformity

~Fugal writing and the compatibility of parts; the Exposition

~Episode 1, taken by soloists, contains important 'seeds'

~The orchestra enters at last, but by stealth

~Stretto and musical football

~Key changes to B minor, introducing extensive Middle Section

~The Middle Section a precursor of the Mozartian 'development'

~The Fugue Subject out in force: first four immediately consecutive entries yet

~Ambiguity of mode and a Scottish twist

~Middle Section continued; harpsichord dominates

~Cue to Last Movement

~Last Movement (complete)

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