{"product_id":"768863-2","title":"Various - An Introduction to... Bach Brandenburg Concertos Nos 4 \u0026 5 [CD]","description":"Brand New From Reputable UK Company With 30 Years Experience In Retail, Please Note Not All Our New Items Are Shrink Wrapped.\u003cbr\u003eAll items shipped within 3 working days of payment.\u003cbr\u003ePlease note that all our DVDs are Region 2.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003ePlease note that not all audio CDs are shrink-wrapped fom the factory.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cp\u003eThe Brandenburgs As Concerti Grossi\u003c\/p\u003e\u003cp\u003eOpening Music; Analysis And Phony Analysis; Shaw Quote; Music: Motif No.1\u003c\/p\u003e\u003cp\u003eIntroduction: Melody, Theme And Motif; Bach's Opening Gambit\u003c\/p\u003e\u003cp\u003eMusic, Energy And Relationship\u003c\/p\u003e\u003cp\u003eOnwards And Upwards: Motif No.2 And Its Function\u003c\/p\u003e\u003cp\u003eThe Outlines Of A Melody Emerge\u003c\/p\u003e\u003cp\u003eThe Two Elements Of Motif No.2 And The Effect Of Their Combination\u003c\/p\u003e\u003cp\u003eThe Opening Bar Again\u003c\/p\u003e\u003cp\u003eThe 'Motto' Rhythm Hidden Even Within The Opening Bar\u003c\/p\u003e\u003cp\u003eMotif No.2: Ta\/Dee-Ya, Dee-Ya, Dee-Ya\u003c\/p\u003e\u003cp\u003eMotif No.3, Introduced By The Two Recorders, Has A Kind Of 'Hovering' Character; It's Repetition In\u003c\/p\u003e\u003cp\u003eMotif No.3, And An Important Feature Of Its Rhythm\u003c\/p\u003e\u003cp\u003eMotif No.3, Repeated For A Second, 'Directed' Listen\u003c\/p\u003e\u003cp\u003eBeethoven Fifth Symphony (Opening)\u003c\/p\u003e\u003cp\u003eBach Reminds Us Of The Opening\u003c\/p\u003e\u003cp\u003eMotif No.4\u003c\/p\u003e\u003cp\u003eMotif No.4 - A Steadily Rising Derivative Of Motif No.1\u003c\/p\u003e\u003cp\u003eMotif No.5\u003c\/p\u003e\u003cp\u003eMotif No.5, A Lovely, Bouncy, Syncopated Flourish, In Which All The Instruments Join\u003c\/p\u003e\u003cp\u003eMotif No.6\u003c\/p\u003e\u003cp\u003eOpening Ritornello (Complete)\u003c\/p\u003e\u003cp\u003eEpisode 1: A 'Love Duet'\u003c\/p\u003e\u003cp\u003eEpisode 1 Begins With Virtuoso Entry Of The Solo Violin, Made Up Of Alternating Arpeggios And Rising\u003c\/p\u003e\u003cp\u003eEpisode 1 Continued; Violin And Flute Reverse Direction Of Their Theme; The 'Love Song' Motif Answer\u003c\/p\u003e\u003cp\u003eMotif No.3 Returns, Courtesy Of The Recorders, Recently Sidelined By The Violin, Which Now Accompani\u003c\/p\u003e\u003cp\u003e'False' Ritornello; Soloists Interrupt; Rising 'Sighing' Motif; Harpsichord Continues Downwards\u003c\/p\u003e\u003cp\u003eRitonello 2, A Varied Repeat Of Ritornello 1, Arrives After Much Harmonic Movement, This Time In E M\u003c\/p\u003e\u003cp\u003eFour Things Going On At Once, In Violin, Flute, Harpsichord Right Hand, Harpsichord Left Hand\u003c\/p\u003e\u003cp\u003eEpisode 2, Part 1, Preceded By The 'Fanfare' Motif From Which Its First Them Derives\u003c\/p\u003e\u003cp\u003eThe Orchestra Returns, Picking Up At Exactly The Spot Where It Was Interrupted\u003c\/p\u003e\u003cp\u003eEpisode 2 Continued, With More Bravura Dazzle From The Solo Violin; Key Shifts From A Minor To C Maj\u003c\/p\u003e\u003cp\u003eThe Harpsichord Intervenes With Derivative Of Motif 4; Key Shifts From A Major To B Minor\u003c\/p\u003e\u003cp\u003eRepeat Of Section For Purposes Of Hearing The Harmonic Movement\u003c\/p\u003e\u003cp\u003eThe Orchestra Returns To Foreground And Brings This Section To An End\u003c\/p\u003e\u003cp\u003eRitornello 3, With The Prominent Participation Of The Soloists\u003c\/p\u003e\u003cp\u003eHarpsichord Emerges As Virtuoso; A Series Of Expectations Are Frustrated\u003c\/p\u003e\u003cp\u003eEpisode 3 Prove Retrospective, Featuring Transposed Repeats Of Earlier Material\u003c\/p\u003e\u003cp\u003eA Backwards Look; Blurred Distinctions Between Soloists And Orchestra; 'Mozartian' Development\u003c\/p\u003e\u003cp\u003eRitornello 4, Not Altogether What It Might Seem; Solo Violin Takes 'Motto' Motif, Orchestral Violins\u003c\/p\u003e\u003cp\u003eOut Of The Twilight Zone; A Sequence Of Surprises\u003c\/p\u003e\u003cp\u003eEpisode 4. Cue To Part 1, Focusing On 'Soloistic' Counterpoint Provided By The Continuo\u003c\/p\u003e\u003cp\u003eThe Epoch-Making Harpsichord Cadenza And The Final Ritornello\u003c\/p\u003e\u003cp\u003eReturn To Ritornello 4 To Hear Sources Of Episode 4, Part 2\u003c\/p\u003e\u003cp\u003eCue To First Movement\u003c\/p\u003e\u003cp\u003eEpisode 4 Continued, With Emphasis Placed On Conversational Interchanges Between Orchestral Violins\u003c\/p\u003e\u003cp\u003eFirst Movement (Complete)\u003c\/p\u003e\u003cp\u003eReturn To Opening Ritornello In Order To Enhance Awareness Of The Contrast Between G Major And B Min\u003c\/p\u003e\u003cp\u003eIntroduction; The Opening Ritornello\u003c\/p\u003e\u003cp\u003eRitornello 5, Beginning\u003c\/p\u003e\u003cp\u003eThe First Bar; The First Main Building Block\u003c\/p\u003e\u003cp\u003eRitornello 5 Continued, With Emphasis On The Determined Banishment Of B Minor\u003c\/p\u003e\u003cp\u003eThe Flute Motif\u003c\/p\u003e\u003cp\u003eCue To Complete Performance Of First Movement\u003c\/p\u003e\u003cp\u003eOpening Of The First Solo Episode\u003c\/p\u003e\u003cp\u003eFirst Movement (Complete)\u003c\/p\u003e\u003cp\u003eAn Important Motif; The Second Main Building Block\u003c\/p\u003e\u003cp\u003eIntroduction: Rhythmic Motif Provides Basis For Whole Movement; The Kernel From Which Much Of The Mo\u003c\/p\u003e\u003cp\u003eThe Second Main Theme\u003c\/p\u003e\u003cp\u003eThe Melody Not Much To Write Home About; Nor Is The Meek 'Answer' Offered By The Soloists\u003c\/p\u003e\u003cp\u003eRitornello 2; Violin And Flute As 'Orchestra'\u003c\/p\u003e\u003cp\u003ePutting The Two Together, Thereby Establishing A Relationship\u003c\/p\u003e\u003cp\u003eEpisode 2; Inversion Of Original Motifs\u003c\/p\u003e\u003cp\u003eContrast And Syncopation - Their Relationship In Opening Section\u003c\/p\u003e\u003cp\u003eMore On Episode 2\u003c\/p\u003e\u003cp\u003eListening From The 'Bottom Up'\u003c\/p\u003e\u003cp\u003eEpisode 1 And Episode 2 Compared\u003c\/p\u003e\u003cp\u003eThe Intertwining And Alteration Of Solo And Orchestra; The Irregularity Of Metrical Groupings\u003c\/p\u003e\u003cp\u003eEpisode 2; Key Shifts From D Major To F Sharp Minor\u003c\/p\u003e\u003cp\u003eThe Next Orchestral Phrase; Slowing The Pace But Not The Tempo\u003c\/p\u003e\u003cp\u003eRitornello 3: An Exact Transposition Of Ritornello 1\u003c\/p\u003e\u003cp\u003eThe First Section (Complete)\u003c\/p\u003e\u003cp\u003eEpisode 3 Contrasted With Episode 1\u003c\/p\u003e\u003cp\u003eThe Next Section; Foreground Symmetry And Background Variety\u003c\/p\u003e\u003cp\u003eEpisode 3 Described In Detail\u003c\/p\u003e\u003cp\u003eThe Central Section's Groupings Are Hugely Asymmetrical\u003c\/p\u003e\u003cp\u003eRotornello 4; Second Main Theme's First Appearance In A Ritornello\u003c\/p\u003e\u003cp\u003eCue To Second Movement As A Whole\u003c\/p\u003e\u003cp\u003eEpisode 4: Dominated By Inversions\u003c\/p\u003e\u003cp\u003eSecond Movement (Complete)\u003c\/p\u003e\u003cp\u003eCue To Second Movement\u003c\/p\u003e\u003cp\u003eIntroduction To The Third Movement...\u003c\/p\u003e\u003cp\u003eSecond Movement (Complete)\u003c\/p\u003e\u003cp\u003eFugue Subject\u003c\/p\u003e\u003cp\u003eIntroduction: Ritornello 1\u003c\/p\u003e\u003cp\u003eFirst Counter-Subject\u003c\/p\u003e\u003cp\u003eThe Fugue Subject: Close Juxtaposition Of Contrasting Elements\u003c\/p\u003e\u003cp\u003eSecond Counter-Subject\u003c\/p\u003e\u003cp\u003eFlute Takes The 'Answer', With Countersubject In The Violin\u003c\/p\u003e\u003cp\u003eBass Entry Of The Subject\u003c\/p\u003e\u003cp\u003eContrary Motion As A Contrapuntal Device\u003c\/p\u003e\u003cp\u003eExposition (Complete)\u003c\/p\u003e\u003cp\u003eContrary Motion As A Listening Aid; A New Theme\u003c\/p\u003e\u003cp\u003eFirst Episode; The Us Of Fragmentary Derivatives\u003c\/p\u003e\u003cp\u003ePlaying With The Counter-Subject; A Musical Game Of Tag\u003c\/p\u003e\u003cp\u003eThe Difference A Detail Can Make!\u003c\/p\u003e\u003cp\u003eHidden Rhythms: Background Variety Behind Foreground Uniformity\u003c\/p\u003e\u003cp\u003eHarmonic Rhythm Defined; Back To The Beginning To Find The Seed...\u003c\/p\u003e\u003cp\u003eFugal Writing And The Compatibility Of Parts; The Exposition\u003c\/p\u003e\u003cp\u003e...And Now The Blossom\u003c\/p\u003e\u003cp\u003eEpisode 1, Taken By Soloists, Contains Importand 'Seeds'\u003c\/p\u003e\u003cp\u003eThe First Solo Episode; A Confusion Of Terms; Onwards, To The Introduction Of The Solo Episode, Then\u003c\/p\u003e\u003cp\u003eThe Orchestra Enters At Last, But By Stealth\u003c\/p\u003e\u003cp\u003eRitornello 2 Complete\u003c\/p\u003e\u003cp\u003eStretto And Musical Football\u003c\/p\u003e\u003cp\u003eSolo Episode 2 Dominated by Thrilling Virtuosity From The Solo Violin\u003c\/p\u003e\u003cp\u003eKey Changes To B Minor, Introducing Extensive Middle Section\u003c\/p\u003e\u003cp\u003eRitornello 3: Highly Contrapuntal And Dominated By Subject-Derivatives, With Much Harmonic Fluidity\u003c\/p\u003e\u003cp\u003eThe Middle Section A Precursor Of The Mozartian 'Development'\u003c\/p\u003e\u003cp\u003eRitornello 3 Continues: Engine Of Harmonic Motion Repeated At Higher Pitch\u003c\/p\u003e\u003cp\u003eThe Fugue Subject Out In Force: First Four Immediately Consecutive Entries Yet\u003c\/p\u003e\u003cp\u003eMore On Ritornello 3: The Use Of Long, Sustained, Slightly Syncopated Notes In Upper Strings And Rec\u003c\/p\u003e\u003cp\u003eAmbiguity Of Mode And A Scottish Twist\u003c\/p\u003e\u003cp\u003eRitornello 3 (Complete)\u003c\/p\u003e\u003cp\u003eMiddle Section Continued; Harpsichord Dominates\u003c\/p\u003e\u003cp\u003eSolo Episode 3 - Less Solo Than Earlier Ones, What With (Albeit Very Discreet) Orchestral Accompanim\u003c\/p\u003e\u003cp\u003eCue To Last Movement\u003c\/p\u003e\u003cp\u003eThe Two Recorders Converse In Canon, Accompanied For Six Exhilarating Bars By Cello 'Continuo'\u003c\/p\u003e\u003cp\u003eLast Movement (Complete)\u003c\/p\u003e\u003cp\u003eFinishing Solo Exposition 3: Orchestral Cellos Introduce What Sounds Like It's Going To Be The Compl\u003c\/p\u003e\u003cp\u003eApproaching The Final Ritornello; Stretto Explained\u003c\/p\u003e\u003cp\u003eCue To Final Ritornello, Noting Tension-Building 'Pedal Point' In Cellos And Double Bass\u003c\/p\u003e\u003cp\u003eCoda - The 'Tail-Piece', With Its Surprising 'Hammer Strokes'\u003c\/p\u003e\u003cp\u003eCue To Third Movement\u003c\/p\u003e\u003cp\u003eThird Movement (Complete)\u003c\/p\u003e","brand":"Chalkys.com","offers":[{"title":"Default Title","offer_id":55730269684097,"sku":"768863","price":20.48,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0056\/8043\/1219\/files\/51tVAGW082L._SL1500_75faa467-7c35-4d32-aa55-2fea2b74523f.jpg?v=1779902649","url":"https:\/\/chalkys.com\/products\/768863-2","provider":"Chalkys.com","version":"1.0","type":"link"}