1

The Brandenburgs As Concerti Grossi

2

Introduction: Melody, Theme And Motif; Bach's Opening Gambit

3

Onwards And Upwards: Motif No.2 And Its Function

4

The Two Elements Of Motif No.2 And The Effect Of Their Combinati

5

The 'Motto' Rhythm Hidden Even Within The Opening Bar

6

Motif No.3, Introduced By The Two Recorders, Has A Kind Of 'Hove

7

Motif No.3, Repeated For A Second, 'Directed' Listen

8

Bach Reminds Us Of The Opening

9

Motif No.4 - A Steadily Rising Derivative Of Motif No.1

10

Motif No.5, A Lovely, Bouncy, Syncopated Flourish, In Which All

11

Opening Ritornello (Complete)

12

Episode 1 Begins With Virtuoso Entry Of The Solo Violin, Made Up

13

Motif No.3 Returns, Courtesy Of The Recorders, Recently Sideline

14

Ritonello 2, A Varied Repeat Of Ritornello 1, Arrives After Much

15

Episode 2, Part 1, Preceded By The 'Fanfare' Motif From Which It

16

Episode 2 Continued, With More Bravura Dazzle From The Solo Viol

17

Repeat Of Section For Purposes Of Hearing The Harmonic Movement

18

Ritornello 3, With The Prominent Participation Of The Soloists

19

Episode 3 Prove Retrospective, Featuring Transposed Repeats Of E

20

Ritornello 4, Not Altogether What It Might Seem; Solo Violin Tak

21

Episode 4. Cue To Part 1, Focusing On 'Soloistic' Counterpoint P

22

Return To Ritornello 4 To Hear Sources Of Episode 4, Part 2

23

Episode 4 Continued, With Emphasis Placed On Conversational Inte

24

Return To Opening Ritornello In Order To Enhance Awareness Of Th

25

Ritornello 5, Beginning

26

Ritornello 5 Continued, With Emphasis On The Determined Banishme

27

Cue To Complete Performance Of First Movement

28

First Movement (Complete)

29

Introduction: Rhythmic Motif Provides Basis For Whole Movement;

30

The Melody Not Much To Write Home About; Nor Is The Meek 'Answer

31

Putting The Two Together, Thereby Establishing A Relationship

32

Contrast And Syncopation - Their Relationship In Opening Section

33

Listening From The 'Bottom Up'

34

The Intertwining And Alteration Of Solo And Orchestra; The Irreg

35

The Next Orchestral Phrase; Slowing The Pace But Not The Tempo

36

The First Section (Complete)

37

The Next Section; Foreground Symmetry And Background Variety

38

The Central Section's Groupings Are Hugely Asymmetrical

39

Cue To Second Movement As A Whole

40

Second Movement (Complete)

41

Introduction To The Third Movement...

42

Fugue Subject

43

First Counter-Subject

44

Second Counter-Subject

45

Bass Entry Of The Subject

46

Exposition (Complete)

47

First Episode; The Us Of Fragmentary Derivatives

48

The Difference A Detail Can Make!

49

Harmonic Rhythm Defined; Back To The Beginning To Find The Seed.

50

...And Now The Blossom

51

The First Solo Episode; A Confusion Of Terms; Onwards, To The In

52

Ritornello 2 Complete

53

Solo Episode 2 Dominated by Thrilling Virtuosity From The Solo V

54

Ritornello 3: Highly Contrapuntal And Dominated By Subject-Deriv

55

Ritornello 3 Continues: Engine Of Harmonic Motion Repeated At Hi

56

More On Ritornello 3: The Use Of Long, Sustained, Slightly Synco

57

Ritornello 3 (Complete)

58

Solo Episode 3 - Less Solo Than Earlier Ones, What With (Albeit

59

The Two Recorders Converse In Canon, Accompanied For Six Exhilar

60

Finishing Solo Exposition 3: Orchestral Cellos Introduce What So

61

Approaching The Final Ritornello; Stretto Explained

62

Cue To Final Ritornello, Noting Tension-Building 'Pedal Point' I

63

Coda - The 'Tail-Piece', With Its Surprising 'Hammer Strokes'

64

Cue To Third Movement

65

Third Movement (Complete)