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Bach - Introduction To Brandenburg i gruppen CD / Klassiskt hos Bengans Skivbutik AB (511201)

Bach - Introduction To Brandenburg

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511201
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Artist: Bach
Enheter i förpackning: 2 st
Inspelad, år: 2002
Label: Naxos
Lev. Artnr.: 855805556
Leverantör: Naxos
Media: CD
Releasedatum: 2002-09-01
Streckkod: 0636943805527
  • 1. The Brandenburgs As Concerti Grossi
  • 2. Introduction: Melody[komma] Theme And Mot (If[komma] 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 Combination)
  • 5. The 'motto' Rhythm Hidden Even With (In The Opening Bar)
  • 6. Motif No.3[komma] Introduced By The Two R (Ecorders[komma] Has A Kind Of 'hovering')
  • 7. Motif No.3[komma] Repeated For A Second[komma] ('directed' Listen)
  • 8. Bach Reminds Us Of The Opening
  • 9. Motif No.4
  • 10. Motif No.5[komma] A Lovely[komma] Bouncy[komma] Synco (Pated Flourish[komma] In Which All The In)
  • 11. Opening Ritornello (Complete)
  • 12. Episode 1 Begins With Virtuoso Entr (Y Of The Solo Violin[komma] Made Up Of Al)
  • 13. Motif No.3 Returns[komma] Courtesy Of The (Recorders[komma] Recently Sidelined By Th)
  • 14. Ritonello 2[komma] A Varied Repeat Of Rit (Ornello 1[komma] Arrives After Much Harmo)
  • 15. Episode 2[komma] Part 1[komma] Preceded By The ('fanfare' Motif From Which Its Firs)
  • 16. Episode 2 Continued[komma] With More Brav (Ura Dazzle From The Solo Violin[komma] Ke)
  • 17. Repeat Of Section For Purposes Of H (Earing The Harmonic Movement)
  • 18. Ritornello 3[komma] With The Prominent Pa (Rticipation Of The Soloists)
  • 19. Episode 3 Prove Retrospective[komma] Feat (Uring Transposed Repeats Of Earlier)
  • 20. Ritornello 4[komma] Not Altogether What I (T Might Seem[komma] Solo Violin Takes 'mo)
  • 21. Episode 4. Cue To Part 1[komma] Focusing (On 'soloistic' Counterpoint Provide)
  • 22. Return To Ritornello 4 To Hear Sour (Ces Of Episode 4[komma] Part 2)
  • 23. Episode 4 Continued[komma] With Emphasis (Placed On Conversational Interchang)
  • 24. Return To Opening Ritornello In Ord (Er To Enhance Awareness Of The Cont)
  • 25. Ritornello 5[komma] Beginning
  • 26. Ritornello 5 Continued[komma] With Emphas (Is On The Determined Banishment Of)
  • 27. Cue To Complete Performance Of Firs (T Movement)
  • 28. First Movement (Complete)
  • 29. Introduction: Rhythmic Motif Provid (Es Basis For Whole Movement[komma] The Ke)
  • 30. The Melody Not Much To Write Home A (Bout[komma] Nor Is The Meek 'answer' Offe)
  • 31. Putting The Two Together[komma] Thereby E (Stablishing A Relationship)
  • 32. Contrast And Syncopation
  • 33. Listening From The 'bottom Up'
  • 34. The Intertwining And Alteration Of (Solo And Orchestra[komma] The Irregularit)
  • 35. The Next Orchestral Phrase[komma] Slowing (The Pace But Not The Tempo)
  • 36. The First Section (Complete)
  • 37. The Next Section[komma] Foreground Symmet (Ry 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[komma] The Us Of Fragmentar (Y Derivatives)
  • 48. The Difference A Detail Can Make!
  • 49. Harmonic Rhythm Defined[komma] Back To Th (E Beginning To Find The Seed...)
  • 50. ...And Now The Blossom
  • 51. The First Solo Episode[komma] A Confusion (Of Terms[komma] Onwards[komma] To The Introduct)
  • 52. Ritornello 2 Complete
  • 53. Solo Episode 2 Dominated By Thrilli (Ng Virtuosity From The Solo Violin)
  • 54. Ritornello 3: Highly Contrapuntal A (Nd Dominated By Subject-Derivatives)
  • 55. Ritornello 3 Continues: Engine Of H (Armonic Motion Repeated At Higher P)
  • 56. More On Ritornello 3: The Use Of Lo (Ng[komma] Sustained[komma] Slightly Syncopated)
  • 57. Ritornello 3 (Complete)
  • 58. Solo Episode 3
  • 59. The Two Recorders Converse In Canon ([komma] Accompanied For Six Exhilarating)
  • 60. Finishing Solo Exposition 3: Orches (Tral Cellos Introduce What Sounds L)
  • 61. Approaching The Final Ritornello[komma] S (Tretto Explained)
  • 62. Cue To Final Ritornello[komma] Noting Ten (Sion-Building 'pedal Point' In Cell)
  • 63. Coda
  • 64. Cue To Third Movement
  • 65. Third Movement (Complete)
  • 66. Opening Music[komma] Analysis And Phony A (Nalysis[komma] Shaw Quote[komma] Music: Motif N)
  • 67. Music[komma] Energy And Relationship
  • 68. The Outlines Of A Melody Emerge
  • 69. The Opening Bar Again
  • 70. Motif No.2: Ta/Dee-Ya[komma] Dee-Ya[komma] Dee- (Ya)
  • 71. Motif No.3[komma] And An Important Featur (E Of Its Rhythm)
  • 72. Beethoven Fifth Symphony (Opening)
  • 73. Motif No.4
  • 74. Motif No.5
  • 75. Motif No.6
  • 76. Episode 1: A 'love Duet'
  • 77. Episode 1 Continued[komma] Violin And Flu (Te Reverse Direction Of Their Theme)
  • 78. 'false' Ritornello[komma] Soloists Interr (Upt[komma] Rising 'sighing' Motif[komma] Harpsi)
  • 79. Four Things Going On At Once[komma] In Vi (Olin[komma] Flute[komma] Harpsichord Right Hand)
  • 80. The Orchestra Returns[komma] Picking Up A (T Exactly The Spot Where It Was Int)
  • 81. The Harpsichord Intervenes With Der (Ivative Of Motif 4[komma] Key Shifts From)
  • 82. The Orchestra Returns To Foreground (And Brings This Section To An End)
  • 83. Harpsichord Emerges As Virtuoso[komma] A (Series Of Expectations Are Frustrat)
  • 84. A Backwards Look[komma] Blurred Distincti (Ons Between Soloists And Orchestra[komma])
  • 85. Out Of The Twilight Zone[komma] A Sequenc (E Of Surprises)
  • 86. The Epoch-Making Harpsichord Cadenz (A And The Final Ritornello)
  • 87. Cue To First Movement
  • 88. First Movement (Complete)
  • 89. Introduction[komma] The Opening Ritornell (O)
  • 90. The First Bar[komma] The First Main Build (Ing Block)
  • 91. The Flute Motif
  • 92. Opening Of The First Solo Episode
  • 93. An Important Motif[komma] The Second Main (Building Block)
  • 94. The Second Main Theme
  • 95. Ritornello 2[komma] Violin And Flute As ' (Orchestra')
  • 96. Episode 2[komma] Inversion Of Original Mo (Tifs)
  • 97. More On Episode 2
  • 98. Episode 1 And Episode 2 Compared
  • 99. Episode 2[komma] Key Shifts From D Major (To F Sharp Minor)
  • 100. Ritornello 3: An Exact Transpositio (N Of Ritornello 1)
  • 101. Episode 3 Contrasted With Episode 1
  • 102. Episode 3 Described In Detail
  • 103. Rotornello 4[komma] Second Main Theme's F (Irst Appearance In A Ritornello)
  • 104. Episode 4: Dominated By Inversions
  • 105. Cue To Second Movement
  • 106. Second Movement (Complete)
  • 107. Introduction: Ritornello 1
  • 108. The Fugue Subject: Close Juxtaposit (Ion Of Contrasting Elements)
  • 109. Flute Takes The 'answer'[komma] With Coun (Tersubject In The Violin)
  • 110. Contrary Motion As A Contrapuntal D (Evice)
  • 111. Contrary Motion As A Listening Aid[komma] (A New Theme)
  • 112. Playing With The Counter-Subject[komma] A (Musical Game Of Tag)
  • 113. Hidden Rhythms: Background Variety (Behind Foreground Uniformity)
  • 114. Fugal Writing And The Compatibility (Of Parts[komma] The Exposition)
  • 115. Episode 1[komma] Taken By Soloists[komma] Conta (Ins Importand 'seeds')
  • 116. The Orchestra Enters At Last[komma] But B (Y Stealth)
  • 117. Stretto And Musical Football
  • 118. Key Changes To B Minor[komma] Introducing (Extensive Middle Section)
  • 119. The Middle Section A Precursor Of T (He Mozartian 'development')
  • 120. The Fugue Subject Out In Force: Fir (St Four Immediately Consecutive Ent)
  • 121. Ambiguity Of Mode And A Scottish Tw (Ist)
  • 122. Middle Section Continued[komma] Harpsicho (Rd Dominates)
  • 123. Cue To Last Movement
  • 124. Last Movement (Complete)
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