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 Combination
5. The 'Motto' Rhythm Hidden Even Within The Opening Bar
6. Motif No.3, Introduced By The Two Recorders, Has A Kind Of 'Hovering' Character; It's Repetition In Rising Sequences
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 The Instruments Join
11. Opening Ritornello (Complete)
12. Episode 1 Begins With Virtuoso Entry Of The Solo Violin, Made Up Of Alternating Arpeggios And Rising Scale-Steps
13. Motif No.3 Returns, Courtesy Of The Recorders, Recently Sidelined By The Violin, Which Now Accompanies, With 'Motto' Motif
14. Ritonello 2, A Varied Repeat Of Ritornello 1, Arrives After Much Harmonic Movement, This Time In E Minor.
15. Episode 2, Part 1, Preceded By The 'Fanfare' Motif From Which Its First Them Derives
16. Episode 2 Continued, With More Bravura Dazzle From The Solo Violin; Key Shifts From A Minor To C Major
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 Earlier Material
20. Ritornello 4, Not Altogether What It Might Seem; Solo Violin Takes 'Motto' Motif, Orchestral Violins Take Motif No.4
21. Episode 4. Cue To Part 1, Focusing On 'Soloistic' Counterpoint Provided By The Continuo
22. Return To Ritornello 4 To Hear Sources Of Episode 4, Part 2
23. Episode 4 Continued, With Emphasis Placed On Conversational Interchanges Between Orchestral Violins And The Recorders
24. Return To Opening Ritornello In Order To Enhance Awareness Of The Contrast Between G Major And B Minor
25. Ritornello 5, Beginning
26. Ritornello 5 Continued, With Emphasis On The Determined Banishment Of B Minor
27. Cue To Complete Performance Of First Movement
28. First Movement (Complete)
29. Introduction: Rhythmic Motif Provides Basis For Whole Movement; The Kernel From Which Much Of The Movement Derives
30. The Melody Not Much To Write Home About; Nor Is The Meek 'Answer' Offered By The Soloists
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 Irregularity Of Metrical Groupings
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 Introduction Of The Solo Episode, Then To The Episode Itself
52. Ritornello 2 Complete
53. Solo Episode 2 Dominated by Thrilling Virtuosity From The Solo Violin
54. Ritornello 3: Highly Contrapuntal And Dominated By Subject-Derivatives, With Much Harmonic Fluidity
55. Ritornello 3 Continues: Engine Of Harmonic Motion Repeated At Higher Pitch
56. More On Ritornello 3: The Use Of Long, Sustained, Slightly Syncopated Notes In Upper Strings And Recorders
57. Ritornello 3 (Complete)
58. Solo Episode 3 - Less Solo Than Earlier Ones, What With (Albeit Very Discreet) Orchestral Accompaniment
59. The Two Recorders Converse In Canon, Accompanied For Six Exhilarating Bars By Cello 'Continuo'
60. Finishing Solo Exposition 3: Orchestral Cellos Introduce What Sounds Like It's Going To Be The Complete Fugue Subject But Isn't
61. Approaching The Final Ritornello; Stretto Explained
62. Cue To Final Ritornello, Noting Tension-Building 'Pedal Point' In Cellos And Double Bass
| 63. Coda - The 'Tail-Piece', With Its Surprising 'Hammer Strokes'
64. Cue To Third Movement
65. Third Movement (Complete)
66. Opening Music; Analysis And Phony Analysis; Shaw Quote; Music: Motif No.1
67. Music, Energy And Relationship
68. The Outlines Of A Melody Emerge
69. The Opening Bar Again
70. Motif No.2: Ta/Dee-Ya, Dee-Ya, Dee-Ya
71. Motif No.3, And An Important Feature 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; Violin And Flute Reverse Direction Of Their Theme; The 'Love Song' Motif Answered
78. 'False' Ritornello; Soloists Interrupt; Rising 'Sighing' Motif; Harpsichord Continues Downwards
79. Four Things Going On At Once, In Violin, Flute, Harpsichord Right Hand, Harpsichord Left Hand
80. The Orchestra Returns, Picking Up At Exactly The Spot Where It Was Interrupted
81. The Harpsichord Intervenes With Derivative Of Motif 4; Key Shifts From A Major To B Minor
82. The Orchestra Returns To Foreground And Brings This Section To An End
83. Harpsichord Emerges As Virtuoso; A Series Of Expectations Are Frustrated
84. A Backwards Look; Blurred Distinctions Between Soloists And Orchestra; 'Mozartian' Development
85. Out Of The Twilight Zone; A Sequence Of Surprises
86. The Epoch-Making Harpsichord Cadenza And The Final Ritornello
87. Cue To First Movement
88. First Movement (Complete)
89. Introduction; The Opening Ritornello
90. The First Bar; The First Main Building Block
91. The Flute Motif
92. Opening Of The First Solo Episode
93. An Important Motif; The Second Main Building Block
94. The Second Main Theme
95. Ritornello 2; Violin And Flute As 'Orchestra'
96. Episode 2; Inversion Of Original Motifs
97. More On Episode 2
98. Episode 1 And Episode 2 Compared
99. Episode 2; Key Shifts From D Major To F Sharp Minor
100. Ritornello 3: An Exact Transposition Of Ritornello 1
101. Episode 3 Contrasted With Episode 1
102. Episode 3 Described In Detail
103. Rotornello 4; Second Main Theme's First 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 Juxtaposition Of Contrasting Elements
109. Flute Takes The 'Answer', With Countersubject In The Violin
110. Contrary Motion As A Contrapuntal Device
111. Contrary Motion As A Listening Aid; A New Theme
112. Playing With The Counter-Subject; A Musical Game Of Tag
113. Hidden Rhythms: Background Variety Behind Foreground Uniformity
114. Fugal Writing And The Compatibility Of Parts; The Exposition
115. Episode 1, Taken By Soloists, Contains Importand 'Seeds'
116. The Orchestra Enters At Last, But By Stealth
117. Stretto And Musical Football
118. Key Changes To B Minor, Introducing Extensive Middle Section
119. The Middle Section A Precursor Of The Mozartian 'Development'
120. The Fugue Subject Out In Force: First Four Immediately Consecutive Entries Yet
121. Ambiguity Of Mode And A Scottish Twist
122. Middle Section Continued; Harpsichord Dominates
123. Cue To Last Movement
124. Last Movement (Complete)
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