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Brandenburg Concerto No. 4 in G - First Movement: Ritornello 4, not altogether what it might seem; solo violin takes 'motto' motif
Jeremy Siepmann
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Brandenburg Concerto No. 4 in G - First Movement: Episode 3 proves retrospective, featuring transposed repeats of earlier material
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Classics Explained: Bach, J.S. - Brandenburg Concertos Nos 4 & 5 (Siepmann)
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Brandenburg Concerto No. 4 in G - First Movement: Episode 2, Part 1, preceded by the 'fanfare' motif from which its first theme derives
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Classics Explained: Bach, J.S. - Brandenburg Concertos Nos 4 & 5 (Siepmann)
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Brandenburg Concerto No. 4 in G - First Movement: Episode 4 continued, with emphasis placed on conversational interchanges
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Classics Explained: Bach, J.S. - Brandenburg Concertos Nos 4 & 5 (Siepmann)
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Brandenburg Concerto No. 4 in G - First Movement: Ritornello 5, beginning
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Classics Explained: Bach, J.S. - Brandenburg Concertos Nos 4 & 5 (Siepmann)
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Brandenburg Concerto No. 4 in G - First Movement: Episode 2 continued, with more bravura dazzle from the solo violin
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Classics Explained: Bach, J.S. - Brandenburg Concertos Nos 4 & 5 (Siepmann)
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Brandenburg Concerto No. 4 in G - First Movement: Episode 4. Cue to Part 1, focusing on 'soloistic' counterpoint provided by the continuo
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Classics Explained: Bach, J.S. - Brandenburg Concertos Nos 4 & 5 (Siepmann)
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Der JΓΌngling an der Quelle, D. 300 (Arr. for Cello and Piano by E. Bertrand and P. Amoyel)
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Deux arabesques, L. 66: No. 1, Andantino
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Brandenburg Concerto No. 4 in G - First Movement: Ritornello 3, with the prominent participation of the soloists
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Classics Explained: Bach, J.S. - Brandenburg Concertos Nos 4 & 5 (Siepmann)
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