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Classics Explained: Beethoven - Symphony No. 6, 'Pastoral'



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Facts
Item number 8558034-35
Barcode 636943803424
Release date 7/1/2002
Category Spoken Word
Label NAXOS EDUCATIONAL
Media type COMPACT DISC
Number of units 2
Disc: 1
1 On Beethoven's Openings 00:01:26 Siepmann, Jeremy
2 Opening phrase of the 'Pastoral': ood, Symbolism a 00:01:44 Siepmann, Jeremy
3 Musical Acorns: the outline of melody; the shape o 00:00:42 Siepmann, Jeremy
4 The 'question' in the 'Pastoral' repeated... 00:00:04 Siepmann, Jeremy
5 ...and answered 00:00:12 Siepmann, Jeremy
6 The opening phrase ends on a note full of pregnant 00:00:19 Siepmann, Jeremy
7 Starting with a stop 00:00:36 Siepmann, Jeremy
8 The rhythmic profile of the opening phrase; a two- 00:00:52 Siepmann, Jeremy
9 Phrase One, Part One 00:00:09 Siepmann, Jeremy
10 Phrase One, Part Two 00:00:06 Siepmann, Jeremy
11 The properties of rhythmic ambiguity; the 'questio 00:01:03 Siepmann, Jeremy
12 Phrase Two: from meander to march 00:00:27 Siepmann, Jeremy
13 The makings of a conversation: contrast and variat 00:00:47 Siepmann, Jeremy
14 Repetition as A Major factor, but it's never mere 00:00:33 Siepmann, Jeremy
15 From soft to loud and back again; instrumental enr 00:00:18 Siepmann, Jeremy
16 Mega-repetition: violins play exactly the same lit 00:00:29 Siepmann, Jeremy
17 But no two repetitions are quite the same; varieti 00:00:34 Siepmann, Jeremy
18 More variation: pitch rises; violins joined frist 00:00:19 Siepmann, Jeremy
19 Return to opening idea, but with new instrumentati 00:00:25 Siepmann, Jeremy
20 Clarinets, horns, bassoons and flutes now join exp 00:00:49 Siepmann, Jeremy
21 'New' insistent rhythm derived from the first four 00:00:09 Siepmann, Jeremy
22 With the dawn chorus, a whole forest is waking up; 00:00:36 Siepmann, Jeremy
23 First violins play a derivative of the opening fig 00:00:32 Siepmann, Jeremy
24 Sudden change of key, from the home key (tonic) to 00:00:30 Siepmann, Jeremy
25 Arrival at the hightly contrasting second main the 00:00:55 Siepmann, Jeremy
26 Unusual properties of second main theme 00:02:15 Siepmann, Jeremy
27 Rhythmic clash between simultaneous groups of thre 00:01:09 Siepmann, Jeremy
28 winds fall selent as the violins and violas interr 00:00:30 Siepmann, Jeremy
29 Winds answer with the same morse-like rhythm but a 00:00:51 Siepmann, Jeremy
30 Crescendo leads to strings' acceleration of the pa 00:01:05 Siepmann, Jeremy
31 Beginning of coda, directly based on morse-like rh 00:00:22 Siepmann, Jeremy
32 Strings reiterate small fragment of the new theme 00:00:48 Siepmann, Jeremy
33 A simple, rising violin phrase leads to a repeat o 00:00:18 Siepmann, Jeremy
34 The nature and function of the Development section 00:02:22 Siepmann, Jeremy
35 The nature of harmonic rhythm illustrated 00:00:35 Siepmann, Jeremy
36 A typically Beethovenian exercise in the frustrati 00:00:38 Siepmann, Jeremy
37 Repetitiousness and magic effected largely through 00:00:42 Siepmann, Jeremy
38 Then come four, almost identical bars 00:00:08 Siepmann, Jeremy
39 Even greater magic, with sudden switch of key and 00:00:28 Siepmann, Jeremy
40 Entire Development section up to this point 00:01:55 Siepmann, Jeremy
41 The Development continued 00:01:23 Siepmann, Jeremy
42 Increased unease and suspense as harmonic rhythm a 00:02:03 Siepmann, Jeremy
43 Arrival at the point of Recapitulation; back to th 00:01:50 Siepmann, Jeremy
44 Beginning of Recapitulation 00:00:50 Siepmann, Jeremy
45 More Beethovenian frustrations of expectations whi 00:01:01 Siepmann, Jeremy
46 Harmonic rhythm speeds up, giving the impression o 00:00:34 Siepmann, Jeremy
47 Prevailing mood restored; new theme from clarinets 00:00:28 Siepmann, Jeremy
48 Violins and violas take up theme; horns, cellos, d 00:00:48 Siepmann, Jeremy
49 A hush falls, followed by a return of the movement 00:00:58 Siepmann, Jeremy
50 Clarinet takes up the running triplet figures of t 00:00:32 Siepmann, Jeremy
51 First violins take up the opening phrase again, ac 00:00:37 Siepmann, Jeremy
52 Beethoven slips in one last surprise; cue to compl 00:00:59 Siepmann, Jeremy
53 First movement (complete) 00:11:01 Siepmann, Jeremy
54 General introduction; the birth of a melody 00:01:59 Siepmann, Jeremy
55 Brook music quickens; syncopated horns; theme chan 00:01:19 Siepmann, Jeremy
56 The 'motto' theme introduced by violins and treate 00:00:52 Siepmann, Jeremy
57 Transitional 'bridge' theme sets off for new key g 00:00:39 Siepmann, Jeremy
58 Will he, or won't he? Beethoven keeps us guessing 00:01:09 Siepmann, Jeremy
59 The run-up to the Second Group 00:01:14 Siepmann, Jeremy
60 Arrival at the Second Group; but where is the actu 00:00:39 Siepmann, Jeremy
61 A new tune is introduced by the bassoon 00:00:38 Siepmann, Jeremy
62 Tune is repeated three times 00:01:00 Siepmann, Jeremy
63 ...which the full orchestra now takes up in varied 00:00:45 Siepmann, Jeremy
64 Theme carried by flutes and first violins in a cha 00:00:48 Siepmann, Jeremy
65 A reminder of precedent 00:00:14 Siepmann, Jeremy
66 Back to the prevailing triple-metre with violins, 00:00:16 Siepmann, Jeremy
67 Another reminder of precedent... 00:00:16 Siepmann, Jeremy
68 ...and a cue to some unexpected departures 00:00:38 Siepmann, Jeremy
69 The transformational magic of Beethoven's 'tone-pa 00:00:50 Siepmann, Jeremy
70 Conversation of clarinet, flute and oboe on the wa 00:00:43 Siepmann, Jeremy
71 Harmonic movement emphasised by violins; oboe take 00:00:38 Siepmann, Jeremy
72 Flute and oboe discuss the First Subject, before a 00:01:04 Siepmann, Jeremy
73 Gains in volume and intensity lead to a new key-ch 00:00:47 Siepmann, Jeremy
74 More thematic transformation through the agency of 00:01:11 Siepmann, Jeremy
75 Harmonic fluideity - instability - as the central 00:01:40 Siepmann, Jeremy
76 Harmonic instability, thematic dissolution increas 00:01:41 Siepmann, Jeremy
77 Recap. and transformation: key and material are ri 00:01:29 Siepmann, Jeremy
78 Just when we know what's coming, Beethoven changes 00:00:53 Siepmann, Jeremy
79 Transformation by reorchestration; switch to long 00:01:20 Siepmann, Jeremy
80 The silence is broken by voices of nightingale (fl 00:00:40 Siepmann, Jeremy
81 First violins bring back motto theme 00:00:12 Siepmann, Jeremy
82 Cue to complete movement on CD 2 00:00:32 Siepmann, Jeremy
Disc: 2
1 Second movement (complete) 00:12:03 Siepmann, Jeremy
2 Beethoven and the Scherzo: an introduction; Part O 00:01:32 Siepmann, Jeremy
3 Immediate response; Part One is answered by a marc 00:00:23 Siepmann, Jeremy
4 Entire orchestra gives out opening theme, this tim 00:01:06 Siepmann, Jeremy
5 A mustical ball game. The contrast of this and the 00:00:33 Siepmann, Jeremy
6 After quietly teasing suspense, Beethoven mocks vi 00:01:18 Siepmann, Jeremy
7 Clarinet joins in, then horn takes the tune - the 00:00:48 Siepmann, Jeremy
8 Strings sweep the village musicians aside and hurt 00:00:46 Siepmann, Jeremy
9 The air is alive with the sound of (mock) bagpipes 00:01:00 Siepmann, Jeremy
10 Coda; begins as the movement itself begins, but so 00:01:18 Siepmann, Jeremy
11 Original layout compressed; order of events is cha 00:00:42 Siepmann, Jeremy
12 Third movement (complete) 00:05:14 Siepmann, Jeremy
13 Unparalled portrait of nature's power over humanit 00:03:05 Siepmann, Jeremy
14 Self-generating form and terror of total unpredict 00:01:34 Siepmann, Jeremy
15 The 'lashing rain' motif - downward-driving arpegg 00:00:36 Siepmann, Jeremy
16 The 'lightning' motif, and its recurrnece later in 00:00:22 Siepmann, Jeremy
17 'Rain' motif, derived from descending scale patter 00:00:13 Siepmann, Jeremy
18 Shivering tremolandos from the strings and increas 00:00:18 Siepmann, Jeremy
19 Steady crescendo in strings; terrifying, downward 00:01:37 Siepmann, Jeremy
20 Extremes of dynamic contrasts; the unsettling, dis 00:01:02 Siepmann, Jeremy
21 Abandonment of melody, and most traces even of rhy 00:00:20 Siepmann, Jeremy
22 Storm dispersed, the sun reappears, bathing sodden 00:01:52 Siepmann, Jeremy
23 Cue to complete preformance of Fourth Movement 00:00:09 Siepmann, Jeremy
24 Fourth movement (complete) 00:03:55 Siepmann, Jeremy
25 'Yodelling' figure from clarinet, then horn, the v 00:00:59 Siepmann, Jeremy
26 Details of instrumental magic in the interplay of 00:01:06 Siepmann, Jeremy
27 Main theme heard three times in a row - and yet ne 00:01:06 Siepmann, Jeremy
28 Now we get the whole orchestra, playing full out, 00:00:36 Siepmann, Jeremy
29 Transition to the next section, based on the last 00:00:43 Siepmann, Jeremy
30 The rhythmic basis of new transition theme, first 00:00:38 Siepmann, Jeremy
31 Another rhythmic details of extended transition co 00:00:29 Siepmann, Jeremy
32 ...and is then heard in expanded version, taken in 00:00:51 Siepmann, Jeremy
33 New phrase, introduced by violins, brings us resou 00:01:13 Siepmann, Jeremy
34 Main theme, re-orchestrated; unexpected drift into 00:02:15 Siepmann, Jeremy
35 Hints of a return to main theme; long 'pedal point 00:00:58 Siepmann, Jeremy
36 Main theme returns, but significantly altered, and 00:00:37 Siepmann, Jeremy
37 Running commentary now heard in the middle, with a 00:00:24 Siepmann, Jeremy
38 Part Three of main theme given to entire orchestra 00:01:21 Siepmann, Jeremy
39 Extended coda; overlapping variations of main them 00:02:09 Siepmann, Jeremy
40 Suddenly the scene changes. A variation of the 'ru 00:00:51 Siepmann, Jeremy
41 The crowning glory, as the Shepherd's Song of Than 00:02:10 Siepmann, Jeremy
42 Cue into complete performance of Fifth Movement th 00:01:09 Siepmann, Jeremy
43 Fourth and Fifth movements (complete) 00:13:47 Siepmann, Jeremy
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