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Classics Explained: Pastoral Symphony
CD 
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Description

Classics Explained: Pastoral Symphony on CD

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  • - Disc 1 -
  • 1 On Beethoven's Openings 
  • 2 Opening Phrase of the 'Pastoral': Mood, Symbolism and Musical Function 
  • 3 Musical Acorns: The Outline of Melody; the Shape of a Question 
  • 4 The 'Question' in the 'Pastoral' Repeated 
  • 5 ... And Answered 
  • 6 The Opening Phrase Ends on a Note Full of Pregnant Expectation 
  • 7 Starting with a Stop 
  • 8 The Rhythmic Profile of the Opening Phrase; a Two-Part Construction 
  • 9 Phrase One, Part One 
  • 10 Phrase One, Part Two 
  • 11 The Properties of Rhythmic Ambiguity; the 'Question' of Phrase One Answered 
  • 12 Phrase Two: From Meander to March 
  • 13 The Makings of a Conversation: Contrast and Variation 
  • 14 Repetition As a Major Factor, But It's Never Mere Repetition; Each Time Something New Is Added 
  • 15 From Soft to Loud and Back Again; Instrumental Enrichment from Horns and Double-Basses 
  • 16 Mega-Repetition: Violins Play Exactly the Same Little Fragment Ten Times in a Row 
  • 17 But No Two Repetitions Are Quite the Same; Variaties of Contrast 
  • 18 More Variation; Pitch Rises; Violins Joined First By the Clarinet, Then By the Oboe 
  • 19 Return to Opening Idea, But with New Instrumentationand Articulation 
  • 20 Clarinets, Horns, Bassoons and Flutes Now Join Expansive Variation 
  • 21 'New' Insistent Rhythm Derived from the First Four Notes of the Piece 
  • 22 With the Dawn Chorus, a Whole Forest Is Waking Up; Feelings of Rapture 
  • 23 First Violins Play a Derivative of the Opening Figure, Joined By Wind and Strings 
  • 24 Sudden Change of Key, from the Home Key (Tonic) to the Dominant 
  • 25 Arrival at the Highly Contrasting Second Main Theme 
  • 26 Unusual Properties of Second Main Theme 
  • 27 Rhythmic Clash Between Simultaneous Groups of Three Beats and Groups of Two 
  • 28 Winds Fall Silent As the Violins and Violas Interrupt with a New Theme 
  • 29 Winds Answer with the Same Morse-Like Rhythm, But at Half the Speed 
  • 30 Crescendo Leads to Strings' Acceleration of the Pace with No Increase in Tempo 
  • 31 Beginning of Coda, Directly Based on Morse-Like Rhythm of the Main Theme 
  • 32 Strings Reiterate Small Fragmentof the New Theme 13 Times in a Row 
  • 33 A Simple, Rising Violin Phrase Leads to a Repeat of the Exposition 
  • 34 The Nature and Function of the Development Section in Sonata Form; 'Harmonic' Rhythm Explained 
  • 35 The Nature of Harmonic Rhythm Illustrated 
  • 36 A Typically Beethovenian Exercise in the Frustration of Expectation 
  • 37 Repetitiousness and Magic Effected Largely Through Instrumental Colour 
  • 38 Then Come Four, Almost Identical Bars 
  • 39 Even Greater Magic, with Sudden Switch of Key and Tone Colour 
  • 40 Entire Development Section Up to This Point 
  • 41 The Development Continued 
  • 42 Increased Unease and Suspense As Harmonic Rhythm Accelerates 
  • 43 Arrival at the Point of Recapitualtion; Back to the Beginning, As a Reminder 
  • 44 Beginning of Recapitulation 
  • 45 More Beethovenian Frustrations of Expectations Which He Himself Has Just Set Up 
  • 46 Harmonic Rhythm Speeds Up, Giving the Impression of An Accent on Every Beat 
  • 47 Prevailing Mood Restored; New Themefrom Clarinets and Bassoons 
  • 48 Violins and Violas Take Up Theme; Horns, Cellos, Double-Basses Accompany 
  • 49 A Hush Falls, Followed By a Return of the Movement's Most Familiar Tag in Strings 
  • 50 Clarinet Takes Up the Running Triplet Figures of the Main Closing Theme 
  • 51 First Violins Take Up the Opening Phrase Again, Accompanied By Double-Basses 
  • 52 Beethoven Slips in One Last Surprise; Cue to Complete Movement 
  • 53 First Movement (Complete) 
  • 54 General Introduction; the Birth of a Melody 
  • 55 Brook Music Quickens; Syncopated Horns; Themes Change Hands; Evocation of Birdsong 
  • 56 The 'Mottl' Theme Introduced By Violins and Treated to Round-Like Overlappings 
  • 57 Transitional 'Bridge' Theme Sets Off for New Key Group. But Is It? and Does It? 
  • 58 Will He, or Won't He? Beethoven Keeps Us Guessing 
  • 59 The Run-Up to the Second Group 
  • 60 Arrival at the Second Group; But Where Is the Actual Second Subject? 
  • 61 A New Tune Is Introduced By the Bassoon 
  • 62 Tune Is Repeated Three Times 
  • 63 ... Which the Full Orchestra Now Takes Up in Varied Form 
  • 64 Theme Carried By Flutes and First Violins in a Charminglywaltz-Like Development 
  • 65 A Reminder of Precedent 
  • 66 Back to the Prevailing Triple-Metre with Violins, Bassoons and Flutes 
  • 67 Another Reminder of Precedent 
  • 68 ... and a Cue to Some Unexpected Departures 
  • 69 The Transformational Magic of Beethoven's Tone-Painting - and a New Variation 
  • 70 Conversation of Clarinet, Flute and Oboe on the Way to the Development 
  • 71 Harmonic Movement Emphasised By Violins; Oboe Takes Up the First Subject 
  • 72 Flute and Oboe Discuss the First Subject, Before Arriving Together at the Transistion 
  • 73 Gains in Volume and Intensity Lead to a New Key-Change 
  • 74 More Thematic Transformation Through the Agency of Tone-Colour 
  • 75 Harmonic Fluidity - Instability - As the Central Engine of the Development Section 
  • 76 Harmonic Instability, Thematic Dissolution Increase, Then Lessen with Approach of Recapitulation 
  • 77 Recap. And Transformation: Key and Material Are Right, But What a Change of Presentation! 
  • 78 Just When We Know What's Coming, Beethoven Changes the Rules (Or at Least the Harmony) 
  • 79 Transformation By Reorchestration; Switch to Long Sustained Chords; Then Everything Stops 
  • 80 The Silence Is Broken By Voices of Nightingale (Flute), Quail (Oboe), and Cuckoo (Clarinet) 
  • 81 First Violins Bring Back Motto Theme 
  • 82 Cue to Complete Movement on CD 2 
  • - Disc 2 -
  • 1 Second Movement (Complete) 
  • 2 Beethoven and the Scherzo: An Introduction; Part One of Opening Phrase Taken By the Strings 
  • 3 Immediate Response: Part One Is Answered By a Much More Singing, Continous Legato 
  • 4 Entire Orchestra Gives Out Opening Theme, This Time Fortissimo and with Powerful Accents 
  • 5 A Musical Ball Game. The Contrast of This and the First Two Movements Could Hardly Be Greater 
  • 6 After Quietly Teasing Suspense, Beethoven Mocks Village Band, First the Oboe, Then the Bassoon 
  • 7 Clarinet Joins in, Then Horn Takes the Tune - the Dance No Longer Boisterous But Lyrical 
  • 8 Strings Sweep the Village Musicians Aside and Hurtle Us Into the New, Boisterous 'Trio' Section 
  • 9 The Air Is Alive with the Sound of (Mock) Bagpipes, Tambourines and Fifes 
  • 10 Coda; Begins As the Movement Itself Begins, But Soon Diverges in Harmony and Instrumentation 
  • 11 Original Layout Compressed; Order of Events Is Changed and Beethoven Springs a Big Surprise 
  • 12 Third Movement (Complete) 
  • 13 Unparalleled Portrait of Nature's Power Over Humanity, with Some Stupendous Orchestration 
  • 14 Self-Generating Form and Terror of Total Unpredictability; 'Anxiety Motif' from the Violins 
  • 15 The 'Lashing Rain' Motif - Downward-Driving Arpeggios from the First Violins and Violas 
  • 16 The 'Lightning' Motif, and It's Recurrence Later in the Movement 
  • 17 'Rain' Motif, Derived from Descending Scale Pattern from the Violins at the Outset 
  • 18 Shivering Tremolandos from the Strings and Increasingly Eerie Harmonies from the Wind 
  • 19 Steady Crescendo in Strings; Terrifying, Downward Spelling-Out of Chords in the Violins 
  • 20 Extremes of Dynamic Contrasts; the Unsettling, Disturbing, Undermining Effects of Chromaticism 
  • 21 Abandonment of Melody, and Most Traces Even of Rhythm; Sustained, Discordant Harmony 
  • 22 Storm Dispersed, the Sun Reappears, Bathing Sodden Earth Below with It's Life-Giving Rays 
  • 23 Cue to Complete Performance of Fourth Movement 
  • 24 Fourth Movement (Complete) 
  • 25 'Yodelling' Figure from Clarinet, Then Horn, Then Violins, Who Introduce the Main Theme 
  • 26 Details of Instrumental Magic in the Interplay of Horns, Cellos, Clarinets and Bassoons 
  • 27 Main Theme Heard Three Times in a Row 
  • 28 Now We Get the Whole Orchestra, Playing Full Out, with Violins All Double-Stopping 
  • 29 Transition to the Next Section, Based on the Last Two Notes of the Main Theme 
  • 30 The Rhythmic Basis of New Transition Theme, First in Violas, Then Taken Up By First Violins 
  • 31 Another Rhythmic Detail of Extended Transition Comes Increasingly Into the Foreground 
  • 32 ... And Is Then Heard in Expanded Version, Taken in Sequence By the Strings, from the Top Down 
  • 33 New Phrase, Introduced By Violins, Brings Us Resoundingly Back to the Opening Material 
  • 34 Main Theme, Re-Orchestrated; Unexpected Drift Into Another Key and a New, Gently Flowing Theme 
  • 35 Hints of a Return to Main Theme; Long 'Pedal Point'; Running Commentary from the Violins 
  • 36 Main Theme Returns, But Significantly Altered, and Not Entirely Intact 
  • 37 Running Commentary Now Heard in the Middle, with Alternating Pizzicatos Both Above and Below 
  • 38 Part Three of Main Theme Given to the Entire Orchestra, Leading to Final Appearance of Theme Two 
  • 39 Extended Coda; Overlapping Variations of Main Theme, Rather in the Manner of a Round 
  • 40 Suddenly the Scene Changes. A Variation of the Running Commentary Cited in Tracks 34 and 36 
  • 41 The Crowning Glory, As the Shepherd's Song of Thanksgiving Takes on a 'Heavenly' Magnificence 
  • 42 Cue Into Complete Performance of Fifth Movement Through the 'Gateway' of the Fourth 
  • 43 Fourth and Fifth Movements (Complete)