Beethoven
Classics Explained - An Introduction to Beethoven: Symphony No. 6, "Pastoral"
Jeremy Siepmann, Nicolaus Esterházy Sinfonia, Béla Drahos
Beethoven: Opening Phrase of the "Pastoral"
Beethoven: Musical Acorns
The Outline of Melody; The Shape of a Question
Nicolaus Esterházy Sinfonia, Jeremy Siepmann, Béla Drahos
The "Question" in the "Pastoral" Repeated...
Nicolaus Esterházy Sinfonia, Béla Drahos, Jeremy Siepmann
Beethoven
The Opening Phrase Ends on a Note Full of Pregnant Expectation
Béla Drahos, Jeremy Siepmann, Nicolaus Esterházy Sinfonia
The Rhythmic Profile of the Opening Phrase; A Two-Part Construction
Jeremy Siepmann, Béla Drahos, Nicolaus Esterházy Sinfonia
The Properties of Rhythmic Ambiguity; The "Question" of Phrase One Answered
Jeremy Siepmann, Béla Drahos, Nicolaus Esterházy Sinfonia
Beethoven: Phrase Two
Beethoven: The Makings of a Conversation
Beethoven
Repetition as a Major Factor, but It's Never Mere Repetition; Each Time Something New Is Added
Jeremy Siepmann, Béla Drahos, Nicolaus Esterházy Sinfonia
From Soft to Loud and Back Again; Instrumental Enrichment from Horns and Double-Basses
Jeremy Siepmann, Béla Drahos, Nicolaus Esterházy Sinfonia
Beethoven: Mega-Repetition
Violins Play Exactly the Same Little Fragment Ten Times in a Row
Jeremy Siepmann, Nicolaus Esterházy Sinfonia, Béla Drahos
Beethoven
But No Two Repetitions Are Quite the Same; Variaties of Contrast
Béla Drahos, Nicolaus Esterházy Sinfonia, Jeremy Siepmann
More Variation; Pitch Rises; Violins Joined First by the Clarinet, Then by the Oboe
Jeremy Siepmann, Béla Drahos, Nicolaus Esterházy Sinfonia
Return to Opening Idea, but with New Instrumentation and Articulation
Nicolaus Esterházy Sinfonia, Jeremy Siepmann, Béla Drahos
Clarinets, Horns, Bassoons and Flutes Now Join Expansive Variation
Nicolaus Esterházy Sinfonia, Béla Drahos, Jeremy Siepmann
"New" Insistent Rhythm Derived from the First Four Notes of the Piece
Nicolaus Esterházy Sinfonia, Béla Drahos, Jeremy Siepmann
With the Dawn Chorus, a Whole Forest Is Waking Up; Feelings of Rapture
Jeremy Siepmann, Nicolaus Esterházy Sinfonia, Béla Drahos
First Violins Play a Derivative of the Opening Figure, Joined by Winds and Strings
Béla Drahos, Nicolaus Esterházy Sinfonia, Jeremy Siepmann
Sudden Change of Key, from the Home Key (Tonic) to the Dominant
Béla Drahos, Nicolaus Esterházy Sinfonia, Jeremy Siepmann
Arrival at the Highly Contrasting Second Main Theme
Jeremy Siepmann, Nicolaus Esterházy Sinfonia, Béla Drahos
Rhythmic Clash Between Simultaneous Groups of Three Beats and Groups of Two
Béla Drahos, Jeremy Siepmann, Nicolaus Esterházy Sinfonia
Winds Fall Silent as the Violins and Violas Interrupt with a New Theme
Jeremy Siepmann, Béla Drahos, Nicolaus Esterházy Sinfonia
Winds Answer with the Same Morse-Like Rhythm, but at Half the Speed
Jeremy Siepmann, Béla Drahos, Nicolaus Esterházy Sinfonia
Crescendo Leads To Strings' Acceleration of the Pace with No Increase in Tempo
Béla Drahos, Nicolaus Esterházy Sinfonia, Jeremy Siepmann
Beginning of Coda, Directly Based on Morse-Like Rhythm of the Main Theme
Béla Drahos, Jeremy Siepmann, Nicolaus Esterházy Sinfonia
Strings Reiterate Small Fragment of the New Theme 13 Times in a Row
Béla Drahos, Nicolaus Esterházy Sinfonia, Jeremy Siepmann
A Simple, Rising Violin Phrase Leads to a Repeat of the Exposition
Béla Drahos, Nicolaus Esterházy Sinfonia, Jeremy Siepmann
The Nature and Function of the Development Section in Sonata Form; "Harmonic Rhythm" Explained
Nicolaus Esterházy Sinfonia, Jeremy Siepmann, Béla Drahos
A Typically Beethovenian Exercise in the Frustration of Expectation
Béla Drahos, Jeremy Siepmann, Nicolaus Esterházy Sinfonia
Repetitiousness and Magic Effected Largely through Instrumental Colour
Jeremy Siepmann, Nicolaus Esterházy Sinfonia, Béla Drahos
Even Greater Magic, with Sudden Switch of Key and Tone Colour
Jeremy Siepmann, Béla Drahos, Nicolaus Esterházy Sinfonia
Entire Development Section up to This Point
Jeremy Siepmann, Béla Drahos, Nicolaus Esterházy Sinfonia
Increased Unease and Suspense as Harmonic Rhythm Accelerates
Béla Drahos, Jeremy Siepmann, Nicolaus Esterházy Sinfonia
Arrival at the Point of Recapitualtion; Back to the Beginning, as a Reminder
Nicolaus Esterházy Sinfonia, Jeremy Siepmann, Béla Drahos
More Beethovenian Frustrations of Expectations Which He Himself Has Just Set Up
Béla Drahos, Jeremy Siepmann, Nicolaus Esterházy Sinfonia
Harmonic Rhythm Speeds Up, Giving the Impression of an Accent on Every Beat
Jeremy Siepmann, Nicolaus Esterházy Sinfonia, Béla Drahos
Prevailing Mood Restored; New Theme from Clarinets and Bassoons
Nicolaus Esterházy Sinfonia, Jeremy Siepmann, Béla Drahos
Violins and Violas Take Up Theme; Horns, Cellos, Double-Basses Accompany
Jeremy Siepmann, Béla Drahos, Nicolaus Esterházy Sinfonia
A Hush Falls, Followed by a Return of the Movement's Most Familiar Tag in Strings
Jeremy Siepmann, Béla Drahos, Nicolaus Esterházy Sinfonia
Clarinet Takes Up the Running Triplet Figures of the Main Closing Theme
Béla Drahos, Jeremy Siepmann, Nicolaus Esterházy Sinfonia
First Violins Take Up the Opening Phrase Again, Accompanied by Double-Basses
Béla Drahos, Jeremy Siepmann, Nicolaus Esterházy Sinfonia
Beethoven Slips In One Last Surprise; Cue to Complete Movement
Nicolaus Esterházy Sinfonia, Jeremy Siepmann, Béla Drahos
Beethoven
General Introduction; The Birth of a Melody
Béla Drahos, Nicolaus Esterházy Sinfonia, Jeremy Siepmann
Brook Music Quickens; Syncopated Horns; Themes Change Hands; Evocation of Birdsong
Béla Drahos, Jeremy Siepmann, Nicolaus Esterházy Sinfonia
The "Mottl" Theme Introduced by Violins and Treated to Round-Like Overlappings
Jeremy Siepmann, Béla Drahos, Nicolaus Esterházy Sinfonia
Transitional "Bridge" Theme Sets Off for New Key Group. But Is It? And Does It?
Béla Drahos, Jeremy Siepmann, Nicolaus Esterházy Sinfonia
Will He, Or Won't He? Beethoven Keeps Us Guessing
Jeremy Siepmann, Nicolaus Esterházy Sinfonia, Béla Drahos
Arrival at the Second Group; But Where Is the Actual Second Subject?
Béla Drahos, Jeremy Siepmann, Nicolaus Esterházy Sinfonia
...Which the Full Orchestra Now Takes Up in Varied Form
Jeremy Siepmann, Nicolaus Esterházy Sinfonia, Béla Drahos
Theme Carried by Flutes and First Violins in a Charmingly Waltz-Like Development
Béla Drahos, Jeremy Siepmann, Nicolaus Esterházy Sinfonia
Back to the Prevailing Triple-Metre with Violins, Bassoons and Flutes
Nicolaus Esterházy Sinfonia, Béla Drahos, Jeremy Siepmann
...And a Cue To Some Unexpected Departures
Nicolaus Esterházy Sinfonia, Jeremy Siepmann, Béla Drahos
The Transformational Magic of Beethoven's Tone-Painting - And a New Variation
Béla Drahos, Jeremy Siepmann, Nicolaus Esterházy Sinfonia
Conversation of Clarinet, Flute and Oboe on the Way to the Development
Nicolaus Esterházy Sinfonia, Béla Drahos, Jeremy Siepmann
Harmonic Movement Emphasised By Violins; Oboe Takes Up the First Subject
Nicolaus Esterházy Sinfonia, Béla Drahos, Jeremy Siepmann
Flute and Oboe Discuss the First Subject, Before Arriving Together at the Transistion
Jeremy Siepmann, Nicolaus Esterházy Sinfonia, Béla Drahos
Gains in Volume and Intensity Lead to a New Key-Change
Jeremy Siepmann, Nicolaus Esterházy Sinfonia, Béla Drahos
More Thematic Transformation Through the Agency of Tone-Colour
Nicolaus Esterházy Sinfonia, Jeremy Siepmann, Béla Drahos
Harmonic Fluidity - Instability - As the Central Engine of the Development Section
Jeremy Siepmann, Béla Drahos, Nicolaus Esterházy Sinfonia
Harmonic Instability, Thematic Dissolution Increase, Then Lessen with Approach of Recapitulation
Béla Drahos, Jeremy Siepmann, Nicolaus Esterházy Sinfonia
Beethoven: Recap. and Transformation
Key and Material Are Right, but What a Change of Presentation!
Béla Drahos, Jeremy Siepmann, Nicolaus Esterházy Sinfonia
Beethoven
Just When We Know What's Coming, Beethoven Changes the Rules (Or At Least the Harmony)
Béla Drahos, Nicolaus Esterházy Sinfonia, Jeremy Siepmann
Transformation by Reorchestration; Switch to Long Sustained Chords; Then Everything Stops
Jeremy Siepmann, Béla Drahos, Nicolaus Esterházy Sinfonia
The Silence Is Broken by Voices of Nightingale (Flute), Quail (Oboe), and Cuckoo (Clarinet)
Béla Drahos, Jeremy Siepmann, Nicolaus Esterházy Sinfonia
Beethoven: Beethoven and The Scherzo
An Introduction; Part One of Opening Phrase Taken by the Strings
Béla Drahos, Jeremy Siepmann, Nicolaus Esterházy Sinfonia
Beethoven: Immediate Response
Part One Is Answered by a Much More Singing, Continous Legato
Jeremy Siepmann, Nicolaus Esterházy Sinfonia, Béla Drahos
Beethoven
Entire Orchestra Gives Out Opening Theme, This Time Fortissimo and with Powerful Accents
Béla Drahos, Nicolaus Esterházy Sinfonia, Jeremy Siepmann
A Musical Ball Game. The Contrast of This and the First Two Movements Could Hardly Be Greater
Jeremy Siepmann, Béla Drahos, Nicolaus Esterházy Sinfonia
After Quietly Teasing Suspense, Beethoven Mocks Village Band, First the Oboe, Then the Bassoon
Béla Drahos, Nicolaus Esterházy Sinfonia, Jeremy Siepmann
Clarinet Joins In, Then Horn Takes the Tune - The Dance No Longer Boisterous But Lyrical
Jeremy Siepmann, Béla Drahos, Nicolaus Esterházy Sinfonia
Strings Sweep the Village Musicians Aside and Hurtle Us into the New, Boisterous "Trio" Section
Nicolaus Esterházy Sinfonia, Jeremy Siepmann, Béla Drahos
Beethoven
The Air Is Alive with the Sound of (Mock) Bagpipes, Tambourines and Fifes
Nicolaus Esterházy Sinfonia, Béla Drahos, Jeremy Siepmann
Coda; Begins as the Movement Itself Begins, but Soon Diverges in Harmony and Instrumentation
Béla Drahos, Nicolaus Esterházy Sinfonia, Jeremy Siepmann
Original Layout Compressed; Order of Events Is Changed and Beethoven Springs a Big Surprise
Jeremy Siepmann, Béla Drahos, Nicolaus Esterházy Sinfonia
Beethoven
Unparalleled Portrait of Nature's Power over Humanity, with Some Stupendous Orchestration
Nicolaus Esterházy Sinfonia, Jeremy Siepmann, Béla Drahos
Self-Generating Form and Terror of Total Unpredictability; "Anxiety Motif" from the Violins
Nicolaus Esterházy Sinfonia, Jeremy Siepmann, Béla Drahos
The "Lashing Rain" Motif - Downward-Driving Arpeggios from the First Violins and Violas
Béla Drahos, Jeremy Siepmann, Nicolaus Esterházy Sinfonia
The "Lightning" Motif, And Its Recurrence Later in the Movement
Jeremy Siepmann, Nicolaus Esterházy Sinfonia, Béla Drahos
"Rain" Motif, Derived from Descending Scale Pattern from the Violins at the Outset
Béla Drahos, Nicolaus Esterházy Sinfonia, Jeremy Siepmann
Shivering Tremolandos from the Strings and Increasingly Eerie Harmonies from the Wind
Béla Drahos, Jeremy Siepmann, Nicolaus Esterházy Sinfonia
Steady Crescendo in Strings; Terrifying, Downward Spelling-Out of Chords in the Violins
Nicolaus Esterházy Sinfonia, Béla Drahos, Jeremy Siepmann
Extremes of Dynamic Contrasts; The Unsettling, Disturbing, Undermining Effects of Chromaticism
Nicolaus Esterházy Sinfonia, Béla Drahos, Jeremy Siepmann
Abandonment of Melody, and Most Traces Even of Rhythm; Sustained, Discordant Harmony
Jeremy Siepmann, Béla Drahos, Nicolaus Esterházy Sinfonia
Storm Dispersed, the Sun Reappears, Bathing Sodden Earth Below with Its Life-Giving Rays
Béla Drahos, Nicolaus Esterházy Sinfonia, Jeremy Siepmann
Cue Tto Complete Performance of Fourth Movement
Béla Drahos, Jeremy Siepmann, Nicolaus Esterházy Sinfonia
Beethoven
"Yodelling" Figure from Clarinet, Then Horn, Then Violins, Who Introduce the Main Theme
Béla Drahos, Jeremy Siepmann, Nicolaus Esterházy Sinfonia
Details of Instrumental Magic in the Interplay of Horns, Cellos, Clarinets and Bassoons
Nicolaus Esterházy Sinfonia, Jeremy Siepmann, Béla Drahos
Now We Get the Whole Orchestra, Playing Full Out, with Violins All Double-Stopping
Nicolaus Esterházy Sinfonia, Béla Drahos, Jeremy Siepmann
Transition to the Next Section, Based on the Last Two Notes of the Main Theme
Nicolaus Esterházy Sinfonia, Béla Drahos, Jeremy Siepmann
The Rhythmic Basis of New Transition Theme, First in Violas, Then Taken Up by First Violins
Jeremy Siepmann, Nicolaus Esterházy Sinfonia, Béla Drahos
Another Rhythmic Detail of Extended Transition Comes Increasingly into the Foreground
Jeremy Siepmann, Béla Drahos, Nicolaus Esterházy Sinfonia
...And Is Then Heard in Expanded Version, Taken in Sequence by the Strings, from the Top Down
Nicolaus Esterházy Sinfonia, Béla Drahos, Jeremy Siepmann
New Phrase, Introduced by Violins, Brings Us Resoundingly Back to the Opening Material
Jeremy Siepmann, Béla Drahos, Nicolaus Esterházy Sinfonia
Main Theme, Re-Orchestrated; Unexpected Drift into Another Key and a New, Gently Flowing Theme
Nicolaus Esterházy Sinfonia, Béla Drahos, Jeremy Siepmann
Hints of a Return To Main Theme; Long "Pedal Point"; Running Commentary from the Violins
Jeremy Siepmann, Béla Drahos, Nicolaus Esterházy Sinfonia
Main Theme Returns, but Significantly Altered, and Not Entirely Intact
Jeremy Siepmann, Béla Drahos, Nicolaus Esterházy Sinfonia
Running Commentary Now Heard in the Middle, with Alternating Pizzicatos Both above and Below
Jeremy Siepmann, Béla Drahos, Nicolaus Esterházy Sinfonia
Part Three of Main Theme Given to the Entire Orchestra, Leading to Final Appearance of Theme Two
Jeremy Siepmann, Nicolaus Esterházy Sinfonia, Béla Drahos
Extended Coda; Overlapping Variations of Main Theme, Rather in the Manner of a Round
Béla Drahos, Nicolaus Esterházy Sinfonia, Jeremy Siepmann
Suddenly the Scene Changes. A Variation of the Running Commentary Cited in Tracks 34 and 36
Jeremy Siepmann, Nicolaus Esterházy Sinfonia, Béla Drahos
The Crowning Glory, as the Shepherd's Song of Thanksgiving Takes On a "Heavenly" Magnificence
Béla Drahos, Jeremy Siepmann, Nicolaus Esterházy Sinfonia
Cue into Complete Performance of Fifth Movement through the "Gateway" of the Fourth
Jeremy Siepmann, Béla Drahos, Nicolaus Esterházy Sinfonia