|
No. |
Title |
Length |
| 1. |
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: On Beethoven's Openings |
1:26 |
| 2. |
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: Opening phrase of the 'Pastoral': ood, Symbolism and Musical Function |
1:44 |
| 3. |
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: Musical Acorns: the outline of melody; the shape of a question |
0:42 |
| 4. |
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: The 'question' in the 'Pastoral' repeated... |
0:04 |
| 5. |
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: ...and answered |
0:12 |
| 6. |
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: The opening phrase ends on a note full of pregnant expectation |
0:19 |
| 7. |
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: Starting with a stop |
0:36 |
| 8. |
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: The rhythmic profile of the opening phrase; a two-part construction |
0:52 |
| 9. |
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: Phrase One, Part One |
0:09 |
| 10. |
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: Phrase One, Part Two |
0:06 |
| 11. |
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: The properties of rhythmic ambiguity; the 'question' of Phrase One answered |
1:03 |
| 12. |
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: Phrase Two: from meander to march |
0:27 |
| 13. |
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: The makings of a conversation: contrast and variation |
0:47 |
| 14. |
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: Repetition as a major factor, but it's never mere repetition; each time something new is ad |
0:33 |
| 15. |
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: From soft to loud and back again; instrumental enrichment from horns and double-basses |
0:18 |
| 16. |
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: Mega-repetition: violins play exactly the same little fragment ten times in a row |
0:29 |
| 17. |
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: But no two repetitions are quite the same; varieties of contrast |
0:34 |
| 18. |
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: More variation: pitch rises; violins joined frist by the clarinet, then by the oboe |
0:19 |
| 19. |
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: Return to opening idea, but with new instrumentation and articulation |
0:25 |
| 20. |
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: Clarinets, horns, bassoons and flutes now join expansive variation |
0:49 |
| 21. |
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: 'New' insistent rhythm derived from the first four notes of the piece |
0:09 |
| 22. |
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: With the dawn chorus, a whole forest is waking up; feelings of rapture |
0:36 |
| 23. |
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: First violins play a derivative of the opening figure, joined by wind and strings |
0:32 |
| 24. |
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: Sudden change of key, from the home key (tonic) to the dominant |
0:30 |
| 25. |
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: Arrival at the hightly contrasting second main theme |
0:55 |
| 26. |
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: Unusual properties of second main theme |
2:15 |
| 27. |
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: Rhythmic clash between simultaneous groups of three beats and groups of two |
1:09 |
| 28. |
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: winds fall selent as the violins and violas interrupt with a new theme |
0:30 |
| 29. |
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: Winds answer with the same morse-like rhythm but at half the speed |
0:51 |
| 30. |
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: Crescendo leads to strings' acceleration of the pace with no increase in tempo |
1:05 |
| 31. |
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: Beginning of coda, directly based on morse-like rhythm of the main theme |
0:22 |
| 32. |
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: Strings reiterate small fragment of the new theme 13 times in a row |
0:48 |
| 33. |
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: A simple, rising violin phrase leads to a repeat of the Exposition |
0:18 |
| 34. |
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: The nature and function of the Development section in sonata form; 'harmonic' rhythm explai |
2:22 |
| 35. |
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: The nature of harmonic rhythm illustrated |
0:35 |
| 36. |
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: A typically Beethovenian exercise in the frustration of expectation |
0:38 |
| 37. |
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: Repetitiousness and magic effected largely through instrumental colour |
0:42 |
| 38. |
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: Then come four, almost identical bars |
0:08 |
| 39. |
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: Even greater magic, with sudden switch of key and tone colour |
0:28 |
| 40. |
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: Entire Development section up to this point |
1:55 |
| 41. |
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: The Development continued |
1:23 |
| 42. |
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: Increased unease and suspense as harmonic rhythm accelerates |
2:03 |
| 43. |
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: Arrival at the point of Recapitulation; back to the beginning, as a reminder |
1:50 |
| 44. |
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: Beginning of Recapitulation |
0:50 |
| 45. |
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: More Beethovenian frustrations of expectations which he himself has just set up |
1:01 |
| 46. |
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: Harmonic rhythm speeds up, giving the impression of an accent on every beat |
0:34 |
| 47. |
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: Prevailing mood restored; new theme from clarinets and bassoons |
0:28 |
| 48. |
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: Violins and violas take up theme; horns, cellos, double-basses accompany |
0:48 |
| 49. |
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: A hush falls, followed by a return of the movement's most familiar tag in strings |
0:58 |
| 50. |
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: Clarinet takes up the running triplet figures of the main closing theme |
0:32 |
| 51. |
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: First violins take up the opening phrase again, accompanied by double-basses |
0:37 |
| 52. |
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: Beethoven slips in one last surprise; cue to complete movement |
0:59 |
| 53. |
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: First movement (complete) |
11:01 |
| 54. |
Second Movement: Scene by the Brook: General introduction; the birth of a melody |
1:59 |
| 55. |
Second Movement: Scene by the Brook: Brook music quickens; syncopated horns; theme changes hands; evocation of birdsong |
1:19 |
| 56. |
Second Movement: Scene by the Brook: The 'motto' theme introduced by violins and treated to round-like overlappings |
0:52 |
| 57. |
Second Movement: Scene by the Brook: Transitional 'bridge' theme sets off for new key group. But is it? And does it? |
0:39 |
| 58. |
Second Movement: Scene by the Brook: Will he, or won't he? Beethoven keeps us guessing |
1:09 |
| 59. |
Second Movement: Scene by the Brook: The run-up to the Second Group |
1:14 |
| 60. |
Second Movement: Scene by the Brook: Arrival at the Second Group; but where is the actual Second Subject? |
0:39 |
| 61. |
Second Movement: Scene by the Brook: A new tune is introduced by the bassoon |
0:38 |
| 62. |
Second Movement: Scene by the Brook: Tune is repeated three times |
1:00 |
| 63. |
Second Movement: Scene by the Brook: ...which the full orchestra now takes up in varied form |
0:45 |
| 64. |
Second Movement: Scene by the Brook: Theme carried by flutes and first violins in a charmingly waltz-like development |
0:48 |
| 65. |
Second Movement: Scene by the Brook: A reminder of precedent |
0:14 |
| 66. |
Second Movement: Scene by the Brook: Back to the prevailing triple-metre with violins, bassoons and flutes |
0:16 |
| 67. |
Second Movement: Scene by the Brook: Another reminder of precedent... |
0:16 |
| 68. |
Second Movement: Scene by the Brook: ...and a cue to some unexpected departures |
0:38 |
| 69. |
Second Movement: Scene by the Brook: The transformational magic of Beethoven's 'tone-painting' - and a new varation |
0:50 |
| 70. |
Second Movement: Scene by the Brook: Conversation of clarinet, flute and oboe on the way to the Development |
0:43 |
| 71. |
Second Movement: Scene by the Brook: Harmonic movement emphasised by violins; oboe takes up the First Subject |
0:39 |
| 72. |
Second Movement: Scene by the Brook: Flute and oboe discuss the First Subject, before arriving together at the Transition |
1:04 |
| 73. |
Second Movement: Scene by the Brook: Gains in volume and intensity lead to a new key-change |
0:47 |
| 74. |
Second Movement: Scene by the Brook: More thematic transformation through the agency of tone-colour |
1:11 |
| 75. |
Second Movement: Scene by the Brook: Harmonic fluideity - instability - as the central engine of the Development section |
1:40 |
| 76. |
Second Movement: Scene by the Brook: Harmonic instability, thematic dissolution increase, then lessen with approach of Recapitulation |
1:41 |
| 77. |
Second Movement: Scene by the Brook: Recap. and transformation: key and material are right, but what a change of presentation! |
1:29 |
| 78. |
Second Movement: Scene by the Brook: Just when we know what's coming, Beethoven changes the rules (or at least the harmony) |
0:53 |
| 79. |
Second Movement: Scene by the Brook: Transformation by reorchestration; switch to long sustained chords; then everything stops |
1:20 |
| 80. |
Second Movement: Scene by the Brook: The silence is broken by voices of nightingale (flute), quail (oboe) and cuckoo (clarinet) |
0:40 |
| 81. |
Second Movement: Scene by the Brook: First violins bring back motto theme |
0:12 |
| 82. |
Second Movement: Scene by the Brook: Cue to complete movement on CD 2 |
0:33 |
| 83. |
Second Movement: Scene by the Brook: Second movement (complete) |
12:03 |
| 84. |
Symphony No. 6 in F major, Op. 68, "Pastoral": III. Merry Gathering of Country Folk: Beethoven and the Scherzo: an introduction; Part One of opening phrase taken by the strings |
1:31 |
| 85. |
Symphony No. 6 in F major, Op. 68, "Pastoral": III. Merry Gathering of Country Folk: Immediate response; Part One is answered by a march more singing, continuous legato |
0:23 |
| 86. |
Symphony No. 6 in F major, Op. 68, "Pastoral": III. Merry Gathering of Country Folk: Entire orchestra gives out opening theme, this time fortissimo and with powerful accents |
1:06 |
| 87. |
Symphony No. 6 in F major, Op. 68, "Pastoral": III. Merry Gathering of Country Folk: A mustical ball game. The contrast of this and the first two movements could hardly be greater |
0:33 |
| 88. |
Symphony No. 6 in F major, Op. 68, "Pastoral": III. Merry Gathering of Country Folk: After quietly teasing suspense, Beethoven mocks village band, first the oboe, then the bassoon |
1:18 |
| 89. |
Symphony No. 6 in F major, Op. 68, "Pastoral": III. Merry Gathering of Country Folk: Clarinet joins in, then horn takes the tune - the dance no longer boisterous but lyrical |
0:48 |
| 90. |
Symphony No. 6 in F major, Op. 68, "Pastoral": III. Merry Gathering of Country Folk: Strings sweep the village musicians aside and hurtle us into the new, boisterous 'Trio' section |
0:46 |
| 91. |
Symphony No. 6 in F major, Op. 68, "Pastoral": III. Merry Gathering of Country Folk: The air is alive with the sound of (mock) bagpipes, tambourines and fifes |
1:00 |
| 92. |
Symphony No. 6 in F major, Op. 68, "Pastoral": III. Merry Gathering of Country Folk: Coda; begins as the movement itself begins, but soon diverges in harmony and instrumentation |
1:18 |
| 93. |
Symphony No. 6 in F major, Op. 68, "Pastoral": III. Merry Gathering of Country Folk: Original layout compressed; order of events is changed nd Beethoven springs a big surprise |
0:42 |
| 94. |
Symphony No. 6 in F major, Op. 68, "Pastoral": III. Merry Gathering of Country Folk: Third movement (complete) |
5:14 |
| 95. |
Symphony No. 6 in F major, Op. 68, "Pastoral": IV. Thunderstorm: Unparalled portrait of nature's power over humanity, with some stupendous orchestration |
3:05 |
| 96. |
Symphony No. 6 in F major, Op. 68, "Pastoral": IV. Thunderstorm: Self-generating form and terror of total unpredictability; 'anxiety motif' from the violins |
1:34 |
| 97. |
Symphony No. 6 in F major, Op. 68, "Pastoral": IV. Thunderstorm: The 'lashing rain' motif - downward-driving arpeggios from the first violins and violas |
0:36 |
| 98. |
Symphony No. 6 in F major, Op. 68, "Pastoral": IV. Thunderstorm: The 'lightning' motif, and its recurrnece later in the movement |
0:22 |
| 99. |
Symphony No. 6 in F major, Op. 68, "Pastoral": IV. Thunderstorm: 'Rain' motif, derived from descending scale pattern from the violins at the outest |
0:13 |
| 100. |
Symphony No. 6 in F major, Op. 68, "Pastoral": IV. Thunderstorm: Shivering tremolandos from the strings and increasingly eerie harmonies from the wind |
0:18 |
| 101. |
Symphony No. 6 in F major, Op. 68, "Pastoral": IV. Thunderstorm: Steady crescendo in strings; terrifying, downward spelling-out of chords in the violins |
1:37 |
| 102. |
Symphony No. 6 in F major, Op. 68, "Pastoral": IV. Thunderstorm: Extremes of dynamic contrasts; the unsettling, disturbing, undermining effects of chromaticism |
1:02 |
| 103. |
Symphony No. 6 in F major, Op. 68, "Pastoral": IV. Thunderstorm: Abandonment of melody, and most traces even of rhythm; sustained, discordant harmony |
0:20 |
| 104. |
Symphony No. 6 in F major, Op. 68, "Pastoral": IV. Thunderstorm: Storm dispersed, the sun reappears, bathing sodden earth below with its life-giving rays |
1:52 |
| 105. |
Symphony No. 6 in F major, Op. 68, "Pastoral": IV. Thunderstorm: Cue to complete preformance of Fourth Movement |
0:09 |
| 106. |
Symphony No. 6 in F major, Op. 68, "Pastoral": IV. Thunderstorm: Fourth movement (complete) |
3:55 |
| 107. |
Fifth Movement: Shepherd's Song - Happy and Thankful Feelings After the Storm: 'Yodelling' figure from clarinet, then horn, the violins, who introduce the main theme |
0:59 |
| 108. |
Fifth Movement: Shepherd's Song - Happy and Thankful Feelings After the Storm: Details of instrumental magic in the interplay of horns, cellos, clarinets and bassoons |
1:06 |
| 109. |
Fifth Movement: Shepherd's Song - Happy and Thankful Feelings After the Storm: Main theme heard three times in a row - and yet never the same way twice |
1:06 |
| 110. |
Fifth Movement: Shepherd's Song - Happy and Thankful Feelings After the Storm: Now we get the whole orchestra, playing full out, with violins all double-stopping |
0:36 |
| 111. |
Fifth Movement: Shepherd's Song - Happy and Thankful Feelings After the Storm: Transition to the next section, based on the last two notes of the main theme |
0:43 |
| 112. |
Fifth Movement: Shepherd's Song - Happy and Thankful Feelings After the Storm: The rhythmic basis of new transition theme, first in violas, then takes up by first violins |
0:38 |
| 113. |
Fifth Movement: Shepherd's Song - Happy and Thankful Feelings After the Storm: Another rhythmic details of extended transition comes increasingly into the foreground |
0:29 |
| 114. |
Fifth Movement: Shepherd's Song - Happy and Thankful Feelings After the Storm: ...and is then heard in expanded version, taken in sequence by the strings, from the top down |
0:52 |
| 115. |
Fifth Movement: Shepherd's Song - Happy and Thankful Feelings After the Storm: New phrase, introduced by violins, brings us resoundingly back to the opening material |
1:13 |
| 116. |
Fifth Movement: Shepherd's Song - Happy and Thankful Feelings After the Storm: Main theme, re-orchestrated; unexpected drift into another key and a new, gently flowing theme |
2:15 |
| 117. |
Fifth Movement: Shepherd's Song - Happy and Thankful Feelings After the Storm: Hints of a return to main theme; long 'pedal point'; running commentary from the violins |
0:58 |
| 118. |
Fifth Movement: Shepherd's Song - Happy and Thankful Feelings After the Storm: Main theme returns, but significantly altered, and not entirely intact |
0:37 |
| 119. |
Fifth Movement: Shepherd's Song - Happy and Thankful Feelings After the Storm: Running commentary now heard in the middle, with alternating pizzicatos both above and below |
0:24 |
| 120. |
Fifth Movement: Shepherd's Song - Happy and Thankful Feelings After the Storm: Part Three of main theme given to entire orchestra, leading to final appearance of Theme two |
1:21 |
| 121. |
Fifth Movement: Shepherd's Song - Happy and Thankful Feelings After the Storm: Extended coda; overlapping variations of main theme, rather in the manner of a round |
2:09 |
| 122. |
Fifth Movement: Shepherd's Song - Happy and Thankful Feelings After the Storm: Suddenly the scene changes. A variation of the 'running commentary' cited in Tracks 34 and 36 |
0:51 |
| 123. |
Fifth Movement: Shepherd's Song - Happy and Thankful Feelings After the Storm: The crowning glory, as the Shepherd's Song of Thanksgiving takes on a 'heavenly' magnificence |
2:11 |
| 124. |
Fifth Movement: Shepherd's Song - Happy and Thankful Feelings After the Storm: Cue into complete performance of Fifth Movement through the 'gateway' of the Fourth |
1:09 |
| 125. |
Fifth Movement: Shepherd's Song - Happy and Thankful Feelings After the Storm: Fourth and Fifth movements (complete) |
13:47 |
