|
No. |
Title |
Length |
| 1. |
A Quiet Beginning: Sorrow, Syncopation, and Sequence |
2:38 |
| 2. |
Instrumental Colour As a Prime Element: Clarinets and Bassoons, an Outburst By the French Horn |
0:57 |
| 3. |
The Opening Tune Again, With Different Instrumental Colouring: Now Flutes and Oboes |
0:32 |
| 4. |
The First Big Surprise: Strings, Shattering Drumbeats, Shrieks from Flutes, Oboes, and Clarinets |
0:36 |
| 5. |
Cellos and Basses Take Us Into a New Key While Flutes and Oboes Dance In Syncopation. |
0:32 |
| 6. |
Horns, Violas, and Cellos Introduce a New Idea, Soon to Evolve Into the Main Theme. |
0:31 |
| 7. |
A Tiny Detail from the Opening Culminates In a Wild Drumming That Heralds a Major Event |
0:43 |
| 8. |
Introduction (Complete) |
2:05 |
| 9. |
A Solo Horn Introduces the Main Theme, Perkily Answered By Bassoons and Horns. |
0:39 |
| 10. |
The Theme Moves to G Major; Answering Phrase from Flutes, Oboes, Bassoons. |
0:33 |
| 11. |
Long Crescendo, Tremolo Strings, Back to Tonic and Biggest Statement Yet of the Main Theme. |
0:39 |
| 12. |
Transition to the Secondary Theme Through the Use of Sequence. Sonata Form; Satability and Flux |
1:36 |
| 13. |
Three-bar Groupings and Again the Use of Sequence, Spelling Out a Chord |
0:34 |
| 14. |
The Sequence Continues to Rise, and the Four-bar Phrase Returns As the Standard Unit. |
0:18 |
| 15. |
The First Violins Start Off the Next Phrase, But the Melodic Shape Is More Compact. |
0:21 |
| 16. |
The Violins Fall Silent; the Violas and Cellos Answer With a New Figure |
0:09 |
| 17. |
So Now We Have a Two-bar Group, Made Up of Statement and Answer. |
0:07 |
| 18. |
The Same Thing Again (Though Not Quite the Same) |
0:05 |
| 19. |
Transition Complete. the Secondary Theme Arrives, With French Horns As 'bagpipes'. |
1:00 |
| 20. |
The 'bagpipe Drone' Is Taken Over By Cellos, With Their Insistently Repeated G and D. |
0:19 |
| 21. |
The Tune Is Taken Up By Cellos and Double-basses, 'shadowed' By the Second Violins. |
0:57 |
| 22. |
The Violins Continue a Pattern of Steady Pairs, and the Cellos and Basses Introduce a New Idea. |
0:33 |
| 23. |
Unexpectedly, We Find Ourselves Back With the Secondary Theme. a New Idea Emerges. |
0:26 |
| 24. |
Again We Hear the Shortened Version of the Secondary Theme |
0:33 |
| 25. |
The Suspense Is Heightened As Everything Slows Down |
0:25 |
| 26. |
This Beautiful Flute Tune Is Said to Resemble 'Swing Low, Sweet Chariot'. |
0:46 |
| 27. |
A Big Crescendo Leads to a Final Statement of the Closing Theme |
1:16 |
| 28. |
The Development Section Begins With a Conversation Between Cellos, Double-bases, and Violins. |
1:09 |
| 29. |
The Beginning of the Closing Theme Is Taken Up In Turn By the Horn, Piccolo, and Trumpet. |
0:17 |
| 30. |
Sequential Chirping from the Oboes Based On the 'answering' Part of the Main Theme, Now In the Major |
0:18 |
| 31. |
Much of the Development Comes from a Diminution of the Closing Theme from the Exposition. |
0:19 |
| 32. |
A Tiny Detail Becomes a Major Ingredient, Giving an Agitated Quality to an Originally Sunny Tune. |
0:31 |
| 33. |
Through a Sequence of Keys So Quickly That It Is Hard to Keep Track of Them |
0:37 |
| 34. |
The Main Theme from Massed Cellos and Double-basses, Topped By Two Trumpets Over Tremolo Violas |
1:46 |
| 35. |
After That Major Climax, We Arrive At the Threshold of the Recapitulation |
1:04 |
| 36. |
Dvorak Flouts Tradition By Setting the Secondary Theme and the Closing Theme In Unexpected Keys. |
1:10 |
| 37. |
The Tumultuous Convulsion of the Coda Brings the First Movement to Its Epic Close. |
3:09 |
| 38. |
Humpty Dumpty: Putting the Bits Back Together Again |
0:20 |
| 39. |
First Movement (Complete) |
11:36 |
| 40. |
The Very Opening Chords Unmistakably Herald the Arrival of Something Special. |
1:06 |
| 41. |
The Role of Instrumentation In Setting the Scene... |
1:10 |
| 42. |
...and In Enhancing the Quality of One of the Most Famous Tunes In Symphonic History. |
1:29 |
| 43. |
The Cor Anglais Is Joined By the Clarinet, Creating a Fascinating Change In the Timbre. |
1:08 |
| 44. |
For the Closing Part of the Tune, There Is Another New Sonority: Cor Anglais Plus Bassoon. |
0:24 |
| 45. |
The Closing Bar Is Repeated By Clarinets and Bassoons, the Horn Adding a New Touch |
0:28 |
| 46. |
Back to the Start to Hear the Whole of the Story So Far, This Time Without Commentary |
2:24 |
| 47. |
A Change of Scoring: The Slow Opening Chords Return, This Time Played By the Winds Alone. |
1:14 |
| 48. |
The Changes In Scoring Are Just Beginning. |
2:34 |
| 49. |
The Flutes and Oboes Introduce a New Tune, Over Hushed Tremolo Strings. |
1:05 |
| 50. |
A Memorable Combination of Continuous, Asymmetrical Melody With Steady, March-like Counterpoint. |
1:28 |
| 51. |
Back In That Woodland Glade, the Light and Shadows Have Changed, Revealing New Shapes and Patterns. |
1:33 |
| 52. |
The Next Section Is New and Forward-looking, Yet Also a Kind of Dream-recollection of a Past Scene. |
1:30 |
| 53. |
An Abrupt Change of Mood, Much Discussion and Embellishment, and a Hushed Note of Expectancy |
2:01 |
| 54. |
Subjectivity and Expertise; Sourek and Tovey Disagree; Onwards, Into the Final Section |
5:14 |
| 55. |
Cue to Whole Movement |
0:10 |
| 56. |
Second Movement (Complete) |
12:00 |
| 57. |
Dvorak, Beethoven, and the Scherzo. Dvorak Purposely Confuses the Listener's Expectations. |
1:54 |
| 58. |
Using a Little Fanfare, Dvorak Further Builds Up Expectation Before Revealing the Main Theme. |
0:21 |
| 59. |
When the Theme Is Revealed, We Find That It Is Not Exactly a Tune. |
0:36 |
| 60. |
Two Little Bursts of Rhythm Provide the Seeds from Which Much of the Movement Grows. |
0:24 |
| 61. |
It Is the Second Half of the Theme That Dominates. |
0:22 |
| 62. |
Back to the Beginning to Hear the Whole of This Opening Section |
0:48 |
| 63. |
Without Ever Being Remotely 'academic' or 'intellectual', There Is Much Counterpoint Going On Here. |
0:20 |
| 64. |
Dvorak's Very Czech Love of Combining Conflicting Rhythms, Sometimes Metres |
2:31 |
| 65. |
A Clearly Transitional Passage, Obsessed With the Rhythmic Tag That Both Opens and Closes the Theme |
0:30 |
| 66. |
Sooner Than We May Have Expected, We Seem to Have Arrived At the Trio Section. |
1:07 |
| 67. |
A New Kind of Tone Quality Sheds a Subtly Different Light On the Theme. |
0:35 |
| 68. |
The Flutes and Oboes Now Chime In With an Answering Variant of the Opening... |
0:21 |
| 69. |
...and the Cellos and Bassoons Take Up the Original Version of the Theme. |
0:43 |
| 70. |
A False Alarm: It Was Not the Traditional Trio Section At All, But Rather Part 2 of Scherzo Proper |
0:52 |
| 71. |
Soon, After a Very Rapid Build, the Scherzo Proper Does Reach Its Final Phase. |
1:13 |
| 72. |
The Orchestral Texture Thins Dramatically, and We Approach What This Time Really Is the Trio Section. |
1:28 |
| 73. |
The Trio Section Is Reminiscent More of the 'Old World' Than the 'New'. |
0:50 |
| 74. |
In the Second Half of the Trio, a New Tune Emerges, a Kind of Slavonic Waltz. |
1:00 |
| 75. |
The Main Theme of the Trio Returns Against a Much Fuller Orchestral Background. |
0:36 |
| 76. |
Then It Is All a Matter of Repeats, Until We Reach the Coda, Which Ends With an Explosive Bang. |
1:15 |
| 77. |
Third Movement (Complete) |
8:07 |
| 78. |
Like the First Movement, the Fourth Begins Not With Its Main Theme But With an Introduction. |
0:46 |
| 79. |
The Main Theme: An Imposing March, Introduced By Trumpets and Trombones, With Timpani |
0:48 |
| 80. |
The Main Theme, Part Two. a Codetta-like Passage Closes Off the March |
1:01 |
| 81. |
The 'transitional' Theme, While Outwardly Contrasting, Is Actually a Hidden Variant of the March. |
0:53 |
| 82. |
A Point of Future Obsession |
0:16 |
| 83. |
The Second Half of This 'transitional' Theme Is Given to the Winds the Strings Have Finished. |
0:16 |
| 84. |
The 'obsession' Takes Root, With a Ten-fold Repetition, Before the Arrival of the Second Subject. |
0:57 |
| 85. |
The Hidden Traps In Sonata-form Terminology: 'second Main Theme' Vx. 'second Subject' |
2:31 |
| 86. |
The Unexpected Entry and Subsequent Ubiquity of 'Three Blind Mice' |
1:23 |
| 87. |
We Meet the Mice Again, Now In the Cellos and Double-basses, Where They Persistently Refuse to Run. |
0:36 |
| 88. |
More 'Three Blind Mice' Material |
0:30 |
| 89. |
The Mice Return to the Basement, Where the Bassoons Have Joined the Cellos and Double-basses. |
0:19 |
| 90. |
Next, They Are Back With the Clarinets Who Pass Them Back to the Cellos |
0:18 |
| 91. |
Now They Return to the High Winds, Delicately Trilling. |
0:15 |
| 92. |
Relief, At Last: The Mice Back Off, Making Way for a Remainder of the Main Theme from the Trumpets. |
0:34 |
| 93. |
The Mice Yield to Woodpeckers; the Main Theme Is Now Doubled In Speed |
1:07 |
| 94. |
The Triplets of the 'transitional' Theme Are Now Handed Down Through Strings |
0:23 |
| 95. |
Reminders of Past Movements Begin to Fly By, Thick and Fast, Sometimes Very Fast. |
0:28 |
| 96. |
In Fact There Are Three Bits of Quotation Going On Here Simultaneously. |
0:23 |
| 97. |
The Violas React Every Time the 'Goin' Home' Theme Is Quoted By the Winds. |
0:13 |
| 98. |
The Rhythm of the Opening of the 'Goin' Home' Theme Dominates, Transformed By Trumpets |
0:34 |
| 99. |
The March Theme Reappears As a Mendelssohnian Fairy; the Main Theme from the 1st Mov. Now Returns. |
1:55 |
| 100. |
We Reach an Interesting Point: Have We Heard the Beginning of the Recapitulation, or Not? |
1:05 |
| 101. |
Perhaps This Is It? Back for a Reminder of the Theme Proper, As We First Heard It |
1:41 |
| 102. |
Tovey Places the Start of the Recapitulation Here. |
1:27 |
| 103. |
The Main Theme Recast In Pathetic Rather Than Heroic Terms - and With Magical Scoring |
1:51 |
| 104. |
This Unexpected Crisis In Confidence Plays a Major Role In the Overall Dramatic Impact of the Mov. |
1:49 |
| 105. |
The Main Theme Returns - Not Complete, But Chopped Up Into Shorter and Shorter Fragments. |
1:30 |
| 106. |
A Glorious Thematic Stew; High Drama, a Powerful Build-up... But Then? |
0:56 |
| 107. |
The Dramatic Highpoint of the Mov., an Astonishing Transformation, But First, Back to the Original |
1:26 |
| 108. |
The Same Chords Again, This Time Blasted Out By the Entire Wind and Brass Sections |
1:09 |
| 109. |
Now We Are Into the Finishing Stretch, But the Surprises Continue to the Very End of the Very End. |
1:42 |
| 110. |
Summary, Context, and Cue Into the Whole Movement |
1:05 |
| 111. |
Fourth Movement (Complete) |
11:05 |
