|
No. |
Title |
Length |
| 1. |
Introduction To The Viola |
0:43 |
| 2. |
TELEMANN. Viola Concerto - I. Largo |
2:46 |
| 3. |
Khachaturian Gets A Very Different Sound From It, Fuller, Fruitier, More Exotic |
0:15 |
| 4. |
KHACHATURIAN. Gayane Suite No. 1 - III. Armen's Solo |
1:16 |
| 5. |
Very Nearly The Whole Of The Violin's Upper Register Is Also Available To The Viola |
0:40 |
| 6. |
BRITTEN. Passacaglia, Op. 33b (From Peter Grimes) |
1:01 |
| 7. |
R. STRAUSS. Don Quixote |
1:04 |
| 8. |
BERLIOZ. Harold In Italy - IV. Orgy Of Brigands |
2:00 |
| 9. |
The Muted Viola, Intimate, Gentle, Poignant In Dvorak |
0:34 |
| 10. |
DVORAK. Cypresses - IX. Thou Only Dear One |
3:00 |
| 11. |
The Massed Violas Of The Modern Symphony Orchestra In Mahler |
0:40 |
| 12. |
MAHLER. Symphony No. 4 - III. Ruhevoll, Poco Adagio |
1:14 |
| 13. |
The Period Viola In Bach |
1:05 |
| 14. |
BACH. Brandenburg Concerto No. 6 - III. Allegro |
5:19 |
| 15. |
The Cello, A Voice Of Unique Nobility |
0:29 |
| 16. |
BACH. Suite No. 1 For Unaccompanied Cello - I. Prelude |
2:31 |
| 17. |
Brahms And The Soul Of The Cello |
0:19 |
| 18. |
BRAHMS. Piano Concerto No. 2 In B Flat Major - III. Andante |
1:05 |
| 19. |
Most Orchestral Composers Tend To Emphasise The Cello's Lower Register |
0:28 |
| 20. |
BACH. Cantata Herz Und Mund Und Tat Und Leben, BWV 147 - Soprano Aria. Scahmen Dich, O Seele, Nicht |
3:04 |
| 21. |
In The Time Of Beethoven The Cello Remained As Fundamental As Ever |
0:14 |
| 22. |
BEETHOVEN. Symphony No. 3 Eroica - IV. Finale |
0:47 |
| 23. |
But The Cello Is Not Condemned To Spend Its Life In The Basement |
0:33 |
| 24. |
POPPER. Elfentanz, Op. 39 |
2:55 |
| 25. |
Not Only In Recital Showpieces Like That Is The Cello Used In Its Highest Register |
0:11 |
| 26. |
TAVENER. The Protecting Veil (Opening) |
2:54 |
| 27. |
A Cello With An Identity-Crisis, The Pizzicato Flamencan |
0:16 |
| 28. |
TAGELL. Flamenco |
2:49 |
| 29. |
Double-Stopping In The Lower Reaches Of The Cello's Range |
0:31 |
| 30. |
CASSADO. Solo Suite For Cello & Piano - Sardana |
1:08 |
| 31. |
It's In Its Middle Register That The Cello Really Comes Into Its Own |
0:21 |
| 32. |
RACHMANINOV. Oriental Dance, Op. 2 No. 2 |
1:33 |
| 33. |
Two Famous Themes Given To The Cellos. BEETHOVEN. Symphony No. 5 - II. Andante Con Moto |
0:54 |
| 34. |
BEETHOVEN. Symphony No. 9 - IV. Finale |
0:55 |
| 35. |
Introduction To The Double-Bass |
0:43 |
| 36. |
SAINT-SAENS. The Carnival Of The Animals - The Elephant |
1:33 |
| 37. |
But The Double-Bass Can Be Intensely Expressive And Graceful |
0:11 |
| 38. |
BOTTESINI. Elegy No. 1 In D Major |
2:37 |
| 39. |
The Range Of The Double-Bass. BOTTESINI. Allegro Di Concerto, Alla Mendelssohn' |
0:48 |
| 40. |
The Virtuosity Of The Double-Bass. BOTTESINI. Capriccio Di Bravura |
4:42 |
| 41. |
Solos. MAHLER. Symphony No. 1 Titan, III. Feierlich Und Gemessen, Ohne Zu Schleppen - Symphony No. 3, I. Kraftig |
1:34 |
| 42. |
Muted. PROKOFIEV. Lieutenant Kije Suite. II. Kije's Wedding - Tremolo. Romeo And Juliet. Act IIi' |
2:26 |
| 43. |
Frightening The Double-Bass Players. BEETHOVEN. Symphony No. 5 - III. Allegro |
1:21 |
