|
No. |
Title |
Length |
| 1. |
On Beethoven's Openings |
1:26 |
| 2. |
Opening Phrase of the "Pastoral": Mood, Symbolism and Musical Function |
1:44 |
| 3. |
Musical Acorns: The Outline of Melody; The Shape of a Question |
0:42 |
| 4. |
The "Question" in the "Pastoral" Repeated... |
0:04 |
| 5. |
...And Answered |
0:12 |
| 6. |
The Opening Phrase Ends on a Note Full of Pregnant Expectation |
0:19 |
| 7. |
Starting With a Stop |
0:36 |
| 8. |
The Rhythmic Profile of the Opening Phrase; A Two-Part Construction |
0:52 |
| 9. |
Phrase One, Part One |
0:09 |
| 10. |
Phrase One, Part Two |
0:06 |
| 11. |
The Properties of Rhythmic Ambiguity; The "Question" of Phrase One Answered |
1:03 |
| 12. |
Phrase Two: From Meander to March |
0:27 |
| 13. |
The Makings of a Conversation: Contrast and Variation |
0:47 |
| 14. |
Repetition as a Major Factor, but It's Never Mere Repetition; Each Time Something New Is Added |
0:33 |
| 15. |
From Soft to Loud and Back Again; Instrumental Enrichment from Horns and Double-Basses |
0:18 |
| 16. |
Mega-Repetition: Violins Play Exactly the Same Little Fragment Ten Times in a Row |
0:29 |
| 17. |
But No Two Repetitions Are Quite the Same; Variaties of Contrast |
0:34 |
| 18. |
More Variation; Pitch Rises; Violins Joined First by the Clarinet, Then by the Oboe |
0:18 |
| 19. |
Return to Opening Idea, but with New Instrumentation and Articulation |
0:25 |
| 20. |
Clarinets, Horns, Bassoons and Flutes Now Join Expansive Variation |
0:49 |
| 21. |
"New" Insistent Rhythm Derived from the First Four Notes of the Piece |
0:09 |
| 22. |
With the Dawn Chorus, a Whole Forest Is Waking Up; Feelings of Rapture |
0:36 |
| 23. |
First Violins Play a Derivative of the Opening Figure, Joined by Winds and Strings |
0:32 |
| 24. |
Sudden Change of Key, from the Home Key (Tonic) to the Dominant |
0:30 |
| 25. |
Arrival at the Highly Contrasting Second Main Theme |
0:55 |
| 26. |
Unusual Properties of Second Main Theme |
2:15 |
| 27. |
Rhythmic Clash Between Simultaneous Groups of Three Beats and Groups of Two |
1:09 |
| 28. |
Winds Fall Silent as the Violins and Violas Interrupt with a New Theme |
0:30 |
| 29. |
Winds Answer with the Same Morse-Like Rhythm, but at Half the Speed |
0:51 |
| 30. |
Crescendo Leads To Strings' Acceleration of the Pace with No Increase in Tempo |
1:05 |
| 31. |
Beginning of Coda, Directly Based on Morse-Like Rhythm of the Main Theme |
0:22 |
| 32. |
Strings Reiterate Small Fragment of the New Theme 13 Times in a Row |
0:48 |
| 33. |
A Simple, Rising Violin Phrase Leads to a Repeat of the Exposition |
0:18 |
| 34. |
The Nature and Function of the Development Section in Sonata Form; "Harmonic Rhythm" Explained |
2:22 |
| 35. |
The Nature of Harmonic Rhythm Illustrated |
0:35 |
| 36. |
A Typically Beethovenian Exercise in the Frustration of Expectation |
0:38 |
| 37. |
Repetitiousness and Magic Effected Largely through Instrumental Colour |
0:42 |
| 38. |
Then Come Four, Almost Identical Bars |
0:07 |
| 39. |
Even Greater Magic, with Sudden Switch of Key and Tone Colour |
0:28 |
| 40. |
Entire Development Section up to This Point |
1:55 |
| 41. |
The Development, Continued |
1:23 |
| 42. |
Increased Unease and Suspense as Harmonic Rhythm Accelerates |
2:03 |
| 43. |
Arrival at the Point of Recapitualtion; Back to the Beginning, as a Reminder |
1:50 |
| 44. |
Beginning of Recapitulation |
0:50 |
| 45. |
More Beethovenian Frustrations of Expectations Which He Himself Has Just Set Up |
1:01 |
| 46. |
Harmonic Rhythm Speeds Up, Giving the Impression of an Accent on Every Beat |
0:34 |
| 47. |
Prevailing Mood Restored; New Theme from Clarinets and Bassoons |
0:28 |
| 48. |
Violins and Violas Take Up Theme; Horns, Cellos, Double-Basses Accompany |
0:48 |
| 49. |
A Hush Falls, Followed by a Return of the Movement's Most Familiar Tag in Strings |
0:58 |
| 50. |
Clarinet Takes Up the Running Triplet Figures of the Main Closing Theme |
0:32 |
| 51. |
First Violins Take Up the Opening Phrase Again, Accompanied by Double-Basses |
0:37 |
| 52. |
Beethoven Slips In One Last Surprise; Cue to Complete Movement |
0:59 |
| 53. |
First Movement (Complete) |
11:01 |
| 54. |
General Introduction; The Birth of a Melody |
1:59 |
| 55. |
Brook Music Quickens; Syncopated Horns; Themes Change Hands; Evocation of Birdsong |
1:19 |
| 56. |
The "Mottl" Theme Introduced by Violins and Treated to Round-Like Overlappings |
0:52 |
| 57. |
Transitional "Bridge" Theme Sets Off for New Key Group. But Is It? And Does It? |
0:39 |
| 58. |
Will He, Or Won't He? Beethoven Keeps Us Guessing |
1:09 |
| 59. |
The Run-Up to the Second Group |
1:14 |
| 60. |
Arrival at the Second Group; But Where Is the Actual Second Subject? |
0:39 |
| 61. |
A New Tune Is Introduced by the Bassoon |
0:38 |
| 62. |
Tune Is Repeated Three Times |
1:00 |
| 63. |
...Which the Full Orchestra Now Takes Up in Varied Form |
0:45 |
| 64. |
Theme Carried by Flutes and First Violins in a Charmingly Waltz-Like Development |
0:48 |
| 65. |
A Reminder of Precedent |
0:14 |
| 66. |
Back to the Prevailing Triple-Metre with Violins, Bassoons and Flutes |
0:16 |
| 67. |
Another Reminder of Precedent... |
0:16 |
| 68. |
...And a Cue To Some Unexpected Departures |
0:37 |
| 69. |
The Transformational Magic of Beethoven's Tone-Painting - And a New Variation |
0:50 |
| 70. |
Conversation of Clarinet, Flute and Oboe on the Way to the Development |
0:43 |
| 71. |
Harmonic Movement Emphasised By Violins; Oboe Takes Up the First Subject |
0:38 |
| 72. |
Flute and Oboe Discuss the First Subject, Before Arriving Together at the Transistion |
1:04 |
| 73. |
Gains in Volume and Intensity Lead to a New Key-Change |
0:47 |
| 74. |
More Thematic Transformation Through the Agency of Tone-Colour |
1:11 |
| 75. |
Harmonic Fluidity - Instability - As the Central Engine of the Development Section |
1:40 |
| 76. |
Harmonic Instability, Thematic Dissolution Increase, Then Lessen with Approach of Recapitulation |
1:41 |
| 77. |
Recap. and Transformation: Key and Material Are Right, but What a Change of Presentation! |
1:29 |
| 78. |
Just When We Know What's Coming, Beethoven Changes the Rules (Or At Least the Harmony) |
0:53 |
| 79. |
Transformation by Reorchestration; Switch to Long Sustained Chords; Then Everything Stops |
1:20 |
| 80. |
The Silence Is Broken by Voices of Nightingale (Flute), Quail (Oboe), and Cuckoo (Clarinet) |
0:40 |
| 81. |
First Violins Bring Back Motto Theme |
0:12 |
| 82. |
Cue to Complete Movement on CD 2 |
0:32 |
| 83. |
Second Movement (Complete) |
12:03 |
| 84. |
Beethoven and The Scherzo: An Introduction; Part One of Opening Phrase Taken by the Strings |
1:31 |
| 85. |
Immediate Response: Part One Is Answered by a Much More Singing, Continous Legato |
0:23 |
| 86. |
Entire Orchestra Gives Out Opening Theme, This Time Fortissimo and with Powerful Accents |
1:06 |
| 87. |
A Musical Ball Game. The Contrast of This and the First Two Movements Could Hardly Be Greater |
0:32 |
| 88. |
After Quietly Teasing Suspense, Beethoven Mocks Village Band, First the Oboe, Then the Bassoon |
1:18 |
| 89. |
Clarinet Joins In, Then Horn Takes the Tune - The Dance No Longer Boisterous But Lyrical |
0:48 |
| 90. |
Strings Sweep the Village Musicians Aside and Hurtle Us into the New, Boisterous "Trio" Section |
0:46 |
| 91. |
The Air Is Alive with the Sound of (Mock) Bagpipes, Tambourines and Fifes |
1:00 |
| 92. |
Coda; Begins as the Movement Itself Begins, but Soon Diverges in Harmony and Instrumentation |
1:18 |
| 93. |
Original Layout Compressed; Order of Events Is Changed and Beethoven Springs a Big Surprise |
0:42 |
| 94. |
Third Movement (Complete) |
5:14 |
| 95. |
Unparalleled Portrait of Nature's Power over Humanity, with Some Stupendous Orchestration |
3:05 |
| 96. |
Self-Generating Form and Terror of Total Unpredictability; "Anxiety Motif" from the Violins |
1:34 |
| 97. |
The "Lashing Rain" Motif - Downward-Driving Arpeggios from the First Violins and Violas |
0:36 |
| 98. |
The "Lightning" Motif, And Its Recurrence Later in the Movement |
0:21 |
| 99. |
"Rain" Motif, Derived from Descending Scale Pattern from the Violins at the Outset |
0:13 |
| 100. |
Shivering Tremolandos from the Strings and Increasingly Eerie Harmonies from the Wind |
0:18 |
| 101. |
Steady Crescendo in Strings; Terrifying, Downward Spelling-Out of Chords in the Violins |
1:37 |
| 102. |
Extremes of Dynamic Contrasts; The Unsettling, Disturbing, Undermining Effects of Chromaticism |
1:02 |
| 103. |
Abandonment of Melody, and Most Traces Even of Rhythm; Sustained, Discordant Harmony |
0:20 |
| 104. |
Storm Dispersed, the Sun Reappears, Bathing Sodden Earth Below with Its Life-Giving Rays |
1:52 |
| 105. |
Cue Tto Complete Performance of Fourth Movement |
0:09 |
| 106. |
Fourth Movement (Complete) |
3:55 |
| 107. |
"Yodelling" Figure from Clarinet, Then Horn, Then Violins, Who Introduce the Main Theme |
0:59 |
| 108. |
Details of Instrumental Magic in the Interplay of Horns, Cellos, Clarinets and Bassoons |
1:06 |
| 109. |
Main Theme Heard Three Times in a Row |
1:06 |
| 110. |
Now We Get the Whole Orchestra, Playing Full Out, with Violins All Double-Stopping |
0:36 |
| 111. |
Transition to the Next Section, Based on the Last Two Notes of the Main Theme |
0:42 |
| 112. |
The Rhythmic Basis of New Transition Theme, First in Violas, Then Taken Up by First Violins |
0:38 |
| 113. |
Another Rhythmic Detail of Extended Transition Comes Increasingly into the Foreground |
0:29 |
| 114. |
...And Is Then Heard in Expanded Version, Taken in Sequence by the Strings, from the Top Down |
0:51 |
| 115. |
New Phrase, Introduced by Violins, Brings Us Resoundingly Back to the Opening Material |
1:13 |
| 116. |
Main Theme, Re-Orchestrated; Unexpected Drift into Another Key and a New, Gently Flowing Theme |
2:15 |
| 117. |
Hints of a Return To Main Theme; Long "Pedal Point"; Running Commentary from the Violins |
0:58 |
| 118. |
Main Theme Returns, but Significantly Altered, and Not Entirely Intact |
0:37 |
| 119. |
Running Commentary Now Heard in the Middle, with Alternating Pizzicatos Both above and Below |
0:24 |
| 120. |
Part Three of Main Theme Given to the Entire Orchestra, Leading to Final Appearance of Theme Two |
1:21 |
| 121. |
Extended Coda; Overlapping Variations of Main Theme, Rather in the Manner of a Round |
2:09 |
| 122. |
Suddenly the Scene Changes. A Variation of the Running Commentary Cited in Tracks 34 and 36 |
0:51 |
| 123. |
The Crowning Glory, as the Shepherd's Song of Thanksgiving Takes On a "Heavenly" Magnificence |
2:10 |
| 124. |
Cue into Complete Performance of Fifth Movement through the "Gateway" of the Fourth |
1:09 |
| 125. |
Fourth and Fifth Movements (Complete) |
13:47 |
