Antonin Dvorak

• 

• Igor Stravinski DVORAK - Symphony No. 9, From the New World (Siepmann)
  [2 CD Classique - Naxos]

  855806566 - Paru le 01/08/2006

  

  12,99 €

• 

• VARIOUS BAND BACH, J.S. - Brandenburg Concertos Nos 4 & 5 (Siepmann)
  [2 CD Classique - Naxos]

  855805556 - Paru le 01/08/2006

    Indisponible ce jour :
  

  12,99 €

Détail des pistes :

BEETHOVEN Ludwig van
First Movement: Awakening of Cheerful Feelings on Arriving in the Country, 'Allegro ma non troppo'
1 - 1     On Beethoven s Openings (1mn 26s )    
1 - 2     Opening phrase of the Pastoral : ood, Symbolism and Musical Function (1mn 44s )    
1 - 3     Musical Acorns: the outline of melody; the shape of a question (42s )    
1 - 4     The question in the Pastoral repeated... (04s )    
1 - 5     ...and answered (12s )    
1 - 6     The opening phrase ends on a note full of pregnant expectation (19s )    
1 - 7     Starting with a stop (36s )    
1 - 8     The rhythmic profile of the opening phrase; a two-part construction (52s )    
1 - 9     Phrase One, Part One (09s )    
1 - 10     Phrase One, Part Two (06s )    
1 - 11     The properties of rhythmic ambiguity; the question of Phrase One answered (1mn 03s )    
1 - 12     Phrase Two: from meander to march (27s )    
1 - 13     The makings of a conversation: contrast and variation (47s )    
1 - 14     Repetition as a major factor, but it s never mere repetition; each time something new is added (33s )    
1 - 15     From soft to loud and back again; instrumental enrichment from horns and double-basses (18s )    
1 - 16     Mega-repetition: violins play exactly the same little fragment ten times in a row (29s )    
1 - 17     But no two repetitions are quite the same; varieties of contrast (34s )    
1 - 18     More variation: pitch rises; violins joined frist by the clarinet, then by the oboe (19s )    
1 - 19     Return to opening idea, but with new instrumentation and articulation (25s )    
1 - 20     Clarinets, horns, bassoons and flutes now join expansive variation (49s )    
1 - 21     New insistent rhythm derived from the first four notes of the piece (09s )    
1 - 22     With the dawn chorus, a whole forest is waking up; feelings of rapture (36s )    
1 - 23     First violins play a derivative of the opening figure, joined by wind and strings (32s )    
1 - 24     Sudden change of key, from the home key (tonic) to the dominant (30s )    
1 - 25     Arrival at the hightly contrasting second main theme (55s )    
1 - 26     Unusual properties of second main theme (2mn 15s )    
1 - 27     Rhythmic clash between simultaneous groups of three beats and groups of two (1mn 09s )    
1 - 28     winds fall selent as the violins and violas interrupt with a new theme (30s )    
1 - 29     Winds answer with the same morse-like rhythm but at half the speed (51s )    
1 - 30     Crescendo leads to strings acceleration of the pace with no increase in tempo (1mn 05s )    
1 - 31     Beginning of coda, directly based on morse-like rhythm of the main theme (22s )    
1 - 32     Strings reiterate small fragment of the new theme 13 times in a row (48s )    
1 - 33     A simple, rising violin phrase leads to a repeat of the Exposition (18s )    
1 - 34     The nature and function of the Development section in sonata form; harmonic rhythm explained (2mn 22s )    
1 - 35     The nature of harmonic rhythm illustrated (35s )    
1 - 36     A typically Beethovenian exercise in the frustration of expectation (38s )    
1 - 37     Repetitiousness and magic effected largely through instrumental colour (42s )    
1 - 38     Then come four, almost identical bars (08s )    
1 - 39     Even greater magic, with sudden switch of key and tone colour (28s )    
1 - 40     Entire Development section up to this point (1mn 55s )    
1 - 41     The Development continued (1mn 23s )    
1 - 42     Increased unease and suspense as harmonic rhythm accelerates (2mn 03s )    
1 - 43     Arrival at the point of Recapitulation; back to the beginning, as a reminder (1mn 50s )    
1 - 44     Beginning of Recapitulation (50s )    
1 - 45     More Beethovenian frustrations of expectations which he himself has just set up (1mn 01s )    
1 - 46     Harmonic rhythm speeds up, giving the impression of an accent on every beat (34s )    
1 - 47     Prevailing mood restored; new theme from clarinets and bassoons (28s )    
1 - 48     Violins and violas take up theme; horns, cellos, double-basses accompany (48s )    
1 - 49     A hush falls, followed by a return of the movement s most familiar tag in strings (58s )    
1 - 50     Clarinet takes up the running triplet figures of the main closing theme (32s )    
1 - 51     First violins take up the opening phrase again, accompanied by double-basses (37s )    
1 - 52     Beethoven slips in one last surprise; cue to complete movement (59s )    
1 - 53     First movement (complete) (11mn 01s )    

Second Movement, Scene by the Brook
1 - 54     General introduction; the birth of a melody (1mn 59s )    
1 - 55     Brook music quickens; syncopated horns; theme changes hands; evocation of birdsong (1mn 19s )    
1 - 56     The motto theme introduced by violins and treated to round-like overlappings (52s )    
1 - 57     Transitional bridge theme sets off for new key group. But is it? And does it? (39s )    
1 - 58     Will he, or won t he? Beethoven keeps us guessing (1mn 09s )    
1 - 59     The run-up to the Second Group (1mn 14s )    
1 - 60     Arrival at the Second Group; but where is the actual Second Subject? (39s )    
1 - 61     A new tune is introduced by the bassoon (38s )    
1 - 62     Tune is repeated three times (1mn )    
1 - 63     ...which the full orchestra now takes up in varied form (45s )    
1 - 64     Theme carried by flutes and first violins in a charmingly waltz-like development (48s )    
1 - 65     A reminder of precedent (14s )    
1 - 66     Back to the prevailing triple-metre with violins, bassoons and flutes (16s )    
1 - 67     Another reminder of precedent... (16s )    
1 - 68     ...and a cue to some unexpected departures (38s )    
1 - 69     The transformational magic of Beethoven s tone-painting - and a new varation (50s )    
1 - 70     Conversation of clarinet, flute and oboe on the way to the Development (43s )    
1 - 71     Harmonic movement emphasised by violins; oboe takes up the First Subject (38s )    
1 - 72     Flute and oboe discuss the First Subject, before arriving together at the Transition (1mn 04s )    
1 - 73     Gains in volume and intensity lead to a new key-change (47s )    
1 - 74     More thematic transformation through the agency of tone-colour (1mn 11s )    
1 - 75     Harmonic fluideity - instability - as the central engine of the Development section (1mn 40s )    
1 - 76     Harmonic instability, thematic dissolution increase, then lessen with approach of Recapitulation (1mn 41s )    
1 - 77     Recap. and transformation: key and material are right, but what a change of presentation! (1mn 29s )    
1 - 78     Just when we know what s coming, Beethoven changes the rules (or at least the harmony) (53s )    
1 - 79     Transformation by reorchestration; switch to long sustained chords; then everything stops (1mn 20s )    
1 - 80     The silence is broken by voices of nightingale (flute), quail (oboe) and cuckoo (clarinet) (40s )    
1 - 81     First violins bring back motto theme (12s )    
1 - 82     Cue to complete movement on CD 2 (32s )    
2 - 1     Second movement (complete) (12mn 03s )    

Thrid Movement, Merry Gathering of Country Folk
2 - 2     Beethoven and the Scherzo: an introduction; Part One of opening phrase taken by the strings (1mn 32s )    
2 - 3     Immediate response; Part One is answered by a march more singing, continuous legato (23s )    
2 - 4     Entire orchestra gives out opening theme, this time fortissimo and with powerful accents (1mn 06s )    
2 - 5     A mustical ball game. The contrast of this and the first two movements could hardly be greater (33s )    
2 - 6     After quietly teasing suspense, Beethoven mocks village band, first the oboe, then the bassoon (1mn 18s )    
2 - 7     Clarinet joins in, then horn takes the tune - the dance no longer boisterous but lyrical (48s )    
2 - 8     Strings sweep the village musicians aside and hurtle us into the new, boisterous Trio section (46s )    
2 - 9     The air is alive with the sound of (mock) bagpipes, tambourines and fifes (1mn )    
2 - 10     Coda; begins as the movement itself begins, but soon diverges in harmony and instrumentation (1mn 18s )    
2 - 11     Original layout compressed; order of events is changed nd Beethoven springs a big surprise (42s )    
2 - 12     Third movement (complete) (5mn 14s )    

Fourth Movement, Thunderstorm
2 - 13     Unparalled portrait of nature s power over humanity, with some stupendous orchestration (3mn 05s )    
2 - 14     Self-generating form and terror of total unpredictability; anxiety motif from the violins (1mn 34s )    
2 - 15     The lashing rain motif - downward-driving arpeggios from the first violins and violas (36s )    
2 - 16     The lightning motif, and its recurrnece later in the movement (22s )    
2 - 17     Rain motif, derived from descending scale pattern from the violins at the outest (13s )    
2 - 18     Shivering tremolandos from the strings and increasingly eerie harmonies from the wind (18s )    
2 - 19     Steady crescendo in strings; terrifying, downward spelling-out of chords in the violins (1mn 37s )    
2 - 20     Extremes of dynamic contrasts; the unsettling, disturbing, undermining effects of chromaticism (1mn 02s )    
2 - 21     Abandonment of melody, and most traces even of rhythm; sustained, discordant harmony (20s )    
2 - 22     Storm dispersed, the sun reappears, bathing sodden earth below with its life-giving rays (1mn 52s )    
2 - 23     Cue to complete preformance of Fourth Movement (09s )    
2 - 24     Fourth movement (complete) (3mn 55s )    

Fifth Movement, Shepherd's Song - Happy and Thankful Feelings After the Storm
2 - 25     Yodelling figure from clarinet, then horn, the violins, who introduce the main theme (59s )    
2 - 26     Details of instrumental magic in the interplay of horns, cellos, clarinets and bassoons (1mn 06s )    
2 - 27     Main theme heard three times in a row - and yet never the same way twice (1mn 06s )    
2 - 28     Now we get the whole orchestra, playing full out, with violins all double-stopping (36s )    
2 - 29     Transition to the next section, based on the last two notes of the main theme (43s )    
2 - 30     The rhythmic basis of new transition theme, first in violas, then takes up by first violins (38s )    
2 - 31     Another rhythmic details of extended transition comes increasingly into the foreground (29s )    
2 - 32     ...and is then heard in expanded version, taken in sequence by the strings, from the top down (51s )    
2 - 33     New phrase, introduced by violins, brings us resoundingly back to the opening material (1mn 13s )    
2 - 34     Main theme, re-orchestrated; unexpected drift into another key and a new, gently flowing theme (2mn 15s )    
2 - 35     Hints of a return to main theme; long pedal point ; running commentary from the violins (58s )    
2 - 36     Main theme returns, but significantly altered, and not entirely intact (37s )    
2 - 37     Running commentary now heard in the middle, with alternating pizzicatos both above and below (24s )    
2 - 38     Part Three of main theme given to entire orchestra, leading to final appearance of Theme two (1mn 21s )    
2 - 39     Extended coda; overlapping variations of main theme, rather in the manner of a round (2mn 09s )    
2 - 40     Suddenly the scene changes. A variation of the running commentary cited in Tracks 34 and 36 (51s )    
2 - 41     The crowning glory, as the Shepherd s Song of Thanksgiving takes on a heavenly magnificence (2mn 10s )    
2 - 42     Cue into complete performance of Fifth Movement through the gateway of the Fourth (1mn 09s )    
2 - 43     Fourth and Fifth movements (complete) (13mn 47s )    

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