Igor Stravinski

• 

• 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 €

• 

• Antonin Dvorak BEETHOVEN - Symphony No. 6, Pastoral (Siepmann)
  [2 CD Classique - Naxos]

  855803435 - Paru le 01/08/2006

  

  12,99 €

Détail des pistes :

DVORAK Antonin
An Introduction to... DVORAK Symphony No. 9 'From the New World'
1 - 1     A quiet beginning: sorrow, syncopation, and sequence (2mn 38s )    
1 - 2     Instrumental colour as a prime element: clarinets and bassoons, an outburst by the French horn (57s )    
1 - 3     The opening tune again, with different instrumental colouring: now flutes and oboes (32s )    
1 - 4     The first big surprise: strings, shattering drumbeats, shrieks from flutes, oboes, and clarinets (37s )    
1 - 5     Cellos and basses take us into a new key while flutes and oboes dance in syncopation. (32s )    
1 - 6     Horns, violas, and cellos introduce a new idea, soon to evolve into the main theme. (31s )    
1 - 7     A tiny detail from the opening culminates in a wild drumming that heralds a major event (43s )    
1 - 8     Introduction complete (2mn 05s )    
1 - 9     A solo horn introduces the main theme, perkily answered by bassoons and horns. (39s )    
1 - 10     The theme moves to G major; answering phrase from flutes, oboes, bassoons. (33s )    
1 - 11     Long crescendo, tremolo strings, back to tonic and biggest statement yet of the main theme. (39s )    
1 - 12     Transition to the secondary theme through the use of sequence. Sonata form; satability and flux (1mn 36s )    
1 - 13     Three-bar groupings and again the use of sequence, spelling out a chord (34s )    
1 - 14     The sequence continues to rise, and the four-bar phrase returns as the standard unit. (18s )    
1 - 15     The first violins start off the next phrase, but the melodic shape is more compact. (21s )    
1 - 16     The violins fall silent; the violas and cellos answer with a new figure (09s )    
1 - 17     So now we have a two-bar group, made up of statement and answer. (07s )    
1 - 18     The same thing again (though not quite the same) (05s )    
1 - 19     Transition complete. The secondary theme arrives, with French horns as bagpipes . (1mn )    
1 - 20     The bagpipe drone is taken over by cellos, with their insistently repeated G and D. (19s )    
1 - 21     The tune is taken up by cellos and double-basses, shadowed by the second violins. (57s )    
1 - 22     The violins continue a pattern of steady pairs, and the cellos and basses introduce a new idea. (33s )    
1 - 23     Unexpectedly, we find ourselves back with the secondary theme. A new idea emerges. (26s )    
1 - 24     Again we hear the shortened version of the secondary theme (33s )    
1 - 25     The suspense is heightened as everything slows down (25s )    
1 - 26     This beautiful flute tune is said to resemble Swing Low, Sweet Chariot . (47s )    
1 - 27     A big crescendo leads to a final statement of the closing theme (1mn 16s )    
1 - 28     The development section begins with a conversation between cellos, double-bases, and violins. (1mn 09s )    
1 - 29     The beginning of the closing theme is taken up in turn by the horn, piccolo, and trumpet. (18s )    
1 - 30     Sequential chirping from the oboes based on the answering part of the main theme, now in the major (18s )    
1 - 31     Much of the development comes from a diminution of the closing theme from the exposition. (19s )    
1 - 32     A tiny detail becomes a major ingredient, giving an agitated quality to an originally sunny tune. (31s )    
1 - 33     Through a sequence of keys so quickly that it is hard to keep track of them (37s )    
1 - 34     The main theme from massed cellos and double-basses, topped by two trumpets over tremolo violas (1mn 46s )    
1 - 35     After that major climax, we arrive at the threshold of the recapitulation (1mn 04s )    
1 - 36     Dvorak flouts tradition by setting the secondary theme and the closing theme in unexpected keys. (1mn 10s )    
1 - 37     The tumultuous convulsion of the coda brings the first movement to its epic close. (3mn 09s )    
1 - 38     Humpty Dumpty: putting the bits back together again (20s )    
1 - 39     First movement (complete) (11mn 36s )    
1 - 40     The very opening chords unmistakably herald the arrival of something special. (1mn 06s )    
1 - 41     The role of instrumentation in setting the scene... (1mn 10s )    
1 - 42     ...and in enhancing the quality of one of the most famous tunes in symphonic history. (1mn 29s )    
1 - 43     The cor anglais is joined by the clarinet, creating a fascinating change in the timbre. (1mn 08s )    
1 - 44     For the closing part of the tune, there is another new sonority: cor anglais plus bassoon. (24s )    
1 - 45     The closing bar is repeated by clarinets and bassoons, the horn adding a new touch (28s )    
1 - 46     Back to the start to hear the whole of the story so far, this time without commentary (2mn 24s )    
1 - 47     A change of scoring: the slow opening chords return, this time played by the winds alone. (1mn 14s )    
1 - 48     The changes in scoring are just beginning. (2mn 35s )    
1 - 49     The flutes and oboes introduce a new tune, over hushed tremolo strings. (1mn 05s )    
1 - 50     A memorable combination of continuous, asymmetrical melody with steady, march-like counterpoint. (1mn 28s )    
1 - 51     Back in that woodland glade, the light and shadows have changed, revealing new shapes and patterns. (1mn 33s )    
1 - 52     The next section is new and forward-looking, yet also a kind of dream-recollection of a past scene. (1mn 30s )    
1 - 53     An abrupt change of mood, much discussion and embellishment, and a hushed note of expectancy (2mn 01s )    
1 - 54     Subjectivity and expertise; Sourek and Tovey disagree; onwards, into the final section (5mn 14s )    
1 - 55     Cue to whole movement (10s )    
1 - 56     Second movement (complete) (12mn )    
2 - 1     Dvorak, Beethoven, and the Scherzo. Dvorak purposely confuses the listener s expectations. (1mn 54s )    
2 - 2     Using a little fanfare, Dvorak further builds up expectation before revealing the main theme. (21s )    
2 - 3     When the theme is revealed, we find that it is not exactly a tune. (36s )    
2 - 4     Two little bursts of rhythm provide the seeds from which much of the movement grows. (24s )    
2 - 5     It is the second half of the theme that dominates. (22s )    
2 - 6     Back to the beginning to hear the whole of this opening section (48s )    
2 - 7     Without ever being remotely academic or intellectual , there is much counterpoint going on here. (20s )    
2 - 8     Dvorak s very Czech love of combining conflicting rhythms, sometimes metres (2mn 31s )    
2 - 9     A clearly transitional passage, obsessed with the rhythmic tag that both opens and closes the theme (30s )    
2 - 10     Sooner than we may have expected, we seem to have arrived at the Trio section. (1mn 07s )    
2 - 11     A new kind of tone quality sheds a subtly different light on the theme. (35s )    
2 - 12     The flutes and oboes now chime in with an answering variant of the opening... (21s )    
2 - 13     ...and the cellos and bassoons take up the original version of the theme. (43s )    
2 - 14     A false alarm: it was not the traditional Trio section at all, but rather part 2 of Scherzo proper (52s )    
2 - 15     Soon, after a very rapid build, the Scherzo proper does reach its final phase. (1mn 13s )    
2 - 16     The orchestral texture thins dramatically, and we approach what this time really is the Trio section (1mn 28s )    
2 - 17     The Trio section is reminiscent more of the Old World than the New . (50s )    
2 - 18     In the second half of the Trio, a new tune emerges, a kind of Slavonic waltz. (1mn )    
2 - 19     The main theme of the Trio returns against a much fuller orchestral background. (36s )    
2 - 20     Then it is all a matter of repeats, until we reach the coda, which ends with an explosive bang. (1mn 15s )    
2 - 21     Third movement (complete) (8mn 07s )    
2 - 22     Like the first movement, the fourth begins not with its main theme but with an introduction. (47s )    
2 - 23     The main theme: an imposing march, introduced by trumpets and trombones, with timpani (48s )    
2 - 24     The main theme, part two. A codetta-like passage closes off the march (1mn 01s )    
2 - 25     The transitional theme, while outwardly contrasting, is actually a hidden variant of the march. (53s )    
2 - 26     A point of future obsession (16s )    
2 - 27     The second half of this transitional theme is given to the winds the strings have finished. (16s )    
2 - 28     The obsession takes root, with a ten-fold repetition, before the arrival of the second subject. (57s )    
2 - 29     The hidden traps in sonata-form terminology: second main theme vx. second subject (2mn 31s )    
2 - 30     The unexpected entry and subsequent ubiquity of Three Blind Mice (1mn 23s )    
2 - 31     We meet the mice again, now in the cellos and double-basses, where they persistently refuse to run. (36s )    
2 - 32     More Three Blind Mice material (30s )    
2 - 33     The mice return to the basement, where the bassoons have joined the cellos and double-basses. (19s )    
2 - 34     Next, they are back with the clarinets who pass them back to the cellos (18s )    
2 - 35     Now they return to the high winds, delicately trilling. (15s )    
2 - 36     Relief, at last: the mice back off, making way for a remainder of the main theme from the trumpets. (34s )    
2 - 37     The mice yield to woodpeckers; the main theme is now doubled in speed (1mn 07s )    
2 - 38     The triplets of the transitional theme are now handed down through strings (23s )    
2 - 39     Reminders of past movements begin to fly by, thick and fast, sometimes very fast. (28s )    
2 - 40     In fact there are three bits of quotation going on here simultaneously. (23s )    
2 - 41     The violas react every time the Goin Home theme is quoted by the winds. (13s )    
2 - 42     The rhythm of the opening of the Goin Home theme dominates, transformed by trumpets (35s )    
2 - 43     The march theme reappears as a Mendelssohnian fairy; the main theme from the 1st mov. now returns. (1mn 55s )    
2 - 44     We reach an interesting point: have we heard the beginning of the recapitulation, or not? (1mn 05s )    
2 - 45     Perhaps this is it? Back for a reminder of the theme proper, as we first heard it (1mn 41s )    
2 - 46     Tovey places the start of the recapitulation here. (1mn 27s )    
2 - 47     The main theme recast in pathetic rather than heroic terms - and with magical scoring (1mn 51s )    
2 - 48     This unexpected crisis in confidence plays a major role in the overall dramatic impact of the mov. (1mn 49s )    
2 - 49     The main theme returns - not complete, but chopped up into shorter and shorter fragments. (1mn 30s )    
2 - 50     A glorious thematic stew; high drama, a powerful build-up... but then? (56s )    
2 - 51     The dramatic highpoint of the mov., an astonishing transformation, but first, back to the original (1mn 26s )    
2 - 52     The same chords again, this time blasted out by the entire wind and brass sections (1mn 09s )    
2 - 53     Now we are into the finishing stretch, but the surprises continue to the very end of the very end. (1mn 42s )    
2 - 54     Summary, context, and cue into the whole movement (1mn 05s )    
2 - 55     Fourth movement (complete) (11mn 05s )    

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