Dvorák - Jeremy Siepmann – An Introduction To... Dvovák Symphony No. 9 'From The New World' (Used CD)

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