On Beethoven's Openings (01 min. 26 sec.) / Beethoven -- Opening phrase of the 'Pastoral': ood, Symbolism and Musical Function (01 min. 44 sec.) / Beethoven -- Musical Acorns: the outline of melody; the shape of a question (NaN min. NaN sec.)(42 sec.) / Beethoven -- The 'question' in the 'Pastoral' repeated... (NaN min. NaN sec.)(04 sec.) / Beethoven -- ...and answered (NaN min. NaN sec.)(12 sec.) / Beethoven -- The opening phrase ends on a note full of pregnant expectation (NaN min. NaN sec.)(19 sec.) / Beethoven -- Starting with a stop (NaN min. NaN sec.)(36 sec.) / Beethoven -- The rhythmic profile of the opening phrase; a two-part construction (NaN min. NaN sec.)(52 sec.) / Beethoven -- Phrase One, Part One (NaN min. NaN sec.)(09 sec.) / Beethoven -- Phrase One, Part Two (NaN min. NaN sec.)(06 sec.) / Beethoven -- The properties of rhythmic ambiguity; the 'question' of Phrase One answered (01 min. 03 sec.) / Beethoven -- Phrase Two: from meander to march (NaN min. NaN sec.)(27 sec.) / Beethoven -- The makings of a conversation: contrast and variation (NaN min. NaN sec.)(47 sec.) / Beethoven -- Repetition as A Major factor, but it's never mere repetition; each time something new is added (NaN min. NaN sec.)(33 sec.) / Beethoven -- From soft to loud and back again; instrumental enrichment from horns and double-basses (NaN min. NaN sec.)(18 sec.) / Beethoven -- Mega-repetition: violins play exactly the same little fragment ten times in a row (NaN min. NaN sec.)(29 sec.) / Beethoven -- But no two repetitions are quite the same; varieties of contrast (NaN min. NaN sec.)(34 sec.) / Beethoven -- More variation: pitch rises; violins joined frist by the clarinet, then by the oboe (NaN min. NaN sec.)(19 sec.) / Beethoven -- Return to opening idea, but with new instrumentation and articulation (NaN min. NaN sec.)(25 sec.) / Beethoven -- Clarinets, horns, bassoons and flutes now join expansive variation (NaN min. NaN sec.)(49 sec.) / Beethoven -- 'New' insistent rhythm derived from the first four notes of the piece (NaN min. NaN sec.)(09 sec.) / Beethoven -- With the dawn chorus, a whole forest is waking up; feelings of rapture (NaN min. NaN sec.)(36 sec.) / Beethoven -- First violins play a derivative of the opening figure, joined by wind and strings (NaN min. NaN sec.)(32 sec.) / Beethoven -- Sudden change of key, from the home key (tonic) to the dominant (NaN min. NaN sec.)(30 sec.) / Beethoven -- Arrival at the hightly contrasting second main theme (NaN min. NaN sec.)(55 sec.) / Beethoven -- Unusual properties of second main theme (02 min. 15 sec.) / Beethoven -- Rhythmic clash between simultaneous groups of three beats and groups of two (01 min. 09 sec.) / Beethoven -- winds fall selent as the violins and violas interrupt with a new theme (NaN min. NaN sec.)(30 sec.) / Beethoven -- Winds answer with the same morse-like rhythm but at half the speed (NaN min. NaN sec.)(51 sec.) / Beethoven -- Crescendo leads to strings' acceleration of the pace with no increase in tempo (01 min. 05 sec.) / Beethoven -- Beginning of coda, directly based on morse-like rhythm of the main theme (NaN min. NaN sec.)(22 sec.) / Beethoven -- Strings reiterate small fragment of the new theme 13 times in a row (NaN min. NaN sec.)(48 sec.) / Beethoven -- A simple, rising violin phrase leads to a repeat of the Exposition (NaN min. NaN sec.)(18 sec.) / Beethoven -- The nature and function of the Development section in sonata form; 'harmonic' rhythm explained (02 min. 22 sec.) / Beethoven -- The nature of harmonic rhythm illustrated (NaN min. NaN sec.)(35 sec.) / Beethoven -- A typically Beethovenian exercise in the frustration of expectation (NaN min. NaN sec.)(38 sec.) / Beethoven -- Repetitiousness and magic effected largely through instrumental colour (NaN min. NaN sec.)(42 sec.) / Beethoven -- Then come four, almost identical bars (NaN min. NaN sec.)(08 sec.) / Beethoven -- Even greater magic, with sudden switch of key and tone colour (NaN min. NaN sec.)(28 sec.) / Beethoven -- Entire Development section up to this point (01 min. 55 sec.) / Beethoven -- The Development continued (01 min. 23 sec.) / Beethoven -- Increased unease and suspense as harmonic rhythm accelerates (02 min. 03 sec.) / Beethoven -- Arrival at the point of Recapitulation; back to the beginning, as a reminder (01 min. 50 sec.) / Beethoven -- Beginning of Recapitulation (NaN min. NaN sec.)(50 sec.) / Beethoven -- More Beethovenian frustrations of expectations which he himself has just set up (01 min. 01 sec.) / Beethoven -- Harmonic rhythm speeds up, giving the impression of an accent on every beat (NaN min. NaN sec.)(34 sec.) / Beethoven -- Prevailing mood restored; new theme from clarinets and bassoons (NaN min. NaN sec.)(28 sec.) / Beethoven -- Violins and violas take up theme; horns, cellos, double-basses accompany (NaN min. NaN sec.)(48 sec.) / Beethoven -- A hush falls, followed by a return of the movement's most familiar tag in strings (NaN min. NaN sec.)(58 sec.) / Beethoven -- Clarinet takes up the running triplet figures of the main closing theme (NaN min. NaN sec.)(32 sec.) / Beethoven -- First violins take up the opening phrase again, accompanied by double-basses (NaN min. NaN sec.)(37 sec.) / Beethoven -- Beethoven slips in one last surprise; cue to complete movement (NaN min. NaN sec.)(59 sec.) / Beethoven -- First movement (complete) (11 min. 01 sec.) / Beethoven -- General introduction; the birth of a melody (01 min. 59 sec.) / Beethoven -- Brook music quickens; syncopated horns; theme changes hands; evocation of birdsong (01 min. 19 sec.) / Beethoven -- The 'motto' theme introduced by violins and treated to round-like overlappings (NaN min. NaN sec.)(52 sec.) / Beethoven -- Transitional 'bridge' theme sets off for new key group. But is it? And does it? (NaN min. NaN sec.)(39 sec.) / Beethoven -- Will he, or won't he? Beethoven keeps us guessing (01 min. 09 sec.) / Beethoven -- The run-up to the Second Group (01 min. 14 sec.) / Beethoven -- Arrival at the Second Group; but where is the actual Second Subject? (NaN min. NaN sec.)(39 sec.) / Beethoven -- A new tune is introduced by the bassoon (NaN min. NaN sec.)(38 sec.) / Beethoven -- Tune is repeated three times (01 min. NaN sec.) / Beethoven -- ...which the full orchestra now takes up in varied form (NaN min. NaN sec.)(45 sec.) / Beethoven -- Theme carried by flutes and first violins in a charmingly waltz-like development (NaN min. NaN sec.)(48 sec.) / Beethoven -- A reminder of precedent (NaN min. NaN sec.)(14 sec.) / Beethoven -- Back to the prevailing triple-metre with violins, bassoons and flutes (NaN min. NaN sec.)(16 sec.) / Beethoven -- Another reminder of precedent... (NaN min. NaN sec.)(16 sec.) / Beethoven -- ...and a cue to some unexpected departures (NaN min. NaN sec.)(38 sec.) / Beethoven -- The transformational magic of Beethoven's 'tone-painting' - and a new varation (NaN min. NaN sec.)(50 sec.) / Beethoven -- Conversation of clarinet, flute and oboe on the way to the Development (NaN min. NaN sec.)(43 sec.) / Beethoven -- Harmonic movement emphasised by violins; oboe takes up the First Subject (NaN min. NaN sec.)(38 sec.) / Beethoven -- Flute and oboe discuss the First Subject, before arriving together at the Transition (01 min. 04 sec.) / Beethoven -- Gains in volume and intensity lead to a new key-change (NaN min. NaN sec.)(47 sec.) / Beethoven -- More thematic transformation through the agency of tone-colour (01 min. 11 sec.) / Beethoven -- Harmonic fluideity - instability - as the central engine of the Development section (01 min. 40 sec.) / Beethoven -- Harmonic instability, thematic dissolution increase, then lessen with approach of Recapitulation (01 min. 41 sec.) / Beethoven -- Recap. and transformation: key and material are right, but what a change of presentation! (01 min. 29 sec.) / Beethoven -- Just when we know what's coming, Beethoven changes the rules (or at least the harmony) (NaN min. NaN sec.)(53 sec.) / Beethoven -- Transformation by reorchestration; switch to long sustained chords; then everything stops (01 min. 20 sec.) / Beethoven -- The silence is broken by voices of nightingale (flute), quail (oboe) and cuckoo (clarinet) (NaN min. NaN sec.)(40 sec.) / Beethoven -- First violins bring back motto theme (NaN min. NaN sec.)(12 sec.) / Beethoven -- Cue to complete movement on CD 2 (NaN min. NaN sec.)(32 sec.) / Beethoven -- Second movement (complete) (12 min. 03 sec.) / Beethoven -- Beethoven and the Scherzo: an introduction; Part One of opening phrase taken by the strings (01 min. 32 sec.) / Beethoven -- Immediate response; Part One is answered by a march more singing, continuous legato (NaN min. NaN sec.)(23 sec.) / Beethoven -- Entire orchestra gives out opening theme, this time fortissimo and with powerful accents (01 min. 06 sec.) / Beethoven -- A mustical ball game. The contrast of this and the first two movements could hardly be greater (NaN min. NaN sec.)(33 sec.) / Beethoven -- After quietly teasing suspense, Beethoven mocks village band, first the oboe, then the bassoon (01 min. 18 sec.) / Beethoven -- Clarinet joins in, then horn takes the tune - the dance no longer boisterous but lyrical (NaN min. NaN sec.)(48 sec.) / Beethoven -- Strings sweep the village musicians aside and hurtle us into the new, boisterous 'Trio' section (NaN min. NaN sec.)(46 sec.) / Beethoven -- The air is alive with the sound of (mock) bagpipes, tambourines and fifes (01 min. NaN sec.) / Beethoven -- Coda; begins as the movement itself begins, but soon diverges in harmony and instrumentation (01 min. 18 sec.) / Beethoven -- Original layout compressed; order of events is changed nd Beethoven springs a big surprise (NaN min. NaN sec.)(42 sec.) / Beethoven -- Third movement (complete) (05 min. 14 sec.) / Beethoven -- Unparalled portrait of nature's power over humanity, with some stupendous orchestration (03 min. 05 sec.) / Beethoven -- Self-generating form and terror of total unpredictability; 'anxiety motif' from the violins (01 min. 34 sec.) / Beethoven -- The 'lashing rain' motif - downward-driving arpeggios from the first violins and violas (NaN min. NaN sec.)(36 sec.) / Beethoven -- The 'lightning' motif, and its recurrnece later in the movement (NaN min. NaN sec.)(22 sec.) / Beethoven -- 'Rain' motif, derived from descending scale pattern from the violins at the outest (NaN min. NaN sec.)(13 sec.) / Beethoven -- Shivering tremolandos from the strings and increasingly eerie harmonies from the wind (NaN min. NaN sec.)(18 sec.) / Beethoven -- Steady crescendo in strings; terrifying, downward spelling-out of chords in the violins (01 min. 37 sec.) / Beethoven -- Extremes of dynamic contrasts; the unsettling, disturbing, undermining effects of chromaticism (01 min. 02 sec.) / Beethoven -- Abandonment of melody, and most traces even of rhythm; sustained, discordant harmony (NaN min. NaN sec.)(20 sec.) / Beethoven -- Storm dispersed, the sun reappears, bathing sodden earth below with its life-giving rays (01 min. 52 sec.) / Beethoven -- Cue to complete preformance of Fourth Movement (NaN min. NaN sec.)(09 sec.) / Beethoven -- Fourth movement (complete) (03 min. 55 sec.) / Beethoven -- 'Yodelling' figure from clarinet, then horn, the violins, who introduce the main theme (NaN min. NaN sec.)(59 sec.) / Beethoven -- Details of instrumental magic in the interplay of horns, cellos, clarinets and bassoons (01 min. 06 sec.) / Beethoven -- Main theme heard three times in a row - and yet never the same way twice (01 min. 06 sec.) / Beethoven -- Now we get the whole orchestra, playing full out, with violins all double-stopping (NaN min. NaN sec.)(36 sec.) / Beethoven -- Transition to the next section, based on the last two notes of the main theme (NaN min. NaN sec.)(43 sec.) / Beethoven -- The rhythmic basis of new transition theme, first in violas, then takes up by first violins (NaN min. NaN sec.)(38 sec.) / Beethoven -- Another rhythmic details of extended transition comes increasingly into the foreground (NaN min. NaN sec.)(29 sec.) / Beethoven -- ...and is then heard in expanded version, taken in sequence by the strings, from the top down (NaN min. NaN sec.)(51 sec.) / Beethoven -- New phrase, introduced by violins, brings us resoundingly back to the opening material (01 min. 13 sec.) / Beethoven -- Main theme, re-orchestrated; unexpected drift into another key and a new, gently flowing theme (02 min. 15 sec.) / Beethoven -- Hints of a return to main theme; long 'pedal point'; running commentary from the violins (NaN min. NaN sec.)(58 sec.) / Beethoven -- Main theme returns, but significantly altered, and not entirely intact (NaN min. NaN sec.)(37 sec.) / Beethoven -- Running commentary now heard in the middle, with alternating pizzicatos both above and below (NaN min. NaN sec.)(24 sec.) / Beethoven -- Part Three of main theme given to entire orchestra, leading to final appearance of Theme two (01 min. 21 sec.) / Beethoven -- Extended coda; overlapping variations of main theme, rather in the manner of a round (02 min. 09 sec.) / Beethoven -- Suddenly the scene changes. A variation of the 'running commentary' cited in Tracks 34 and 36 (NaN min. NaN sec.)(51 sec.) / Beethoven -- The crowning glory, as the Shepherd's Song of Thanksgiving takes on a 'heavenly' magnificence (02 min. 10 sec.) / Beethoven -- Cue into complete performance of Fifth Movement through the 'gateway' of the Fourth (01 min. 09 sec.) / Beethoven -- Fourth and Fifth movements (complete) (13 min. 47 sec.) / Beethoven
Citación recomendada (normas APA)
"Classics Explained: BEETHOVEN - Symphony No. 6, 'Pastoral' (Siepmann)", -:Naxos Digital Services US Inc., 2002. Consultado en línea en la Biblioteca Digital de Bogotá (https://www.bibliotecadigitaldebogota.gov.co/resources/4045024/), el día 2026-04-23.
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