Por:
|
Fecha:
2002
Wagner: Tannhauser: Overture (02 min. 06 sec.) -- Anonymous: Domna, pos vos ay chausida (NaN min. NaN sec.)(28 sec.) -- We don't merely use instruments, we play on them. And they play on us. (01 min. 19 sec.) -- Brahms: Hungarian Dance No. 7 (01 min. 39 sec.) -- The violin is one of the most tender and beautiful instruments ever invented. (NaN min. NaN sec.)(45 sec.) -- Brahms: Violin Concerto in D Major: II. Adagio (01 min. 08 sec.) -- But for a long time it was seen as the instrument of the devil. (NaN min. NaN sec.)(17 sec.) -- Stravinsky: The Soldier's Tale: Triumphal March of the Devil (NaN min. NaN sec.)(45 sec.) -- The manipulative seductiveness of the gypsy violin (NaN min. NaN sec.)(43 sec.) -- Anonymous: Csardas Music (03 min. 33 sec.) -- The violin and the imitation of nature (NaN min. NaN sec.)(23 sec.) -- Vivaldi: The Four Seasons: Spring: I. Allegro (NaN min. NaN sec.)(35 sec.) -- Birds are again evoked in the second concerto, especially music's natural favourite. (NaN min. NaN sec.)(09 sec.) -- Vivaldi: The Four Seasons: Summer: I. Allegro non molto (NaN min. NaN sec.)(41 sec.) -- Like the devil, the violin is a master of disguise. (NaN min. NaN sec.)(18 sec.) -- Kreisler: Schon Rosmarin (01 min. 55 sec.) -- The menacing sensuality of Ravel's Tzigane; a very different side of the violin: (NaN min. NaN sec.)(15 sec.) -- Ravel: Tzigane (NaN min. NaN sec.)(51 sec.) -- Do we now have the true measure of this instrument? Not just yet. (NaN min. NaN sec.)(15 sec.) -- Paganini: Caprice No. 24 (NaN min. NaN sec.)(48 sec.) -- Bach: Brandenburg Concerto No. 4: III. Presto / Schubert: Quartettsatz in C Minor (01 min. 57 sec.) -- Britten: Variations on a Theme of Frank Bridge: VIII. Moto Perpetuo (01 min. 06 sec.) -- Prokofiev's tremolo in Romeo and Juliet should not be heard just before bedtime (NaN min. NaN sec.)(22 sec.) -- Prokofiev: Romeo and Juliet: Act IV (NaN min. NaN sec.)(46 sec.) -- Vivaldi uses it to illustrate the shivering of travellers crossing the ice. (NaN min. NaN sec.)(14 sec.) -- Vivaldi: The Four Seasons: Winter: I. Allegro non molto (NaN min. NaN sec.)(57 sec.) -- The violin muted (NaN min. NaN sec.)(31 sec.) -- Debussy: Clair de lune (01 min. 41 sec.) -- The gentleness of muted strings persists even when a whole orchestra plays. (NaN min. NaN sec.)(30 sec.) -- Mozart: Piano Concerto No. 21 in C Major, K. 467: II. Andante (01 min. 26 sec.) -- The pizzicato violin (NaN min. NaN sec.)(38 sec.) -- Strauss: Pizzicato Polka (02 min. 29 sec.) -- In Prokofiev's Second Violin Concerto, the accompaniment is pizzicato. (NaN min. NaN sec.)(26 sec.) -- Prokofiev: Violin Concerto No. 2 in G Minor: II. Andante assai (02 min. 02 sec.) -- Kabalevsky: Colas Breugnon / Warlock: Capriol Suite: III. Tordion / Prokofiev: Romeo and Juliet: Act I (03 min. 09 sec.) -- Holst: The Planets: I. Mars: The Bringer of War (01 min. 27 sec.) -- Bach: Sonata No. 3 in C Major for unaccompanied violin: II. Fugue (02 min. 09 sec.) -- Brahms: Hungarian Dance No. 4 (03 min. 51 sec.) -- Double-stopping is a standard feature of a lot of folk music. (NaN min. NaN sec.)(14 sec.) -- Vivaldi: The Four Seasons: Autumn: I. Allegro (NaN min. NaN sec.)(37 sec.) -- Now the same technique, but the sound might have come from another world. (NaN min. NaN sec.)(30 sec.) -- Ravel: Bolero (NaN min. NaN sec.)(49 sec.) -- Double-stopping can only approximate the sound of a real violin duet. (NaN min. NaN sec.)(20 sec.) -- Joachim: Cadenza to the Violin Concerto by Brahms (NaN min. NaN sec.)(44 sec.) -- Now compare that with a real violin duet. (NaN min. NaN sec.)(12 sec.) -- Bartok: 44 Duos: I. Teasing Song (NaN min. NaN sec.)(52 sec.) -- Another duo by Bartok, demonstrating the violin's rich lower register (NaN min. NaN sec.)(10 sec.) -- Bartok: 44 Duos: II. Maypole Dance (NaN min. NaN sec.)(40 sec.) -- And now what may be the most beautiful accompanied violin duet in history (NaN min. NaN sec.)(17 sec.) -- Bach: Concerto in D Minor for two violins: II. Largo ma non tanto (06 min. 43 sec.) -- The soul of the violin is in song; but what about this weird passage? (NaN min. NaN sec.)(42 sec.) -- Prokofiev: Violin Concerto No. 1 in D Major: II. Scherzo (NaN min. NaN sec.)(34 sec.) -- The use of harmonics in the orchestra can be both magical and unsettling. (NaN min. NaN sec.)(29 sec.) -- Mahler: Symphony No. 1, "Titan": I. Langsam, schleppend (opening) (01 min. 33 sec.) -- Tchaikovsky's use of harmonics in The Sleeping Beauty is both strange and daring. (NaN min. NaN sec.)(11 sec.) -- Tchaikovsky: The Sleeping Beauty: Act II, No. 15: Entr'acte (NaN min. NaN sec.)(33 sec.) -- Ravel's harmonics in Mother Goose effect a magical transformation. (NaN min. NaN sec.)(29 sec.) -- Ravel: Ma Mere l'oye (Mother Goose): IV. Beauty and the Beast (NaN min. NaN sec.)(36 sec.) -- Stravinsky: The Firebird: Introduction (NaN min. NaN sec.)(32 sec.) -- The natural upper notes of the violins have a unique emotional "grab" (NaN min. NaN sec.)(32 sec.) -- Strauss: Also sprach Zarathustra: Of the Afterworldsmen (NaN min. NaN sec.)(55 sec.) -- Still in their upper register, the violins unleash the energy of a young colt. (NaN min. NaN sec.)(14 sec.) -- Britten: Variations on a Theme of Frank Bridge: V. Aria Italiana (01 min. 10 sec.) -- Elsewhere, Britten uses the same high register to create a very different mood. (NaN min. NaN sec.)(11 sec.) -- Britten: Peter Grimes: 4 Sea Interludes, Op. 33a: I. Dawn (01 min. 08 sec.) -- To end this outing with the violins, a charming little elfin dance (NaN min. NaN sec.)(12 sec.) -- Hellmesberger: Elfenreigen (01 min. 29 sec.) -- Introduction to the viola (NaN min. NaN sec.)(42 sec.) -- Telemann: Viola Concerto: I. Largo (02 min. 46 sec.) -- Khachaturian gets a very different sound from it: fuller, fruitier, more exotic. (NaN min. NaN sec.)(14 sec.) -- Khachaturian: Gayane Suite No. 1: III. Armen's Solo (01 min. 15 sec.) -- Very nearly the whole of the violin's upper register is also available to the viola. (NaN min. NaN sec.)(39 sec.) -- Britten: Peter Grimes: Passacaglia, Op. 33b (01 min. NaN sec.) -- Strauss: Don Quixote (01 min. 03 sec.) -- Berlioz: Harold in Italy: IV. Orgy of Brigands (02 min. NaN sec.) -- The muted viola: intimate, gentle, poignant in Dvorak (NaN min. NaN sec.)(34 sec.) -- Dvorak: Cypresses: IX. Thou Only Dear One (03 min. NaN sec.) -- The massed violas of the modern symphony orchestra in Mahler (NaN min. NaN sec.)(40 sec.) -- Mahler: Symphony No. 4: III. Ruhevoll, poco adagio (01 min. 13 sec.) -- The "period" viola in Bach (01 min. 05 sec.) -- Bach: Brandenburg Concerto No. 6: III. Allegro (05 min. 18 sec.) -- The cello: a voice of unique nobility (NaN min. NaN sec.)(28 sec.) -- Bach: Suite No. 1 for unaccompanied cello: I. Prelude (02 min. 30 sec.) -- Brahms and the "soul" of the cello (NaN min. NaN sec.)(19 sec.) -- Brahms: Piano Concerto No. 2 in B-Flat Major: III. Andante (01 min. 04 sec.) -- Most orchestral composers tend to emphasise the cello's lower register. (NaN min. NaN sec.)(27 sec.) -- Bach: Herz und Mund und Tat und Leben, BWV 147: Aria: Bereite dir, Jesu (03 min. 03 sec.) -- In the time of Beethoven the cello remained as fundamental as ever. (NaN min. NaN sec.)(14 sec.) -- Beethoven: Symphony No. 3 "Eroica": IV. Finale (NaN min. NaN sec.)(46 sec.) -- But the cello is not condemned to spend its life in the basement. (NaN min. NaN sec.)(33 sec.) -- Popper: Elfentanz, Op. 39 (02 min. 55 sec.) -- Not only in recital showpieces like that is the cello used in its highest register. (NaN min. NaN sec.)(10 sec.) -- Tavener: The Protecting Veil: opening (02 min. 54 sec.) -- A cello with an identity-crisis: the pizzicato Flamencan (NaN min. NaN sec.)(15 sec.) -- Tagell: Flamenco (02 min. 48 sec.) -- Double-stopping in the lower reaches of the cello's range (NaN min. NaN sec.)(31 sec.) -- Cassado: Solo Suite for Cello and Piano: Sardana (01 min. 08 sec.) -- It's in its middle register that the cello really comes into its own. (NaN min. NaN sec.)(21 sec.) -- Rachmaninov: Oriental Dance, Op. 2, No. 2 (01 min. 32 sec.) -- Beethoven: Symphony No. 5: II. Andante con moto (NaN min. NaN sec.)(54 sec.) -- Beethoven: Symphony No. 9: IV. Finale (NaN min. NaN sec.)(54 sec.) -- Introduction to the double-bass (NaN min. NaN sec.)(43 sec.) -- Saint-Saens: The Carnival of the Animals: The Elephant (01 min. 32 sec.) -- But the double-bass can be intensely expressive and graceful. (NaN min. NaN sec.)(10 sec.) -- Bottesini: Elegy No. 1 in D Major (02 min. 37 sec.) -- Bottesini: Allegro di concerto, "Alla Mendelssohn" (NaN min. NaN sec.)(47 sec.) -- Bottesini: Capriccio di bravura (04 min. 42 sec.) -- Mahler: Symphony No. 1, "Titan": III. Feierlich und gemessen, ohne zu schleppen / Mahler: Symphony No. 3: I. Kraftig (01 min. 33 sec.) -- Prokofiev: Lieutenant Kije Suite: III. Kije's Wedding / Prokofiev: Romeo and Juliet: Act III (02 min. 25 sec.) -- Beethoven: Symphony No. 5: III. Allegro (01 min. 20 sec.) -- The antiquity and magic of the flute (NaN min. NaN sec.)(20 sec.) -- Debussy: Prelude a l'apres-midi d'un faune (03 min. 19 sec.) -- The versatility and agility of the flute (NaN min. NaN sec.)(21 sec.) -- Bach: Orchestral Suite No. 2 in B Minor: VII. Badinerie (01 min. 18 sec.) -- The flute in fifteenth-century Spain (NaN min. NaN sec.)(24 sec.) -- Anonymous: Sa'dawi (NaN min. NaN sec.)(55 sec.) -- Other flutes: the bass and alto (NaN min. NaN sec.)(29 sec.) -- Sallinen: Chamber Music II (01 min. 12 sec.) -- The Piccolo - aptly named (NaN min. NaN sec.)(19 sec.) -- Rameau: La Naissance d'Osiris: VI. Premier et deuxieme tambourin (NaN min. NaN sec.)(47 sec.) -- From a piccolo of the eighteenth century to one of its descendants in the twentieth (NaN min. NaN sec.)(09 sec.) -- Stravinsky: Suite No. 2 for Small Orchestra: II. Valse (NaN min. NaN sec.)(54 sec.) -- A variety of techniques (NaN min. NaN sec.)(19 sec.) -- Sallinen: Chamber Music II (NaN min. NaN sec.)(31 sec.) -- Flutter-tonguing. But Tchaikovsky got there eighty years before. (NaN min. NaN sec.)(28 sec.) -- Tchaikovsky: The Nutcracker: Act II, No. 2: Scene (NaN min. NaN sec.)(44 sec.) -- From the transverse to the vertical: the Baroque recorder (NaN min. NaN sec.)(40 sec.) -- Telemann: Recorder Suite in A Minor: Menuet II (02 min. 12 sec.) -- An unfamiliar, early vision of the instrument (NaN min. NaN sec.)(23 sec.) -- Baston: Naelden, Naelden (01 min. 09 sec.) -- The Bachian oboe (NaN min. NaN sec.)(35 sec.) -- Bach: Ein feste Burg ist unser Gott, BWV 80: Duetto: Wie selig sind doch die (03 min. 34 sec.) -- Introduction to the cor anglais or 'English horn' (NaN min. NaN sec.)(41 sec.) -- Dvorak: Symphony No. 9, "From the New World": II. Largo (01 min. 24 sec.) -- The loneliness of the cor anglais (NaN min. NaN sec.)(11 sec.) -- Sibelius: The Swan of Tuonela (01 min. 49 sec.) -- The cor anglais joins the French horn in Haydn. (NaN min. NaN sec.)(17 sec.) -- Haydn: Symphony No. 22, "The Philosopher": I. Adagio (01 min. 43 sec.) -- Introduction to the oboe d'amore, beloved of Bach - but also of Ravel (NaN min. NaN sec.)(22 sec.) -- Ravel: Bolero (NaN min. NaN sec.)(50 sec.) -- Herrmann: The Egyptian: Violence / Janacek: Taras Bulba: The Death of Ostap (NaN min. NaN sec.)(37 sec.) -- Stravinsky: Petrushka: Peasant with Bear / Berlioz: Symphonie fantastique: V. Songe d'une nuit / Prokofiev: Romeo and Juliet: Act II (01 min. 38 sec.) -- As the high clarinets tend to be loud, so the bass tends to be soft (NaN min. NaN sec.)(18 sec.) -- Khachaturian: Gayane Suite No. 1: V. Gayane's Solo (NaN min. NaN sec.)(54 sec.) -- Stravinsky: Petrushka: The Blackamoor / Albeniz: Iberia: Almeria (01 min. 44 sec.) -- The range of the normal clarinet parts goes quite high... (NaN min. NaN sec.)(14 sec.) -- Tchaikovsky: The Snow Maiden: Scene 5: Melodrama (01 min. 17 sec.) -- ....and quite low. (NaN min. NaN sec.)(05 sec.) -- Prokofiev: Peter and the Wolf: The Cat (NaN min. NaN sec.)(45 sec.) -- The clarinet as concerto soloist (NaN min. NaN sec.)(19 sec.) -- Mozart: Clarinet Concerto in A Major: III. Rondo (02 min. 48 sec.) -- But that's not the instrument Mozart wrote it for; this is: (NaN min. NaN sec.)(16 sec.) -- Mozart: Clarinet Concerto in A Major: III. Rondo (02 min. 47 sec.) -- Introduction to the saxophone (02 min. 47 sec.) -- Kodaly: Hary Janos Suite: IV. The Battle and Defeat of Napoleon (01 min. 03 sec.) -- The soprano saxophone has quite a different feel to it (NaN min. NaN sec.)(09 sec.) -- Bizet: L'Arlesienne Suite No. 1: II. Minuet (01 min. 17 sec.) -- The little sopranino sax goes even higher (NaN min. NaN sec.)(12 sec.) -- Ravel: Bolero (NaN min. NaN sec.)(53 sec.) -- The most famous use of the saxophone is in an orchestration by Ravel (NaN min. NaN sec.)(16 sec.) -- Mussorgsky: Pictures at an exhibition: The Old Castle (NaN min. NaN sec.)(55 sec.) -- The saxophone can be quite contagiously good-humoured. (NaN min. NaN sec.)(11 sec.) -- Wiedoeft: Sax-o-phun (NaN min. NaN sec.)(22 sec.) -- The puffa-puffa image of the bassoon (NaN min. NaN sec.)(25 sec.) -- Prokofiev: Peter and the Wolf: Grandfather (NaN min. NaN sec.)(46 sec.) -- The Bachian bassoon, in accompanimental mode (NaN min. NaN sec.)(20 sec.) -- Bach: Weichet nur, betrubte Schatten, BWV 202, "Wedding Cantata": Aria No. 1 (01 min. 19 sec.) -- Bizet: Carmen Suite No. 1: V. Les Dragons d'Alcala (NaN min. NaN sec.)(56 sec.) -- And Ravel, also in Spanish mode, does likewise (NaN min. NaN sec.)(16 sec.) -- Ravel: Bolero (NaN min. NaN sec.)(59 sec.) -- The bassoon as a voice of high seriousness, indeed desolate loneliness (NaN min. NaN sec.)(15 sec.) -- Bax: Symphony No. 3: I. Lento moderato (01 min. 03 sec.) -- The eerie bassoon in its highest register (NaN min. NaN sec.)(15 sec.) -- Stravinsky: The Rite of Spring: opening (NaN min. NaN sec.)(58 sec.) -- Stravinsky now draws on its lowest register, lonely and melancholy. (NaN min. NaN sec.)(21 sec.) -- Stravinsky: The Firebird Suite (1919): Berceuse (01 min. 01 sec.) -- The bassoon as concerto soloist, avoiding all exaggeration (NaN min. NaN sec.)(14 sec.) -- Molter: Bassoon Concerto in G Minor: III. — (02 min. 02 sec.) -- The deep-voiced contra-bassoon, as a fairy-tale beast (NaN min. NaN sec.)(28 sec.) -- Ravel: Ma Mere l'oye (Mother Goose): IV. Beauty and the Beast (01 min. 30 sec.) -- The French Horn under its woodwind hat (NaN min. NaN sec.)(25 sec.) -- Nielsen: Wind Quintet, Op. 43: III. Praeludium - Tema con variazioni (01 min. 42 sec.) -- Now a more prominent role, in a woodwind quintet from an earlier era (NaN min. NaN sec.)(12 sec.) -- Reicha: Wind Quintet in A Minor, Op. 100, No. 5: II. Andante con variazioni (01 min. 32 sec.) -- The horn in harmonious blend with strings in another quintet (NaN min. NaN sec.)(16 sec.) -- Mozart: Horn Quintet in E-Flat Major, K. 407: III. Rondeau (03 min. 55 sec.) -- The Trumpet as virtuoso soloist (01 min. 02 sec.) -- Bach: Brandenburg Concerto No. 2: III. Allegro assai (02 min. 37 sec.) -- The special brilliance of paired trumpets (NaN min. NaN sec.)(19 sec.) -- Vivaldi: Concerto in C for two trumpets, RV 537: I. Allegro (02 min. 54 sec.) -- The ceremonial trumpet (NaN min. NaN sec.)(36 sec.) -- Copland: Fanfare for the Common Man (01 min. 25 sec.) -- Trumpets and drums - an incomparable alliance (NaN min. NaN sec.)(34 sec.) -- Handel: Messiah: The Trumpet Shall Sound (04 min. 10 sec.) -- The versatility of the trumpet, from the most public to the most lonely (NaN min. NaN sec.)(38 sec.) -- Gershwin: Piano Concerto in F: II. Andante con moto - Adagio (01 min. 14 sec.) -- Gershwin: An American in Paris / Stravinsky: The Soldier's Tale: The March (02 min. 05 sec.) -- Bizet: Carmen Suite No. 2: II. Habanera (NaN min. NaN sec.)(55 sec.) -- The trumpet as the voice of strength and courage (NaN min. NaN sec.)(13 sec.) -- Bizet: Carmen Suite No. 2: IV. Toreador's Song (02 min. 20 sec.) -- Stravinsky: Petrushka: The Blackamoor / Prokofiev: Lieutenant Kije Suite: I. The Birth of Kije (01 min. 14 sec.) -- Copland: Billy the Kid (01 min. 16 sec.) -- The trumpet as character actor (NaN min. NaN sec.)(31 sec.) -- Mussorgsky: Pictures at an Exhibition: Samuel Goldenberg and Schmuyle (02 min. 25 sec.) -- The trumpet as the voice of God (NaN min. NaN sec.)(15 sec.) -- Bach: Mass in B minor: Et expecto (04 min. 35 sec.) -- The birth of the trombone (NaN min. NaN sec.)(38 sec.) -- Anonymous: Aenmerckt nu hier (01 min. 36 sec.) -- The birth of the brass as a family (01 min. 24 sec.) -- Gabrieli: Canzon a 12 in Double Echo (03 min. 18 sec.) -- The trombone in the eighteenth century (NaN min. NaN sec.)(36 sec.) -- Albrechtsberger: Trombone Concerto in B-Flat Major: III. Finale (03 min. 06 sec.) -- Hoser: Romance for trombone and organ / Berlioz: Requiem: Dies Irae (02 min. 18 sec.) -- Liszt: Hosannah, S677/R409 (01 min. 20 sec.) -- The trombones become part of the orchestra (NaN min. NaN sec.)(47 sec.) -- Beethoven: Symphony No. 5: IV. Allegro (02 min. 46 sec.) -- Wagner: Tannhauser: Overture (01 min. 04 sec.) -- The Trombone as caricaturist (NaN min. NaN sec.)(13 sec.) -- Stravinsky: Pulcinella: No. 19: Vivo (01 min. 37 sec.) -- Bartok: Concerto for Orchestra: IV. Intermezzo interrotto (01 min. 46 sec.) -- The horn and the hunt (NaN min. NaN sec.)(40 sec.) -- Mozart: Horn Concerto No. 4 in E flat, K. 495: III. Rondo (03 min. 39 sec.) -- The challenging horn of the Baroque (NaN min. NaN sec.)(42 sec.) -- Rameau: Abaris ou les Boreades: II. Menuet (01 min. 20 sec.) -- The scarcity of first-rate players in Handel's time (NaN min. NaN sec.)(24 sec.) -- Handel: Water Music: Suite No. 1 in F Major, HWV 348: Menuet (01 min. 57 sec.) -- Stravinsky: The Firebird Suite (1919): Finale (NaN min. NaN sec.)(59 sec.) -- Horns and the sound of nobility (NaN min. NaN sec.)(12 sec.) -- Wagner: Tannhauser: Overture (opening) (NaN min. NaN sec.)(56 sec.) -- The special sound of the horn in its higher register (NaN min. NaN sec.)(11 sec.) -- Bach: Mass in B Minor: Quoniam tu solus sanctus (04 min. 15 sec.) -- The trumpet-like sound of massed horns (NaN min. NaN sec.)(21 sec.) -- Mahler: Symphony No. 3: I. Kraftig (opening) (NaN min. NaN sec.)(38 sec.) -- The tuba - unfairly maligned? (NaN min. NaN sec.)(49 sec.) -- Prokofiev: Symphony No. 6: III. Vivace (01 min. 07 sec.) -- The tuba perfectly cast by Ravel (NaN min. NaN sec.)(26 sec.) -- Mussorgsky: Pictures at an Exhibition: Bydlo (03 min. NaN sec.) -- Introduction. And we begin with a bang. (01 min. 02 sec.) -- Copland: Fanfare for the Common Man / Beethoven: Wellington's Victory, Op. 91 (opening) (01 min. 03 sec.) -- At the opposite extreme is the triangle. (NaN min. NaN sec.)(26 sec.) -- Liszt: Piano Concerto No. 1 in E-Flat Major: Scherzo (01 min. 21 sec.) -- Categories of percussion: tuned and untuned. The side drum (NaN min. NaN sec.)(36 sec.) -- Rossini: La gazza ladra (The Thieving Magpie): Overture (opening) (NaN min. NaN sec.)(52 sec.) -- Nielsen: Clarinet Concerto (opening) (01 min. 08 sec.) -- The tambourine. One of the oldest instruments in the world (NaN min. NaN sec.)(21 sec.) -- Anonymous: Den hoboecken dans (01 min. 43 sec.) -- Even older is the originally oriental gong. (NaN min. NaN sec.)(28 sec.) -- Ravel: Ma Mere l'oye (Mother Goose): Laideronette (01 min. NaN sec.) -- Britten: Peter Grimes: Passacaglia, Op. 33b (01 min. NaN sec.) -- Satie: Gymnopedie No. 2 (01 min. 02 sec.) -- Elgar: The Sanguine fan / Cymbals clashed softly / Cymbals struck singly / Cymbals stroked with wire brushes (01 min. 28 sec.) -- Ravel: Piano Concerto in G Major (opening) / Tchaikovsky: The Nutcracker: Act I Scene 5 (01 min. 05 sec.) -- Wood blocks (NaN min. NaN sec.)(31 sec.) -- Copland: Rodeo: IV. Hoe-Down (NaN min. NaN sec.)(44 sec.) -- Glinka: Jota aragonesa (01 min. 09 sec.) -- Monteverdi: Scherzi musicali: Damigella tutta bella (01 min. 50 sec.) -- A still earlier example from fifteenth-century Spain (NaN min. NaN sec.)(30 sec.) -- Traditional: Yo m'enamori d'un aire (01 min. 06 sec.) -- The birth of the bongo (NaN min. NaN sec.)(33 sec.) -- Bernstein: West Side Story (Symphonic Dances) (01 min. 39 sec.) -- Verdi: II Trovatore: Act II: Anvil Chorus (01 min. 08 sec.) -- Grofe: Grand Canyon Suite: III. On the Trail / Varese: Arcana (01 min. 27 sec.) -- Moncayo: Huapango (01 min. 20 sec.) -- Onwards to the tuned percussion. First, the timpani (NaN min. NaN sec.)(14 sec.) -- Strauss: Also sprach Zarathustra: Introduction (01 min. 48 sec.) -- Mahler: Symphony No. 2, "Resurrection'": III. In ruhig fliessender Bewegung (NaN min. NaN sec.)(29 sec.) -- Grofe: Grand Canyon Suite: I. Sunrise / Berlioz: Symphonie fantastique: V. Songe d'une nuit de Sabbat (NaN min. NaN sec.)(37 sec.) -- Taking advantage of tunability (NaN min. NaN sec.)(22 sec.) -- Bartok: Music for Strings, Percussion and Celesta: II. Allegro (02 min. 25 sec.) -- Shchedrin: Carmen Suite: IV. Changing of the Guard (01 min. 01 sec.) -- Shchedrin: Carmen Suite: V. Carmen's Entrance and Habanera (01 min. 15 sec.) -- Saint-Saens and the xylophone (NaN min. NaN sec.)(16 sec.) -- Saint-Saens: The Carnival of the Animals: Fossils (01 min. 18 sec.) -- Ravel and the xylophone (NaN min. NaN sec.)(11 sec.) -- Ravel: Ma Mere l'oye (Mother Goose): Laideronette (02 min. 37 sec.) -- Shchedrin: Carmen Suite: III. First Intermezzo (NaN min. NaN sec.)(38 sec.) -- Introducing the vibraphone (NaN min. NaN sec.)(20 sec.) -- Steiner: The Treasure of the Sierra Madre: Narange dolce (01 min. 25 sec.) -- Shchedrin: Carmen Suite: V. Carmen's Entrance and Habanera (NaN min. NaN sec.)(57 sec.) -- Introducing the Hungarian cimbalom (NaN min. NaN sec.)(23 sec.) -- Traditional: Folk Dances (03 min. NaN sec.) -- The cimbalom and the symphony orchestra (NaN min. NaN sec.)(10 sec.) -- Kodaly: Hary Janos Suite : III. Song (01 min. 30 sec.) -- Introducing the tubular bells (NaN min. NaN sec.)(17 sec.) -- Kodaly: Hary Janos Suite: II. Viennese Musical Clock (02 min. 04 sec.) -- A more "up-front" approach from Rodion Shchedrin (NaN min. NaN sec.)(06 sec.) -- Shchedrin: Carmen Suite: I. Introduction (01 min. 08 sec.) -- Vaughan Williams: Symphony No. 7, "Sinfonia antartica": I. Prelude (NaN min. NaN sec.)(38 sec.) -- Introducing the celesta (NaN min. NaN sec.)(14 sec.) -- Tchaikovsky: The Nutcracker: Dance of the Sugar Plum Fairy (02 min. 10 sec.) -- Magic, in the use of collective percussion (NaN min. NaN sec.)(19 sec.) -- Ravels: Miroirs: V. La vallee des cloches (01 min. 39 sec.) -- Shchedrin: Carmen Suite: VI. Scene (01 min. 25 sec.) -- Tchaikovsky: The Nutcracker: Act II: Scene / Liszt: Hungarian Rhapsody No. 1 (01 min. 16 sec.) -- The traditionally subservient role of the harpsichord in the Baroque orchestra (NaN min. NaN sec.)(48 sec.) -- Bach: Brandenburg Concerto No. 2: II. Andante (03 min. 11 sec.) -- Saint-Saens: Symphony No. 3, "Organ": II. Allegro moderato (01 min. 28 sec.) -- Stravinsky: Petrushka: Russian Dance (01 min. 28 sec.) -- The anti-Romantic piano as an integral part of the orchestra (NaN min. NaN sec.)(23 sec.) -- Bartok: Music for Strings, Percussion and Celesta: IV. Allegro molto (05 min. 06 sec.) -- Keyboard instruments in the orchestra - the most powerful of them all: (NaN min. NaN sec.)(18 sec.) -- Saint-Saens: Symphony No. 3, "Organ": II. Presto (01 min. 49 sec.) -- But things in Handel's day were very different. (NaN min. NaN sec.)(15 sec.) -- Handel: Organ Concerto in B-Flat Major, Op. 4, No. 3: IV. Gavotte (03 min. 44 sec.) -- The organ is difficult to classify. (NaN min. NaN sec.)(24 sec.) -- An unexpected, organ-related guest (NaN min. NaN sec.)(14 sec.) -- Boismortier: Concerto pour Zampogna: III. Allegro (NaN min. NaN sec.)(14 sec.) -- Peasant-fancying… and a touch of the roaming cowboy (NaN min. NaN sec.)(40 sec.) -- Schoenberg: Les Miserables: Drink with Me (01 min. 02 sec.) -- Mozart: German Dance, K. 603, No. 3 (01 min. 16 sec.) -- Mahler: Symphony No. 4: I. Bedachtig, nicht eilen (NaN min. NaN sec.)(47 sec.) -- Mahler: Symphony No. 6, "Tragic": I. Heftig, aber markig (NaN min. NaN sec.)(53 sec.) -- Anderson: The Typewriter / Satie: Parade (02 min. 46 sec.) -- Varese: Integrales / Gershwin: An American in Paris / Anderson: Sandpaper Ballet (02 min. 35 sec.) -- Vaughan Williams: Symphony No. 7, "Sinfonia antartica": I. Prelude (01 min. 42 sec.) -- Strauss: Don Quixote: Variation VIII (01 min. 13 sec.) -- Rodrigo: Concierto de Aranjuez: III. Allegro gentile (NaN min. NaN sec.)(56 sec.) -- Seeger / Hays: Washington Breakdown (NaN min. NaN sec.)(19 sec.) -- Steiner: The Treasure of the Sierra Madre: Packing Up (NaN min. NaN sec.)(18 sec.) -- Prokofiev: Romeo and Juliet: Act II: No. 14 (NaN min. NaN sec.)(13 sec.) -- Steiner: The Treasure of the Sierra Madre: EI Desayuno (NaN min. NaN sec.)(18 sec.) -- The bongos and the congas and a whole wealth of other drums from Africa and Central America (NaN min. NaN sec.)(26 sec.) -- Evening Raga: Bhapoli (NaN min. NaN sec.)(17 sec.) -- Ferre: Paris cancaille (NaN min. NaN sec.)(20 sec.) -- Karas: The Third Man: Theme (NaN min. NaN sec.)(25 sec.) -- Traditional: Folk Dances (NaN min. NaN sec.)(21 sec.) -- Albeniz: Rondena (01 min. 20 sec.) -- Traditional: Svetit Mesiats (01 min. 02 sec.) -- Vaughan Williams: Symphony No. 7, "Sinfonia antartica": I. Prelude (01 min. 27 sec.) -- Debussy: Nocturnes: III. Sirenes (04 min. 15 sec.) -- Instruments and the imitation of nature. The clarinet as cuckoo (01 min. 46 sec.) -- Saint-Saens: The Carnival of the Animals: The Cuckoo (01 min. 46 sec.) -- The flute as an all-purpose aviary (NaN min. NaN sec.)(14 sec.) -- Saint-Saens: The Carnival of the Animals: The Aviary (01 min. 08 sec.) -- The oboe as duck (NaN min. NaN sec.)(36 sec.) -- Prokofiev: Peter and the Wolf: The Duck (01 min. 55 sec.) -- The recording of reality. Does it work as well? (NaN min. NaN sec.)(12 sec.) -- Respighi: The Pines of Rome: III. The Pines of the Janiculum (01 min. 17 sec.) -- The recording of reality electronically reborn in new guises (NaN min. NaN sec.)(32 sec.) -- Rautavaara: Cantus Arcticus, "Concerto for Birds and Orchestra": II. Melankolia (Melancholy) (01 min. 12 sec.) -- Beethoven turns avian: cuckoo, nightingale, and quail (NaN min. NaN sec.)(26 sec.) -- Beethoven: Symphony No. 6, "Pastoral": II. Szene am Bach (01 min. 12 sec.) -- Some importable casting: the violin as braying donkey (NaN min. NaN sec.)(33 sec.) -- Saint-Saens: The Carnival of the Animals: Persons with Long Ears (NaN min. NaN sec.)(47 sec.) -- A truly orchestral hee-haw to be reckoned with (NaN min. NaN sec.)(09 sec.) -- Mendelssohn: A Midsummer Night's Dream: Overture (NaN min. NaN sec.)(29 sec.) -- A thunderstorm in a million (NaN min. NaN sec.)(17 sec.) -- Beethoven: Symphony No. 6, "Pastoral": IV. Gewitter, Sturm (03 min. 57 sec.) -- The instrumental depiction of a silent world (02 min. 07 sec.) -- Saint-Saens: The Carnival of the Animals: The Aquarium (02 min. 20 sec.) -- Saint-Saens' menagerie takes a curtain call (NaN min. NaN sec.)(24 sec.) -- Saint-Saens: The Carnival of the Animals: Finale (02 min. 09 sec.) -- The grouping of instrumental families. An additive approach. First, two violins. (01 min. 20 sec.) -- Bartok: 44 Duos: IV. Midsummer Night Song (NaN min. NaN sec.)(47 sec.) -- A greater contrast, of both pitch and character, violin and viola (NaN min. NaN sec.)(27 sec.) -- Mozart: Duo for Violin and Viola in B-Flat Major, K. 424: finale: variations 1 and 2 (02 min. 18 sec.) -- Arrival at the standard string trio: violin, viola and cello (NaN min. NaN sec.)(12 sec.) -- Schubert: String Trio in B-Flat Major: III. Menuetto (01 min. 09 sec.) -- The string quartet: two violins, viola and cello (NaN min. NaN sec.)(12 sec.) -- Beethoven: String Quartet in F Major, Op. 18, No. 1: III. Scherzo (01 min. 53 sec.) -- The string quintet - when the extra instrument is a second viola (NaN min. NaN sec.)(30 sec.) -- Mozart: String Quintet No. 5 in D Major, K. 593: II. Adagio (02 min. 21 sec.) -- The string quintet - when the extra instrument is a second cello (NaN min. NaN sec.)(19 sec.) -- Schubert: String Quintet in C Major: III. Scherzo (02 min. 12 sec.) -- The string sextet: two violins, two violas, and two cellos (NaN min. NaN sec.)(16 sec.) -- Brahms: String Sextet No. 1 in B-Flat Major: II. Andante ma moderato (01 min. 27 sec.) -- The string octet: the standard string quartet times two (NaN min. NaN sec.)(20 sec.) -- Mendelssohn: Octet in E-Flat Major, Op. 20: movement 1 (02 min. 16 sec.) -- Double the string octet: a fully fledged string orchestra (NaN min. NaN sec.)(15 sec.) -- Mendelssohn: String Symphony No. 2: III. Allegro vivace (02 min. 12 sec.) -- The massed strings of a symphony orchestra (NaN min. NaN sec.)(37 sec.) -- Vaughan Williams: Fantasia on a Theme of Thomas Tallis (02 min. 58 sec.) -- Contrasts of pitch and instrumental 'colour' in the woodwind section (NaN min. NaN sec.)(44 sec.) -- Reicha: Wind Quintet in A Minor, Op. 100, No. 5: Theme (01 min. 10 sec.) -- In the First Variation it's the horn that gets the lion's share (NaN min. NaN sec.)(05 sec.) -- Reicha: Wind Quintet in A Minor, Op. 100, No. 5: Variation 1 (01 min. 28 sec.) -- In Variation Two the torch is handed to the bassoon (NaN min. NaN sec.)(07 sec.) -- Reicha: Wind Quintet in A Minor, Op. 100, No. 5: Variation 2 (01 min. 08 sec.) -- In Variation Three the oboe leads (NaN min. NaN sec.)(13 sec.) -- Reicha: Wind Quintet in A Minor, Op. 100, No. 5: Variation 3 (01 min. 12 sec.) -- Variation Four: conversation before returning to a solo-dominated texture (NaN min. NaN sec.)(07 sec.) -- Reicha: Wind Quintet in A Minor, Op. 100, No. 5: Variation 4 (01 min. 17 sec.) -- And Variation Five is dominated by the clarinet (NaN min. NaN sec.)(04 sec.) -- Reicha: Wind Quintet in A Minor, Op. 100, No. 5: Variation 5 (01 min. 12 sec.) -- The next to be featured is the virtuoso flute. (NaN min. NaN sec.)(07 sec.) -- Reicha: Wind Quintet in A Minor, Op. 100, No. 5: Variation 6 (01 min. 22 sec.) -- Individual farewells and a closing chorus (NaN min. NaN sec.)(19 sec.) -- Reicha: Wind Quintet in A Minor, Op. 100, No. 5: Variation 7 (NaN min. NaN sec.)(40 sec.) -- A mixed group: clarinet, bassoon, horn, string quartet, and double-bass (NaN min. NaN sec.)(19 sec.) -- Schubert: Octet in F Major, D. 803: III. Trio (02 min. 01 sec.) -- The early classical symphony orchestra of Haydn and Mozart (NaN min. NaN sec.)(34 sec.) -- Mozart: Symphony No. 29 in A Major, K. 201: IV. Allegro con spirito (03 min. 32 sec.) -- Strings, wind, but no brass. What Haydn and Mozart never knew (NaN min. NaN sec.)(34 sec.) -- Gabrieli: Canzon 28 (01 min. 39 sec.) -- Beethoven's Fifth: two horns, two trumpets, and three trombones join the team (NaN min. NaN sec.)(58 sec.) -- Beethoven: Symphony No. 5: IV. Allegro (04 min. 28 sec.) -- From Beethoven to the massive orchestras of Berlioz, Wagner, and Mahler (NaN min. NaN sec.)(27 sec.) -- Beethoven changed the face of the symphony and the orchestra forever. (NaN min. NaN sec.)(47 sec.) -- Mahler: Symphony No. 6, "Tragic": I. Heftig, aber markig (01 min. 44 sec.) -- The cult of orchestral elephantiasis reaches its peak (01 min. 04 sec.) -- Brian: Symphony No. 1, "Gothic": VI. Te ergo quaesumus (01 min. 43 sec.) -- When large doesn't necessarily mean loud: Debussy (01 min. 10 sec.) -- Debussy: Images: I. Gigues (01 min. 50 sec.) -- A crisis of confidence; the orchestra's survival hangs in the balance, but it still develops. The ondes martenot: (02 min. 41 sec.) -- Messiaen: Turangalila Symphony: II. Chant d'amour I (01 min. 14 sec.) -- The advent of the "early music" movement brings a new vitality and freshness (NaN min. NaN sec.)(57 sec.) -- Lully: Ballet de Xerxes: Gavotte en rondeau (NaN min. NaN sec.)(47 sec.) -- Computer and synthesiser: friends or foes? (01 min. 35 sec.) -- Bach: Concerto in D Minor for two violins: II. Largo ma non tanto (02 min. 13 sec.) -- Bach: Mass in B Minor: Dona nobis pacem (03 min. 24 sec.)
Fuente:
Naxos Music Library
Formatos de contenido:
Audios
