Classics Explained: DVORAK - Symphony No. 9, 'From the New World' (Siepmann)

专辑歌曲列表

发行时间：2002-09-01

A quiet beginning: sorrow, syncopation, and sequence - Jeremy Siepmann&Slovak Philharmonic Orchestra
Instrumental colour as a prime element: clarinets and bassoons, an outburst by the French horn - Jeremy Siepmann&Slovak Philharmonic Orchestra
The opening tune again, with different instrumental colouring: now flutes and oboes - Jeremy Siepmann&Slovak Philharmonic Orchestra
The first big surprise: strings, shattering drumbeats, shrieks from flutes, oboes, and clarinets - Jeremy Siepmann&Slovak Philharmonic Orchestra
Cellos and basses take us into a new key while flutes and oboes dance in syncopation. - Jeremy Siepmann&Slovak Philharmonic Orchestra
Horns, violas, and cellos introduce a new idea, soon to evolve into the main theme. - Jeremy Siepmann&Slovak Philharmonic Orchestra
A tiny detail from the opening culminates in a wild drumming that heralds A Major event - Jeremy Siepmann&Slovak Philharmonic Orchestra
Introduction complete - Jeremy Siepmann&Slovak Philharmonic Orchestra
A solo horn introduces the main theme, perkily answered by bassoons and horns. - Jeremy Siepmann&Slovak Philharmonic Orchestra
The theme moves to G Major; answering phrase from flutes, oboes, bassoons. - Jeremy Siepmann&Slovak Philharmonic Orchestra
Long crescendo, tremolo strings, back to tonic and biggest statement yet of the main theme. - Jeremy Siepmann&Slovak Philharmonic Orchestra
Transition to the secondary theme through the use of sequence. Sonata form; satability and flux - Jeremy Siepmann&Slovak Philharmonic Orchestra
Three-bar groupings and again the use of sequence, spelling out a chord - Jeremy Siepmann&Slovak Philharmonic Orchestra
The sequence continues to rise, and the four-bar phrase returns as the standard unit. - Jeremy Siepmann&Slovak Philharmonic Orchestra
The first violins start off the next phrase, but the melodic shape is more compact. - Jeremy Siepmann&Slovak Philharmonic Orchestra
The violins fall silent; the violas and cellos answer with a new figure - Jeremy Siepmann&Slovak Philharmonic Orchestra
So now we have a two-bar group, made up of statement and answer. - Jeremy Siepmann&Slovak Philharmonic Orchestra
The same thing again (though not quite the same) - Jeremy Siepmann&Slovak Philharmonic Orchestra
Transition complete. The secondary theme arrives, with French horns as 'bagpipes'. - Jeremy Siepmann&Slovak Philharmonic Orchestra
The 'bagpipe drone' is taken over by cellos, with their insistently repeated G and D. - Jeremy Siepmann&Slovak Philharmonic Orchestra
The tune is taken up by cellos and double-basses, 'shadowed' by the second violins. - Jeremy Siepmann&Slovak Philharmonic Orchestra
The violins continue a pattern of steady pairs, and the cellos and basses introduce a new idea. - Jeremy Siepmann&Slovak Philharmonic Orchestra
Unexpectedly, we find ourselves back with the secondary theme. A new idea emerges. - Jeremy Siepmann&Slovak Philharmonic Orchestra
Again we hear the shortened version of the secondary theme - Jeremy Siepmann&Slovak Philharmonic Orchestra
The suspense is heightened as everything slows down - Jeremy Siepmann&Slovak Philharmonic Orchestra
This beautiful flute tune is said to resemble 'Swing Low, Sweet Chariot'. - Jeremy Siepmann&Slovak Philharmonic Orchestra
A big crescendo leads to a final statement of the closing theme - Jeremy Siepmann&Slovak Philharmonic Orchestra
The development section begins with a conversation between cellos, double-bases, and violins. - Jeremy Siepmann&Slovak Philharmonic Orchestra
The beginning of the closing theme is taken up in turn by the horn, piccolo, and trumpet. - Jeremy Siepmann&Slovak Philharmonic Orchestra
Sequential chirping from the oboes based on the 'answering' part of the main theme, now in thE Major - Jeremy Siepmann&Slovak Philharmonic Orchestra
Much of the development comes from a diminution of the closing theme from the exposition. - Jeremy Siepmann&Slovak Philharmonic Orchestra
A tiny detail becomes A Major ingredient, giving an agitated quality to an originally sunny tune. - Jeremy Siepmann&Slovak Philharmonic Orchestra
Through a sequence of keys so quickly that it is hard to keep track of them - Jeremy Siepmann&Slovak Philharmonic Orchestra
The main theme from massed cellos and double-basses, topped by two trumpets over tremolo violas - Jeremy Siepmann&Slovak Philharmonic Orchestra
After that major climax, we arrive at the threshold of the recapitulation - Jeremy Siepmann&Slovak Philharmonic Orchestra
Dvorak flouts tradition by setting the secondary theme and the closing theme in unexpected keys. - Jeremy Siepmann&Slovak Philharmonic Orchestra
The tumultuous convulsion of the coda brings the first movement to its epic close. - Jeremy Siepmann&Slovak Philharmonic Orchestra
Humpty Dumpty: putting the bits back together again - Jeremy Siepmann&Slovak Philharmonic Orchestra
First movement (complete) - Jeremy Siepmann&Slovak Philharmonic Orchestra
The very opening chords unmistakably herald the arrival of something special. - Jeremy Siepmann&Slovak Philharmonic Orchestra
The role of instrumentation in setting the scene... - Jeremy Siepmann&Slovak Philharmonic Orchestra
...and in enhancing the quality of one of the most famous tunes in symphonic history. - Jeremy Siepmann&Slovak Philharmonic Orchestra
The cor anglais is joined by the clarinet, creating a fascinating change in the timbre. - Jeremy Siepmann&Slovak Philharmonic Orchestra
For the closing part of the tune, there is another new sonority: cor anglais plus bassoon. - Jeremy Siepmann&Slovak Philharmonic Orchestra
The closing bar is repeated by clarinets and bassoons, the horn adding a new touch - Jeremy Siepmann&Slovak Philharmonic Orchestra
Back to the start to hear the whole of the story so far, this time without commentary - Jeremy Siepmann&Slovak Philharmonic Orchestra
A change of scoring: the slow opening chords return, this time played by the winds alone. - Jeremy Siepmann&Slovak Philharmonic Orchestra
The changes in scoring are just beginning. - Jeremy Siepmann&Slovak Philharmonic Orchestra
The flutes and oboes introduce a new tune, over hushed tremolo strings. - Jeremy Siepmann&Slovak Philharmonic Orchestra
A memorable combination of continuous, asymmetrical melody with steady, march-like counterpoint. - Jeremy Siepmann&Slovak Philharmonic Orchestra
Back in that woodland glade, the light and shadows have changed, revealing new shapes and patterns. - Jeremy Siepmann&Slovak Philharmonic Orchestra
The next section is new and forward-looking, yet also a kind of dream-recollection of a past scene. - Jeremy Siepmann&Slovak Philharmonic Orchestra
An abrupt change of mood, much discussion and embellishment, and a hushed note of expectancy - Jeremy Siepmann&Slovak Philharmonic Orchestra
Subjectivity and expertise; Sourek and Tovey disagree; onwards, into the final section - Jeremy Siepmann&Slovak Philharmonic Orchestra
Cue to whole movement - Jeremy Siepmann&Slovak Philharmonic Orchestra
Second movement (complete) - Jeremy Siepmann&Slovak Philharmonic Orchestra
Dvorak, Beethoven, and the Scherzo. Dvorak purposely confuses the listener's expectations. - Jeremy Siepmann&Slovak Philharmonic Orchestra
Using a little fanfare, Dvorak further builds up expectation before revealing the main theme. - Jeremy Siepmann&Slovak Philharmonic Orchestra
When the theme is revealed, we find that it is not exactly a tune. - Jeremy Siepmann&Slovak Philharmonic Orchestra
Two little bursts of rhythm provide the seeds from which much of the movement grows. - Jeremy Siepmann&Slovak Philharmonic Orchestra
It is the second half of the theme that dominates. - Jeremy Siepmann&Slovak Philharmonic Orchestra
Back to the beginning to hear the whole of this opening section - Jeremy Siepmann&Slovak Philharmonic Orchestra
Without ever being remotely 'academic' or 'intellectual', there is much counterpoint going on here. - Jeremy Siepmann&Slovak Philharmonic Orchestra
Dvorak's very Czech love of combining conflicting rhythms, sometimes metres - Jeremy Siepmann&Slovak Philharmonic Orchestra

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