The makings of a conversation: contrast and variation-Jeremy Siepmann

The makings of a conversation: contrast and variation-Jeremy Siepmann 同专辑其他歌曲

• On Beethoven's Openings-Jeremy Siepmann
• Opening phrase of the 'Pastoral': ood, Symbolism and Musical Function-Jeremy Siepmann
• Musical Acorns: the outline of melody; the shape of a question-Jeremy Siepmann
• The 'question' in the 'Pastoral' repeated...-Jeremy Siepmann
• ...and answered-Jeremy Siepmann
• The opening phrase ends on a note full of pregnant expectation-Jeremy Siepmann
• Starting with a stop-Jeremy Siepmann
• The rhythmic profile of the opening phrase; a two-part construction-Jeremy Siepmann
• Phrase One, Part One-Jeremy Siepmann
• Phrase One, Part Two-Jeremy Siepmann
• The properties of rhythmic ambiguity; the 'question' of Phrase One answered-Jeremy Siepmann
• Phrase Two: from meander to march-Jeremy Siepmann
• Repetition as A Major factor, but it's never mere repetition; each time something new is added-Jeremy Siepmann
• From soft to loud and back again; instrumental enrichment from horns and double-basses-Jeremy Siepmann
• Mega-repetition: violins play exactly the same little fragment ten times in a row-Jeremy Siepmann
• But no two repetitions are quite the same; varieties of contrast-Jeremy Siepmann
• More variation: pitch rises; violins joined frist by the clarinet, then by the oboe-Jeremy Siepmann
• Return to opening idea, but with new instrumentation and articulation-Jeremy Siepmann
• Clarinets, horns, bassoons and flutes now join expansive variation-Jeremy Siepmann
• 'New' insistent rhythm derived from the first four notes of the piece-Jeremy Siepmann
• With the dawn chorus, a whole forest is waking up; feelings of rapture-Jeremy Siepmann
• First violins play a derivative of the opening figure, joined by wind and strings-Jeremy Siepmann
• Sudden change of key, from the home key (tonic) to the dominant-Jeremy Siepmann
• Arrival at the hightly contrasting second main theme-Jeremy Siepmann
• Unusual properties of second main theme-Jeremy Siepmann
• Rhythmic clash between simultaneous groups of three beats and groups of two-Jeremy Siepmann
• winds fall selent as the violins and violas interrupt with a new theme-Jeremy Siepmann
• Winds answer with the same morse-like rhythm but at half the speed-Jeremy Siepmann
• Crescendo leads to strings' acceleration of the pace with no increase in tempo-Jeremy Siepmann
• Beginning of coda, directly based on morse-like rhythm of the main theme-Jeremy Siepmann