The final variation, part four: ...as do the viola and cello.-Jeremy Siepmann
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The final variation, part four: ...as do the viola and cello.-Jeremy Siepmann歌曲下载
| 歌曲 | 歌手 | 专辑 | 时长 | 歌曲下载 |
|---|---|---|---|---|
| The final variation, part four: ...as do the viola and cello. | Jeremy Siepmann | Classics Explained: SCHUBERT - Piano Quintet in A Major, 'Trout' (Siepmann) | 00:17 |
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The final variation, part four: ...as do the viola and cello.-Jeremy Siepmann热门评论
The final variation, part four: ...as do the viola and cello.-Jeremy Siepmann 同专辑其他歌曲
- Introduction, origins-Jeremy Siepmann
- Imagery, analogy and the shape of the things to come; the opening flourish-Jeremy Siepmann
- The unusual presence of the double-bass-Jeremy Siepmann
- A palette of tone colours and the emergence of a theme-Jeremy Siepmann
- Trouble getting off the ground, but the key is not in doubt.-Jeremy Siepmann
- Jumping the queue: Schubert takes a lesson from Mozart.-Jeremy Siepmann
- Mozart demonstrates a traditional transition.-Jeremy Siepmann
- Destination clarified-Jeremy Siepmann
- Mozart confirms our arrival.-Jeremy Siepmann
- A Schubertian shocker from a later work-Jeremy Siepmann
- Rejoining the 'Trout', with a reminder-Jeremy Siepmann
- The piano joins the strings with yet a third variant of the theme.-Jeremy Siepmann
- A rhythmic motto: the 'triplet motif'-Jeremy Siepmann
- We get it here.-Jeremy Siepmann
- We get it there.-Jeremy Siepmann
- We find it everywhere, even in the double-bass.-Jeremy Siepmann
- The strings' answer to the piano's opening flourish-Jeremy Siepmann
- The two-part structure of the 'answering motif'...-Jeremy Siepmann
- ...but scarcely ever the same way twice-Jeremy Siepmann
- The piano and strings now share the material for the first time.-Jeremy Siepmann
- Conversation as the first principle of chamber music-Jeremy Siepmann
- Opening (introductory) section heard complete-Jeremy Siepmann
- The violin and double-bass in partnership-Jeremy Siepmann
- The violin and piano swap roles.-Jeremy Siepmann
- Transition to second main theme; triplets now everywhere-Jeremy Siepmann
- On the threshold of the new theme-Jeremy Siepmann
- Second main theme (a 'love duet'), shared by cello and viola-Jeremy Siepmann
- The abandonment of octaves in the piano changes the tone colour.-Jeremy Siepmann
- A surprising change of tone and a premonition-Jeremy Siepmann
- A return to lyricism, but the cello jumps the gun-Jeremy Siepmann
