A retrospective moment-Jeremy Siepmann

A retrospective moment-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