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| First Movement: Awakening of Cheerful Feelings on | |
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On Beethoven's Openings |
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Opening phrase of the 'Pastoral': ood, Symbolism a |
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Musical Acorns: the outline of melody; the shape o |
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The 'question' in the 'Pastoral' repeated... |
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...and answered |
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The opening phrase ends on a note full of pregnant |
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Starting with a stop |
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The rhythmic profile of the opening phrase; a two- |
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Phrase One, Part One |
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Phrase One, Part Two |
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The properties of rhythmic ambiguity; the 'questio |
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Phrase Two: from meander to march |
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The makings of a conversation: contrast and variat |
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Repetition as a major factor, but it's never mere |
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From soft to loud and back again; instrumental enr |
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Mega-repetition: violins play exactly the same lit |
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But no two repetitions are quite the same; varieti |
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More variation: pitch rises; violins joined frist |
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Return to opening idea, but with new instrumentati |
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Clarinets, horns, bassoons and flutes now join exp |
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'New' insistent rhythm derived from the first four |
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With the dawn chorus, a whole forest is waking up; |
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First violins play a derivative of the opening fig |
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Sudden change of key, from the home key (tonic) to |
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Arrival at the hightly contrasting second main the |
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Unusual properties of second main theme |
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Rhythmic clash between simultaneous groups of thre |
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winds fall selent as the violins and violas interr |
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Winds answer with the same morse-like rhythm but a |
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Crescendo leads to strings' acceleration of the pa |
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Beginning of coda, directly based on morse-like rh |
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Strings reiterate small fragment of the new theme |
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A simple, rising violin phrase leads to a repeat o |
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The nature and function of the Development section |
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The nature of harmonic rhythm illustrated |
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A typically Beethovenian exercise in the frustrati |
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Repetitiousness and magic effected largely through |
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Then come four, almost identical bars |
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Even greater magic, with sudden switch of key and |
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Entire Development section up to this point |
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The Development continued |
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Increased unease and suspense as harmonic rhythm a |
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Arrival at the point of Recapitulation; back to th |
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Beginning of Recapitulation |
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More Beethovenian frustrations of expectations whi |
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Harmonic rhythm speeds up, giving the impression o |
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Prevailing mood restored; new theme from clarinets |
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Violins and violas take up theme; horns, cellos, d |
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A hush falls, followed by a return of the movement |
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Clarinet takes up the running triplet figures of t |
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First violins take up the opening phrase again, ac |
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Beethoven slips in one last surprise; cue to compl |
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| 53 |
First movement (complete) |
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General introduction; the birth of a melody |
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Brook music quickens; syncopated horns; theme chan |
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The 'motto' theme introduced by violins and treate |
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Transitional 'bridge' theme sets off for new key g |
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Will he, or won't he? Beethoven keeps us guessing |
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The run-up to the Second Group |
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Arrival at the Second Group; but where is the actu |
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A new tune is introduced by the bassoon |
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Tune is repeated three times |
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...which the full orchestra now takes up in varied |
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Theme carried by flutes and first violins in a cha |
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A reminder of precedent |
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Back to the prevailing triple-metre with violins, |
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Another reminder of precedent... |
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...and a cue to some unexpected departures |
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The transformational magic of Beethoven's 'tone-pa |
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Conversation of clarinet, flute and oboe on the wa |
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Harmonic movement emphasised by violins; oboe take |
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Flute and oboe discuss the First Subject, before a |
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Gains in volume and intensity lead to a new key-ch |
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More thematic transformation through the agency of |
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Harmonic fluideity - instability - as the central |
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Harmonic instability, thematic dissolution increas |
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Recap. and transformation: key and material are ri |
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Just when we know what's coming, Beethoven changes |
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Transformation by reorchestration; switch to long |
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The silence is broken by voices of nightingale (fl |
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First violins bring back motto theme |
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| 82 |
Cue to complete movement on CD 2 |
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| Disc: 2 |
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| Second Movement, Scene by the Brook | |
| 1 |
Second movement (complete) |
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| Thrid Movement, Merry Gathering of Country Folk | |
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Beethoven and the Scherzo: an introduction; Part O |
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Immediate response; Part One is answered by a marc |
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Entire orchestra gives out opening theme, this tim |
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A mustical ball game. The contrast of this and the |
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After quietly teasing suspense, Beethoven mocks vi |
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Clarinet joins in, then horn takes the tune - the |
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Strings sweep the village musicians aside and hurt |
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The air is alive with the sound of (mock) bagpipes |
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Coda; begins as the movement itself begins, but so |
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Original layout compressed; order of events is cha |
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Third movement (complete) |
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| Fourth Movement, Thunderstorm | |
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Unparalled portrait of nature's power over humanit |
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Self-generating form and terror of total unpredict |
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The 'lashing rain' motif - downward-driving arpegg |
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The 'lightning' motif, and its recurrnece later in |
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'Rain' motif, derived from descending scale patter |
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Shivering tremolandos from the strings and increas |
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Steady crescendo in strings; terrifying, downward |
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Extremes of dynamic contrasts; the unsettling, dis |
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Abandonment of melody, and most traces even of rhy |
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Storm dispersed, the sun reappears, bathing sodden |
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Cue to complete preformance of Fourth Movement |
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| 24 |
Fourth movement (complete) |
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| Fifth Movement, Shepherd's Song - Happy and Thankf | |
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'Yodelling' figure from clarinet, then horn, the v |
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Details of instrumental magic in the interplay of |
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Main theme heard three times in a row - and yet ne |
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Now we get the whole orchestra, playing full out, |
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Transition to the next section, based on the last |
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The rhythmic basis of new transition theme, first |
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Another rhythmic details of extended transition co |
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...and is then heard in expanded version, taken in |
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New phrase, introduced by violins, brings us resou |
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Main theme, re-orchestrated; unexpected drift into |
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Hints of a return to main theme; long 'pedal point |
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| 36 |
Main theme returns, but significantly altered, and |
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Running commentary now heard in the middle, with a |
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| 38 |
Part Three of main theme given to entire orchestra |
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| 39 |
Extended coda; overlapping variations of main them |
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Suddenly the scene changes. A variation of the 'ru |
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The crowning glory, as the Shepherd's Song of Than |
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Cue into complete performance of Fifth Movement th |
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| 43 |
Fourth and Fifth movements (complete) |
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