| Disc: 1 |
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| An Introduction to...VIVALDI: The Four Seasons | |
| 1 |
Introduction: Opening, upward-pointing figure |
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| 2 |
Answering, downward figure completes the phrase |
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| 3 |
Beginning of dialogue |
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| 4 |
The nature of musical conversation; repetition; ' |
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| 5 |
Upward pointing to one ' target ' note |
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| 6 |
' Answer ' points to two, downward notes |
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| 7 |
Same idea repeated 3 times |
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| 8 |
The first Solo section: birdsong from three solois |
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| 9 |
Repeat of ' two-pronged ' theme in orchestra |
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| 10 |
Orchestra depicts murmuring stream, but still ther |
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| 11 |
Further illustrative ' water studies ' |
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| 12 |
Orchestra erupts into thunderstorm |
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| 13 |
Orchestral thunder, virtuosic ' lightning ' from s |
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| 14 |
Soloistic ' birds ' return to the air |
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| 15 |
Variant of opening theme, with ' argument ' betwee |
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| 16 |
Cue to First Movement |
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| 17 |
First Movement (Complete) |
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| 18 |
Scene setting and Main Theme of Second Movement |
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| 19 |
Analytical comment and Main Theme again |
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| 20 |
Main Theme varied |
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| 21 |
Further variation, tracing slow, descending scale- |
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| 22 |
Analytical discussion of ' pace ' and ' tempo ' ; |
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| 23 |
Vivaldi springs a surprise, reversing direction an |
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| 24 |
Analytical cue to Second Movement |
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| 25 |
Second Movement (Complete) |
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| 26 |
Undercover ' bagpipes ' initiate the finale |
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| 27 |
Second part of Main Theme: new notes, same rhythm |
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| 28 |
An ' echo ' with a difference |
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| 29 |
Reminder of ' echoed ' phrase in its original form |
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| 30 |
Surprise variant provides springboard into new des |
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| 31 |
Unexpected, ' flowing ' entrance of soloist |
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| 32 |
The use of ' sequence ' in first extended solo |
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| 33 |
Vivaldi prepares expectation... |
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| 34 |
... and frustrates it by bringing in a new theme, |
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| 35 |
Violins accompanied by flowing ' commentary ' in l |
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| 36 |
Soloist returns with new variant |
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| 37 |
Pace slows as violins trace another four-note scal |
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| 38 |
The peasants return with the main theme, which tur |
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| 39 |
Intensification as harmonies change under broad, d |
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| 40 |
Mini-earthquake transformed into harmonic landslid |
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| 41 |
Critical mood-change in soloist's lonely soliloquy |
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| 42 |
Cue to restoration of main theme in its entirety a |
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| 43 |
Third Movement (complete) |
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| 44 |
Scene setting and opening of First Movement |
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| 45 |
Expanded groups of answering phrase |
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| 46 |
Upper and lower strings alternately succumb to let |
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| 47 |
As in ' Spring ', soloist enters with birdsong |
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| 48 |
Orchestra hijacks soloist's material |
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| 49 |
Soloist returns,first as turtle-dove, then as gold |
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| 50 |
Gentle breezes give away to North Wing |
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| 51 |
The storm subsides; soloist enters as weeping peas |
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| 52 |
Movement ends as storm returns |
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| 53 |
First Movement (complete) |
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| 54 |
Second movement opens with extremecontrasts |
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| 55 |
Second Movement (complete) |
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| 56 |
Stormy Weather; thunder |
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| 57 |
Lightning from upper strings |
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| 58 |
More lightning: ' heat ' lightning from violins, ' |
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| 59 |
Torrential rain, depicted by entire orchestra |
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| 60 |
Deferred entry of solo violin, in virtuoso vein |
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| 61 |
Peasant's failing resolve as violin spirals down |
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| 62 |
Nature triumphant; soloist draws on orchestra's 'r |
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| 63 |
The peasant's capitulation |
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| 64 |
Third Movement (complete) |
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| Disc: 2 |
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| An Introduction to...VIVALDI: The Four Seasons | |
| 1 |
Repetitiousness and folk music; the movement's ope |
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| 2 |
Secondary theme, a closely related development of |
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| 3 |
Solo entry restates the opening theme, ' double-st |
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Unexpectedly, a new theme where a repeat might be |
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| 5 |
The soloist as ' drunkard ' |
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| 6 |
Further violinistic slips and slides |
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| 7 |
Orchestra re-enters with main theme, but is interr |
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| 8 |
Other drunks join in ' dialogue ' with the orchest |
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| 9 |
The orchestral peasants continue their dancing, bu |
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| 10 |
Enter another drunk, courtesy of the virtuoso solo |
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| 11 |
The dance breaks up |
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| 12 |
The drunkard interrupts again, then falls asleep, |
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| 13 |
Conversation amongst the sober peasants leads to t |
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| 14 |
First Movement (complete) |
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| 15 |
Scene-setting for Second Movement |
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| 16 |
Second Movement (complete) |
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| 17 |
Similarities between the Third Movement and the Fi |
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| 18 |
Expectation and surprise: Vivaldi tacks on one bar |
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| 19 |
A case of predictable unpredictablity: novelty and |
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| 20 |
Soloist's double-stopping depicts hunting horns |
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| 21 |
Orchestra yields to unexpected display of virtuosi |
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| 22 |
Soloist suddenly takes the part of the fleeing bea |
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| 23 |
Symmetrical paralels with First Movement: ' beast |
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| 24 |
Death of the quarry, end of the movement |
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| 25 |
Third Movement (complete) |
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| 26 |
Orchestral strings enter, part by part; soloist de |
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| 27 |
Wind subsides and returns, tormenting the trudgers |
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| 28 |
Soloist depicts snow flurries |
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| 29 |
Soloist's flurries interrupted by six blasts of or |
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| 30 |
Teeth chattering, and with stamping feet, the trav |
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| 31 |
Cue to First Movement as a whole |
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| 32 |
First Movement (complete) |
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| 33 |
Soloist's ' aria ' accompanied by pizzicato ' rain |
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| 34 |
A sequence of simple scales, accompanied by openin |
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| 35 |
Two scalewise ideas for the price of one: foregrou |
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| 36 |
New, rising scale-pattern unfurled with ever-great |
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| 37 |
The pace increases eight-fold in concluding downwa |
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| 38 |
Against an unvarying tempo, the pace is repeatedly |
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| 39 |
Foreground / Background |
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| 40 |
Detailed discussion of foreground / background per |
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| 41 |
Second Movement (complete) |
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| 42 |
Scene-setting; soloist begins for the first time |
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| 43 |
Soloist rises progressively, in sequence, decorati |
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| 44 |
First orchestral section; ace is halved; the under |
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| 45 |
The walkers lose their balance and stylishly fall |
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| 46 |
Soloist returns as the original solitary walker an |
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| 47 |
One tempo, two rates of speed: fast for the solois |
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| 48 |
Orchestra evokes the warm winds of the Sirocco |
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| 49 |
Answering blast from the Borea, the could wind of |
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| 50 |
Cue to final movement |
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| 51 |
Third Movement (complete) |
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