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BEETHOVEN Pastoral *d*

Add To Wish List + £12.99 - Item is discontinued.

Item number 8558034-35
Barcode 636943803424
Release date 01/04/2002
Media type CD
Number of units 2
Disc: 1
First Movement: Awakening of Cheerful Feelings on
1 On Beethoven's Openings
2 Opening phrase of the 'Pastoral': ood, Symbolism a
3 Musical Acorns: the outline of melody; the shape o
4 The 'question' in the 'Pastoral' repeated...
5 ...and answered
6 The opening phrase ends on a note full of pregnant
7 Starting with a stop
8 The rhythmic profile of the opening phrase; a two-
9 Phrase One, Part One
10 Phrase One, Part Two
11 The properties of rhythmic ambiguity; the 'questio
12 Phrase Two: from meander to march
13 The makings of a conversation: contrast and variat
14 Repetition as a major factor, but it's never mere
15 From soft to loud and back again; instrumental enr
16 Mega-repetition: violins play exactly the same lit
17 But no two repetitions are quite the same; varieti
18 More variation: pitch rises; violins joined frist
19 Return to opening idea, but with new instrumentati
20 Clarinets, horns, bassoons and flutes now join exp
21 'New' insistent rhythm derived from the first four
22 With the dawn chorus, a whole forest is waking up;
23 First violins play a derivative of the opening fig
24 Sudden change of key, from the home key (tonic) to
25 Arrival at the hightly contrasting second main the
26 Unusual properties of second main theme
27 Rhythmic clash between simultaneous groups of thre
28 winds fall selent as the violins and violas interr
29 Winds answer with the same morse-like rhythm but a
30 Crescendo leads to strings' acceleration of the pa
31 Beginning of coda, directly based on morse-like rh
32 Strings reiterate small fragment of the new theme
33 A simple, rising violin phrase leads to a repeat o
34 The nature and function of the Development section
35 The nature of harmonic rhythm illustrated
36 A typically Beethovenian exercise in the frustrati
37 Repetitiousness and magic effected largely through
38 Then come four, almost identical bars
39 Even greater magic, with sudden switch of key and
40 Entire Development section up to this point
41 The Development continued
42 Increased unease and suspense as harmonic rhythm a
43 Arrival at the point of Recapitulation; back to th
44 Beginning of Recapitulation
45 More Beethovenian frustrations of expectations whi
46 Harmonic rhythm speeds up, giving the impression o
47 Prevailing mood restored; new theme from clarinets
48 Violins and violas take up theme; horns, cellos, d
49 A hush falls, followed by a return of the movement
50 Clarinet takes up the running triplet figures of t
51 First violins take up the opening phrase again, ac
52 Beethoven slips in one last surprise; cue to compl
53 First movement (complete)
54 General introduction; the birth of a melody
55 Brook music quickens; syncopated horns; theme chan
56 The 'motto' theme introduced by violins and treate
57 Transitional 'bridge' theme sets off for new key g
58 Will he, or won't he? Beethoven keeps us guessing
59 The run-up to the Second Group
60 Arrival at the Second Group; but where is the actu
61 A new tune is introduced by the bassoon
62 Tune is repeated three times
63 ...which the full orchestra now takes up in varied
64 Theme carried by flutes and first violins in a cha
65 A reminder of precedent
66 Back to the prevailing triple-metre with violins,
67 Another reminder of precedent...
68 ...and a cue to some unexpected departures
69 The transformational magic of Beethoven's 'tone-pa
70 Conversation of clarinet, flute and oboe on the wa
71 Harmonic movement emphasised by violins; oboe take
72 Flute and oboe discuss the First Subject, before a
73 Gains in volume and intensity lead to a new key-ch
74 More thematic transformation through the agency of
75 Harmonic fluideity - instability - as the central
76 Harmonic instability, thematic dissolution increas
77 Recap. and transformation: key and material are ri
78 Just when we know what's coming, Beethoven changes
79 Transformation by reorchestration; switch to long
80 The silence is broken by voices of nightingale (fl
81 First violins bring back motto theme
82 Cue to complete movement on CD 2
Disc: 2
Fifth Movement, Shepherd's Song - Happy and Thankf
1 Second movement (complete)
2 Beethoven and the Scherzo: an introduction; Part O
3 Immediate response; Part One is answered by a marc
4 Entire orchestra gives out opening theme, this tim
5 A mustical ball game. The contrast of this and the
6 After quietly teasing suspense, Beethoven mocks vi
7 Clarinet joins in, then horn takes the tune - the
8 Strings sweep the village musicians aside and hurt
9 The air is alive with the sound of (mock) bagpipes
10 Coda; begins as the movement itself begins, but so
11 Original layout compressed; order of events is cha
12 Third movement (complete)
13 Unparalled portrait of nature's power over humanit
14 Self-generating form and terror of total unpredict
15 The 'lashing rain' motif - downward-driving arpegg
16 The 'lightning' motif, and its recurrnece later in
17 'Rain' motif, derived from descending scale patter
18 Shivering tremolandos from the strings and increas
19 Steady crescendo in strings; terrifying, downward
20 Extremes of dynamic contrasts; the unsettling, dis
21 Abandonment of melody, and most traces even of rhy
22 Storm dispersed, the sun reappears, bathing sodden
23 Cue to complete preformance of Fourth Movement
24 Fourth movement (complete)
25 'Yodelling' figure from clarinet, then horn, the v
26 Details of instrumental magic in the interplay of
27 Main theme heard three times in a row - and yet ne
28 Now we get the whole orchestra, playing full out,
29 Transition to the next section, based on the last
30 The rhythmic basis of new transition theme, first
31 Another rhythmic details of extended transition co
32 ...and is then heard in expanded version, taken in
33 New phrase, introduced by violins, brings us resou
34 Main theme, re-orchestrated; unexpected drift into
35 Hints of a return to main theme; long 'pedal point
36 Main theme returns, but significantly altered, and
37 Running commentary now heard in the middle, with a
38 Part Three of main theme given to entire orchestra
39 Extended coda; overlapping variations of main them
40 Suddenly the scene changes. A variation of the 'ru
41 The crowning glory, as the Shepherd's Song of Than
42 Cue into complete performance of Fifth Movement th
43 Fourth and Fifth movements (complete)
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