Jeremy Siepmann - The Instruments of the Orchestra - Naxos: 8558040-46 - download

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Catalogue No: 8558040-46
Label: Naxos
Series: Educational
Length: 7 hours 58 minutes

Jeremy Siepmann: Instruments of the Orchestra

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Jeremy Siepmann

Wagner: Tannhauser: Overture

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Anonymous: Domna, pos vos ay chausida

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We don't merely use instruments, we play on them. And they play on us.

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Brahms: Hungarian Dance No. 7

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The violin Is one of the most tender and beautiful instruments ever invented.

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Brahms: Violin Concerto in D Major: II. Adagio

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But for a long time It was seen as the instrument of the devil.

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Stravinsky: The Soldier's Tale: Triumphal March of the Devil

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The manipulative seductiveness of the gypsy violin

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Anonymous: Csardas Music

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The violin and the imitation of nature

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Vivaldi: The Four Seasons: Spring: I. Allegro

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Birds Are again evoked in the second concerto, especially music's natural favourite.

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Vivaldi: The Four Seasons: Summer: I. Allegro non molto

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Like the devil, the violin Is a master of disguise.

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Kreisler: Schon Rosmarin

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The menacing sensuality of Ravel's Tzigane; a very different side of the violin:

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Ravel: Tzigane

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Do we now have the true measure of This instrument? Not just yet.

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Paganini: Caprice No. 24

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Bach: Brandenburg Concerto No. 4: III. Presto / Schubert: Quartettsatz in C Minor

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Britten: Variations on a Theme of Frank Bridge: VIII. Moto Perpetuo

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Prokofiev's tremolo in Romeo and Juliet should not be heard just before bedtime

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Jeremy Siepmann: Instruments of the Orchestra, Prokofiev: Romeo and Juliet: Act IV

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Jeremy Siepmann

Jeremy Siepmann: Instruments of the Orchestra

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Jeremy Siepmann

Vivaldi uses It to illustrate the shivering of travellers crossing the ice.

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Vivaldi: The Four Seasons: Winter: I. Allegro non molto

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The violin muted

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Debussy: Clair de lune

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The gentleness of muted strings persists even when a whole orchestra plays.

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Mozart: Piano Concerto No. 21 in C Major, K. 467: II. Andante

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The pizzicato violin

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Strauss: Pizzicato Polka

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In Prokofiev's Second Violin Concerto, the accompaniment Is pizzicato.

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Prokofiev: Violin Concerto No. 2 in G Minor: II. Andante assai

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Jeremy Siepmann: Instruments of the Orchestra, Kabalevsky: Colas Breugnon / Warlock: Capriol Suite: III. Tordion / Prokofiev: Romeo and Juliet: Act I

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Jeremy Siepmann

Jeremy Siepmann: Instruments of the Orchestra

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Jeremy Siepmann

Holst: The Planets: I. Mars: The Bringer of War

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Bach: Sonata No. 3 in C Major for unaccompanied violin: II. Fugue

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Brahms: Hungarian Dance No. 4

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Double-stopping Is a standard feature of a lot of folk music.

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Vivaldi: The Four Seasons: Autumn: I. Allegro

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Now the same technique, but the sound might have come from another world.

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Ravel: Bolero

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Double-stopping can only approximate the sound of a real violin duet.

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Joachim: Cadenza to the Violin Concerto by Brahms

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Now compare That with a real violin duet.

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Bartok: 44 Duos: I. Teasing Song

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Another duo by Bartok, demonstrating the violin's rich lower register

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Bartok: 44 Duos: II. Maypole Dance

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And now what may be the most beautiful accompanied violin duet in history

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Bach: Concerto in D Minor for two violins: II. Largo ma non tanto

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The soul of the violin Is in song; but what about This weird passage?

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Prokofiev: Violin Concerto No. 1 in D Major: II. Scherzo

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The use of harmonics in the orchestra can be both magical and unsettling.

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Mahler: Symphony No. 1, "Titan": I. Langsam, schleppend (opening)

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Tchaikovsky's use of harmonics in the Sleeping Beauty Is both strange and daring.

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Jeremy Siepmann: Instruments of the Orchestra, Tchaikovsky: The Sleeping Beauty: Act II, No. 15: Entr'acte

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Jeremy Siepmann

Jeremy Siepmann: Instruments of the Orchestra

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Jeremy Siepmann

Ravel's harmonics in Mother Goose effect a magical transformation.

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Ravel: Ma Mere l'oye (Mother Goose): IV. Beauty and the Beast

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Stravinsky: The Firebird: Introduction

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The natural upper notes of the violins have a unique emotional "grab"

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Strauss: Also sprach Zarathustra: Of the Afterworldsmen

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Still in their upper register, the violins unleash the energy of a young colt.

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Britten: Variations on a Theme of Frank Bridge: V. Aria Italiana

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Elsewhere, Britten uses the same high register to create a very different mood.

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Britten: Peter Grimes: 4 Sea Interludes, Op. 33a: I. Dawn

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To end This outing with the violins, a charming little elfin dance

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Hellmesberger: Elfenreigen

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Introduction to the viola

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Telemann: Viola Concerto: I. Largo

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Khachaturian gets a very different sound from It: Fuller, fruitier, more exotic.

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Khachaturian: Gayane Suite No. 1: III. Armen's Solo

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Very nearly the whole of the violin's upper register Is also available to the viola.

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Britten: Peter Grimes: Passacaglia, Op. 33b

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Strauss: Don Quixote

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Berlioz: Harold in Italy: IV. Orgy of Brigands

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The muted viola: Intimate, gentle, poignant in Dvorak

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Dvorak: Cypresses: IX. Thou Only Dear One

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The massed violas of the modern symphony orchestra in Mahler

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Mahler: Symphony No. 4: III. Ruhevoll, poco adagio

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The "period" viola in Bach

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Bach: Brandenburg Concerto No. 6: III. Allegro

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The cello: A voice of unique nobility

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Bach: Suite No. 1 for unaccompanied cello: I. Prelude

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Brahms and the "soul" of the cello

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Brahms: Piano Concerto No. 2 in B-Flat Major: III. Andante

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Most orchestral composers tend to emphasise the cello's lower register.

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Bach: Herz und Mund und Tat und Leben, BWV 147: Aria. Bereite dir, Jesu

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In the time of Beethoven the cello remained as fundamental as ever.

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Beethoven: Symphony No. 3 "Eroica": IV. Finale

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But the cello Is not condemned to spend its life in the basement.

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Popper: Elfentanz, Op. 39

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Not only in recital showpieces like That Is the cello used in its highest register.

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Tavener: The Protecting Veil: Opening

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A cello with an identity-crisis: The pizzicato Flamencan

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Tagell: Flamenco

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Double-stopping in the lower reaches of the cello's range

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Cassado: Solo Suite for Cello and Piano: Sardana

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It's in its middle register That the cello really comes into its own.

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Rachmaninov: Oriental Dance, Op. 2, No. 2

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Beethoven: Symphony No. 5: II. Andante con moto

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Beethoven: Symphony No. 9: IV. Finale

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Introduction to the double-bass

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Saint-Saens: The Carnival of the Animals: The Elephant

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But the double-bass can be intensely expressive and graceful.

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Bottesini: Elegy No. 1 in D Major

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Bottesini: Allegro di concerto, "Alla Mendelssohn"

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Bottesini: Capriccio di bravura

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Mahler: Symphony No. 1, "Titan": III. Feierlich und gemessen, ohne zu schleppen / Mahler: Symphony No. 3: I. Kraftig

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Jeremy Siepmann: Instruments of the Orchestra, Prokofiev: Lieutenant Kije Suite: III. Kije's Wedding / Prokofiev: Romeo and Juliet: Act III

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Jeremy Siepmann

Jeremy Siepmann: Instruments of the Orchestra

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Jeremy Siepmann

Beethoven: Symphony No. 5: III. Allegro

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The antiquity and magic of the flute

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Debussy: Prélude à l'après-midi d'un faune

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The versatility and agility of the flute

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Bach: Orchestral Suite No. 2 in B Minor: VII. Badinerie

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The flute in fifteenth-century Spain

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Anonymous: Sa'dawi

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Other flutes: The bass and alto

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Sallinen: Chamber Music II

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The Piccolo - Aptly named

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Rameau: La Naissance d'Osiris: VI. Premier et deuxieme tambourin

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From a piccolo of the eighteenth century to one of its descendants in the twentieth

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Stravinsky: Suite No. 2 for Small Orchestra: II. Valse

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A variety of techniques

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Sallinen: Chamber Music II

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Flutter-tonguing. But Tchaikovsky got there eighty years before.

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Jeremy Siepmann: Instruments of the Orchestra, Tchaikovsky: The Nutcracker: Act II, No. 2: Scene

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Jeremy Siepmann

Jeremy Siepmann: Instruments of the Orchestra

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From the transverse to the vertical: The Baroque recorder

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Telemann: Recorder Suite in A Minor: Menuet II

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An unfamiliar, early vision of the instrument

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Baston: Naelden, Naelden

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The Bachian oboe

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Bach: Ein feste Burg ist unser Gott, BWV 80: Duetto. Wie selig sind doch die

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Introduction to the cor anglais or 'English horn'

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Dvorak: Symphony No. 9, "from the New World": II. Largo

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The loneliness of the cor anglais

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Sibelius: The Swan of Tuonela

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The cor anglais joins the French horn in Haydn.

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Haydn: Symphony No. 22, "the Philosopher": I. Adagio

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Introduction to the oboe d'amore, beloved of Bach - But also of Ravel

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Ravel: Bolero

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Herrmann: The Egyptian: Violence / Janacek: Taras Bulba: The Death of Ostap

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Jeremy Siepmann: Instruments of the Orchestra, Stravinsky: Petrushka: Peasant with Bear / Berlioz: Symphonie fantastique: V. Songe d'une nuit / Prokofiev: Romeo and Juliet: Act II

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Jeremy Siepmann

Jeremy Siepmann: Instruments of the Orchestra

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Jeremy Siepmann

As the high clarinets tend to be loud, so the bass tends to be soft

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Khachaturian: Gayane Suite No. 1: V. Gayane's Solo

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Stravinsky: Petrushka: The Blackamoor / Albeniz: Iberia: Almeria

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The range of the normal clarinet parts goes quite high...

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Jeremy Siepmann: Instruments of the Orchestra, Tchaikovsky: The Snow Maiden: Scene 5: Melodrama

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Jeremy Siepmann

Jeremy Siepmann: Instruments of the Orchestra

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Jeremy Siepmann

....And quite low.

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Prokofiev: Peter and the Wolf: The Cat

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The clarinet as concerto soloist

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Mozart: Clarinet Concerto in A Major: III. Rondo

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But That's not the instrument Mozart wrote It for; This Is:

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Mozart: Clarinet Concerto in A Major: III. Rondo

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Introduction to the saxophone

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Kodaly: Háry János Suite: IV. The Battle and Defeat of Napoleon

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The soprano saxophone has quite a different feel to It

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Bizet: L'Arlesienne Suite No. 1: II. Minuet

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The little sopranino sax goes even higher

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Ravel: Bolero

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The most famous use of the saxophone Is in an orchestration by Ravel

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Mussorgsky: Pictures at an exhibition: The Old Castle

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The saxophone can be quite contagiously good-humoured.

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Wiedoeft: Sax-o-phun

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The puffa-puffa image of the bassoon

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Prokofiev: Peter and the Wolf: Grandfather

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The Bachian bassoon, in accompanimental mode

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Bach: Weichet nur, betrubte Schatten, BWV 202, "Wedding Cantata": Aria No. 1

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Bizet: Carmen Suite No. 1: V. Les Dragons d'Alcala

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And Ravel, also in Spanish mode, does likewise

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Ravel: Bolero

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The bassoon as a voice of high seriousness, indeed desolate loneliness

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Bax: Symphony No. 3: I. Lento moderato

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The eerie bassoon in its highest register

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Stravinsky: The Rite of Spring: Opening

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Stravinsky now draws on its lowest register, lonely and melancholy.

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Stravinsky: The Firebird Suite (1919): Berceuse

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The bassoon as concerto soloist, avoiding all exaggeration

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Molter: Bassoon Concerto in G Minor: III. —

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The deep-voiced contra-bassoon, as a fairy-tale beast

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Ravel: Ma Mere l'oye (Mother Goose): IV. Beauty and the Beast

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The French Horn under its woodwind hat

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Nielsen: Wind Quintet, Op. 43: III. Praeludium - Tema con variazioni

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Now a more prominent role, in a woodwind quintet from an earlier era

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Reicha: Wind Quintet in A Minor, Op. 100, No. 5: II. Andante con variazioni

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The horn in harmonious blend with strings in another quintet

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Mozart: Horn Quintet in E-Flat Major, K. 407: III. Rondeau

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The Trumpet as virtuoso soloist

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Bach: Brandenburg Concerto No. 2: III. Allegro assai

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The special brilliance of paired trumpets

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Vivaldi: Concerto in C for two trumpets, RV 537: I. Allegro

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The ceremonial trumpet

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Copland: Fanfare for the Common Man

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Trumpets and drums - An incomparable alliance

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Handel: Messiah: The Trumpet Shall Sound

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The versatility of the trumpet, from the most public to the most lonely

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Gershwin: Piano Concerto in F: II. Andante con moto - Adagio

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Gershwin: An American in Paris / Stravinsky: The Soldier's Tale: The March

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Bizet: Carmen Suite No. 2: II. Habanera

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The trumpet as the voice of strength and courage

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Bizet: Carmen Suite No. 2: IV. Toreador's Song

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Stravinsky: Petrushka: The Blackamoor / Prokofiev: Lieutenant Kije Suite: I. The Birth of Kije

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Copland: Billy the Kid

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The trumpet as character actor

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Mussorgsky: Pictures at an Exhibition: Samuel Goldenberg and Schmuyle

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The trumpet as the voice of God

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Bach: Mass in B minor: Et expecto

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The birth of the trombone

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Anonymous: Aenmerckt nu hier

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The birth of the brass as a family

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Gabrieli: Canzon a 12 in Double Echo

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The trombone in the eighteenth century

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Albrechtsberger: Trombone Concerto in B-Flat Major: III. Finale

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Hoser: Romance for trombone and organ / Berlioz: Requiem: Dies Irae

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Liszt: Hosannah, S. 677 / R. 409

Track length1:20

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$1.30

The trombones become part of the orchestra

Track length0:47

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Beethoven: Symphony No. 5: IV. Allegro

Track length2:46

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$1.30

Wagner: Tannhauser: Overture

Track length1:04

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The Trombone as caricaturist

Track length0:13

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Stravinsky: Pulcinella: No. 19: Vivo

Track length1:37

$1.00

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Bartok: Concerto for Orchestra: IV. Intermezzo interrotto

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The horn and the hunt

Track length0:40

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Mozart: Horn Concerto No. 4 in e flat, K. 495: III. Rondo

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The challenging horn of the Baroque

Track length0:42

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Rameau: Abaris ou les Boréades: II. Menuet

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The scarcity of first-rate players in Handel's time

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Handel: Water Music: Suite No. 1 in F Major, HWV 348: Menuet

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Stravinsky: The Firebird Suite (1919): Finale

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Horns and the sound of nobility

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Wagner: Tannhauser: Overture (opening)

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The special sound of the horn in its higher register

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Bach: Mass in B Minor: Quoniam tu solus sanctus

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The trumpet-like sound of massed horns

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Mahler: Symphony No. 3: I. Kraftig (opening)

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The tuba - Unfairly maligned?

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Prokofiev: Symphony No. 6: III. Vivace

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The tuba perfectly cast by Ravel

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Mussorgsky: Pictures at an Exhibition: Bydlo

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Introduction. And we begin with a bang.

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Copland: Fanfare for the Common Man / Beethoven: Wellington's Victory, Op. 91 (opening)

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At the opposite extreme Is the triangle.

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Liszt: Piano Concerto No. 1 in E-Flat Major: Scherzo

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Categories of percussion: Tuned and untuned. The side drum

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$1.30

Rossini: La gazza ladra (the Thieving Magpie): Overture [opening]

Track length0:52

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Nielsen: Clarinet Concerto (opening)

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The tambourine. One of the oldest instruments in the world

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Anonymous: Den hoboecken dans

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Even older Is the originally oriental gong.

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Ravel: Ma Mere l'oye (Mother Goose): Laideronette

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Britten: Peter Grimes: Passacaglia, Op. 33b

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Satie: Gymnopedie No. 2

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Elgar: The Sanguine fan / Cymbals clashed softly / Cymbals struck singly / Cymbals stroked with wire brushes

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Jeremy Siepmann: Instruments of the Orchestra, Ravel: Piano Concerto in G Major (opening) / Tchaikovsky: The Nutcracker: Act I Scene 5

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Jeremy Siepmann

Jeremy Siepmann: Instruments of the Orchestra

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Jeremy Siepmann

Wood blocks

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Copland: Rodeo: IV. Hoe-Down

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Glinka: Jota aragonesa

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Monteverdi: Scherzi musicali: Damigella tutta bella

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A still earlier example from fifteenth-century Spain

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Traditional: Yo m'enamori d'un aire

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The birth of the bongo

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Bernstein: West Side Story (Symphonic Dances)

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Jeremy Siepmann: Instruments of the Orchestra, Verdi: II Trovatore: Act II: Anvil Chorus

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Jeremy Siepmann

Jeremy Siepmann: Instruments of the Orchestra

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Jeremy Siepmann

Grofe: Grand Canyon Suite: III. On the Trail / Varese: Arcana

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Moncayo: Huapango

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Onwards to the tuned percussion. First, the timpani

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Strauss: Also sprach Zarathustra: Introduction

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Mahler: Symphony No. 2, "Resurrection'": III. In ruhig fliessender Bewegung

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Grofe: Grand Canyon Suite: I. Sunrise / Berlioz: Symphonie fantastique: V. Songe d'une nuit de Sabbat

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Taking advantage of tunability

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Bartok: Music for Strings, Percussion and Celesta: II. Allegro

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Shchedrin: Carmen Suite: IV. Changing of the Guard

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Shchedrin: Carmen Suite: V. Carmen's Entrance and Habanera

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Saint-Saens and the xylophone

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Saint-Saens: The Carnival of the Animals: Fossils

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Ravel and the xylophone

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Ravel: Ma Mere l'oye (Mother Goose): Laideronette

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Shchedrin: Carmen Suite: III. First Intermezzo

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Introducing the vibraphone

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Steiner: The Treasure of the Sierra Madre: Narange dolce

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Shchedrin: Carmen Suite: V. Carmen's Entrance and Habanera

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Introducing the Hungarian cimbalom

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Traditional: Folk Dances

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The cimbalom and the symphony orchestra

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Kodaly: Háry János Suite : III. Song

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Introducing the tubular bells

Track length0:17

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Kodaly: Háry János Suite: II. Viennese Musical Clock

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A more "up-front" approach from Rodion Shchedrin

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Shchedrin: Carmen Suite: I. Introduction

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Vaughan Williams: Symphony No. 7, "Sinfonia antartica": I. Prelude

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Introducing the celesta

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Tchaikovsky: The Nutcracker: Dance of the Sugar Plum Fairy

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Magic, in the use of collective percussion

Track length0:19

$1.00

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Ravels: Miroirs: V. La vallee des cloches

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Jeremy Siepmann: Instruments of the Orchestra, Shchedrin: Carmen Suite: VI. Scene

Work length1:25

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Jeremy Siepmann

Jeremy Siepmann: Instruments of the Orchestra, Tchaikovsky: The Nutcracker: Act II: Scene / Liszt: Hungarian Rhapsody No. 1

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Jeremy Siepmann

Jeremy Siepmann: Instruments of the Orchestra

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Jeremy Siepmann

The traditionally subservient role of the harpsichord in the Baroque orchestra

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$1.30

Bach: Brandenburg Concerto No. 2: II. Andante

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Saint-Saens: Symphony No. 3, "Organ": II. Allegro moderato

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Stravinsky: Petrushka: Russian Dance

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The anti-Romantic piano as an integral part of the orchestra

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Bartok: Music for Strings, Percussion and Celesta: IV. Allegro molto

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Keyboard instruments in the orchestra - The most powerful of them all:

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Saint-Saens: Symphony No. 3, "Organ": II. Presto

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But things in Handel's day were very different.

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Handel: Organ Concerto in B-Flat Major, Op. 4, No. 3: IV. Gavotte

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The organ Is difficult to classify.

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An unexpected, organ-related guest

Track length0:14

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Boismortier: Concerto pour Zampogna: III. Allegro

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Peasant-fancying… And a touch of the roaming cowboy

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Schoenberg: Les Miserables: Drink with Me

Track length1:02

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Mozart: German Dance, K. 603, No. 3

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Mahler: Symphony No. 4: I. Bedachtig, nicht eilen

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Mahler: Symphony No. 6, "Tragic": I. Heftig, aber markig

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Anderson: The Typewriter / Satie: Parade

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Varese: Integrales / Gershwin: An American in Paris / Anderson: Sandpaper Ballet

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Vaughan Williams: Symphony No. 7, "Sinfonia antartica": I. Prelude

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Strauss: Don Quixote: Variation VIII

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Rodrigo: Concierto de Aranjuez: III. Allegro gentile

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Seeger / Hays: Washington Breakdown

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Steiner: The Treasure of the Sierra Madre: Packing Up

Track length0:18

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Jeremy Siepmann: Instruments of the Orchestra, Prokofiev: Romeo and Juliet: Act II: No. 14

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Jeremy Siepmann

Jeremy Siepmann: Instruments of the Orchestra

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$117.00

Jeremy Siepmann

Steiner: The Treasure of the Sierra Madre: EI Desayuno

Track length0:18

$1.00

$1.30

The bongos and the congas and a whole wealth of other drums from Africa and Central America

Track length0:26

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$1.30

Evening Raga: Bhapoli

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Ferre: Paris cancaille

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Karas: The Third Man: Theme

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Traditional: Folk Dances

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Albeniz: Rondena

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Traditional: Svetit Mesiats

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Vaughan Williams: Symphony No. 7, "Sinfonia antartica": I. Prelude

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Debussy: Nocturnes: III. Sirenes

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Instruments and the imitation of nature. The clarinet as cuckoo

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Saint-Saens: The Carnival of the Animals: The Cuckoo

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The flute as an all-purpose aviary

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Saint-Saens: The Carnival of the Animals: The Aviary

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The oboe as duck

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Prokofiev: Peter and the Wolf: The Duck

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The recording of reality. Does It work as well?

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Respighi: The Pines of Rome: III. The Pines of the Janiculum

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The recording of reality electronically reborn in new guises

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Rautavaara: Cantus Arcticus, "Concerto for Birds and Orchestra": II. Melankolia (Melancholy)

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Beethoven turns avian: Cuckoo, nightingale, and quail

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Beethoven: Symphony No. 6, "Pastoral": II. Szene am Bach

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Some importable casting: The violin as braying donkey

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Saint-Saens: The Carnival of the Animals: Persons with Long Ears

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A truly orchestral hee-haw to be reckoned with

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Mendelssohn: A Midsummer Night's Dream: Overture

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A thunderstorm in a million

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Beethoven: Symphony No. 6, "Pastoral": IV. Gewitter, Sturm

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The instrumental depiction of a silent world

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Saint-Saens: The Carnival of the Animals: The Aquarium

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Saint-Saens' menagerie takes a curtain call

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Saint-Saens: The Carnival of the Animals: Finale

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The grouping of instrumental families. An additive approach. First, two violins.

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Bartok: 44 Duos: IV. Midsummer Night Song

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A greater contrast, of both pitch and character, violin and viola

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Mozart: Duo for Violin and Viola in B-Flat Major, K. 424: Finale: Variations 1 and 2

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Arrival at the standard string trio: Violin, viola and cello

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Schubert: String Trio in B-Flat Major: III. Menuetto

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The string quartet: Two violins, viola and cello

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Beethoven: String Quartet in F Major, Op. 18, No. 1: III. Scherzo

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The string quintet - When the extra instrument Is a second viola

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Mozart: String Quintet No. 5 in D Major, K. 593: II. Adagio

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The string quintet - When the extra instrument Is a second cello

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Schubert: String Quintet in C Major: III. Scherzo

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The string sextet: Two violins, two violas, and two cellos

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Brahms: String Sextet No. 1 in B-Flat Major: II. Andante ma moderato

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The string octet: The standard string quartet times two

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Mendelssohn: Octet in E-Flat Major, Op. 20: Movement 1

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Double the string octet: A fully fledged string orchestra

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Mendelssohn: String Symphony No. 2: III. Allegro vivace

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The massed strings of a symphony orchestra

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Vaughan Williams: Fantasia on a Theme of Thomas Tallis

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Contrasts of pitch and instrumental 'colour' in the woodwind section

Track length0:44

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$1.30

Reicha: Wind Quintet in A Minor, Op. 100, No. 5: Theme

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In the First Variation It's the horn That gets the lion's share

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Reicha: Wind Quintet in A Minor, Op. 100, No. 5: Variation 1

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In Variation Two the torch Is handed to the bassoon

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Reicha: Wind Quintet in A Minor, Op. 100, No. 5: Variation 2

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In Variation Three the oboe leads

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Reicha: Wind Quintet in A Minor, Op. 100, No. 5: Variation 3

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Variation Four: Conversation before returning to a solo-dominated texture

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Reicha: Wind Quintet in A Minor, Op. 100, No. 5: Variation 4

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And Variation Five Is dominated by the clarinet

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$1.30

Reicha: Wind Quintet in A Minor, Op. 100, No. 5: Variation 5

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The next to be featured Is the virtuoso flute.

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Reicha: Wind Quintet in A Minor, Op. 100, No. 5: Variation 6

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Individual farewells and a closing chorus

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Reicha: Wind Quintet in A Minor, Op. 100, No. 5: Variation 7

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A mixed group: Clarinet, bassoon, horn, string quartet, and double-bass

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$1.30

Schubert: Octet in F Major, D. 803: III. Trio

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The early classical symphony orchestra of Haydn and Mozart

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Mozart: Symphony No. 29 in A Major, K. 201: IV. Allegro con spirito

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Strings, wind, but no brass. What Haydn and Mozart never knew

Track length0:34

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$1.30

Gabrieli: Canzon 28

Track length1:39

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Beethoven's Fifth: Two horns, two trumpets, and three trombones join the team

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Beethoven: Symphony No. 5: IV. Allegro

Track length4:28

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From Beethoven to the massive orchestras of Berlioz, Wagner, and Mahler

Track length0:27

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$1.30

Beethoven changed the face of the symphony and the orchestra forever.

Track length0:47

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Mahler: Symphony No. 6, "Tragic": I. Heftig, aber markig

Track length1:44

$1.00

$1.30

The cult of orchestral elephantiasis reaches its peak

Track length1:04

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$1.30

Brian: Symphony No. 1, "Gothic": VI. Te ergo quaesumus

Track length1:43

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$1.30

When large doesn't necessarily mean loud: Debussy

Track length1:10

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$1.30

Debussy: Images: I. Gigues

Track length1:50

$1.00

$1.30

A crisis of confidence; the orchestra's survival hangs in the balance, but It still develops. The ondes martenot:

Track length2:41

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$1.30

Messiaen: Turangalila Symphony: II. Chant d'amour I

Track length1:14

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$1.30

The advent of the "early music" movement brings a new vitality and freshness

Track length0:57

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$1.30

Lully: Ballet de Xerxes: Gavotte en rondeau

Track length0:47

$1.00

$1.30

Computer and synthesiser: Friends or foes?

Track length1:35

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$1.30

Bach: Concerto in D Minor for two violins: II. Largo ma non tanto

Track length2:13

$1.00

$1.30

Bach: Mass in B Minor: Dona nobis pacem

Track length3:24

$1.00

$1.30

Jeremy Siepmann - The Instruments of the Orchestra

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