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01. 1. A quiet beginning: sorrow syncopation and sequence |
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02. 2. Instrumental colour as a prime element: clarinets and bassoons an outburs... |
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529 Kbps |
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03. 3. The opening tune again with different instrumental colouring now flutes ... |
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544 Kbps |
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04. 4. The first big surprise: strings shattering drumbeats shrieks from flutes... |
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2.73 Mb |
618 Kbps |
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05. 5. Cellos and basses take us into a new key while flutes and oboes dance in s... |
0:32 |
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527 Kbps |
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06. 6. Horns violas and cellos introduce a new idea soon to evolve into the ma... |
0:31 |
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578 Kbps |
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07. 7. A tiny detail from the opening culminates in a wild drumming that heralds ... |
0:43 |
3.28 Mb |
640 Kbps |
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08. 8. Introduction complete |
2:05 |
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543 Kbps |
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09. 9. A solo horn introduces the main theme perkily answered by bassoons and horns |
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2.65 Mb |
570 Kbps |
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10. 10. The theme moves to G major answering phrase from flutes oboes bassoons... |
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2.47 Mb |
626 Kbps |
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11. 11. Long crescendo tremolo strings back to tonic and biggest statement yet ... |
0:39 |
3.09 Mb |
664 Kbps |
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12. 12. Transition to the secondary theme through the use of sequence. Sonata for... |
1:36 |
6.52 Mb |
569 Kbps |
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13. 13. Three-bar groupings and again the use of sequence spelling out a chord |
0:34 |
2.38 Mb |
587 Kbps |
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14. 14. The sequence continues to rise and the four-bar phrase returns as the st... |
0:18 |
1.26 Mb |
588 Kbps |
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15. 15. The first violins start off the next phrase but the melodic shape is mor... |
0:21 |
1.40 Mb |
560 Kbps |
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16. 16. The violins fall silent the violas and cellos answer with a new figure ... |
0:09 |
0.67 Mb |
620 Kbps |
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17. 17. So now we have a two-tear group made up of statement and answer |
0:07 |
0.46 Mb |
554 Kbps |
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18. 18. The same thing again though not quite the same |
0:05 |
0.32 Mb |
536 Kbps |
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19. 19. Transition complete. The secondary theme arrives with French horns as b... |
1:00 |
4.36 Mb |
608 Kbps |
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20. 20. The bagpipe drone is taken over by cellos with their insistently repea... |
0:19 |
1.38 Mb |
609 Kbps |
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21. 21. The tune is taken up by cellos and double-basses shadowed by the secon... |
0:57 |
4.37 Mb |
641 Kbps |
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22. 22. The violins continue a pattern of steady pairs and the cellos and basses... |
0:33 |
2.34 Mb |
593 Kbps |
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23. 23. Unexpectedly we find ourselves back with the secondary theme. A new idea... |
0:26 |
1.85 Mb |
597 Kbps |
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24. 24. Again we hear the shortened version of the secondary theme followed by m... |
0:33 |
2.36 Mb |
598 Kbps |
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25. 25. The suspense is heightened as everything slows down a soft still varian... |
0:25 |
1.74 Mb |
580 Kbps |
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26. 26. This beautiful flute tune is said to resemble Swing Low Sweet Chariot |
0:47 |
3.31 Mb |
591 Kbps |
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27. 27. A big crescendo leads to a final statement of the closing theme bringing... |
1:16 |
5.77 Mb |
637 Kbps |
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28. 28. The development section begins with a conversation between cellos double... |
1:09 |
5.01 Mb |
609 Kbps |
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29. 29. The beginning of the closing theme is taken up in turn by the horn picco... |
0:18 |
1.20 Mb |
558 Kbps |
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30. 30. Sequential chirping from the oboes based on the answering part of the m... |
0:18 |
1.25 Mb |
579 Kbps |
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31. 31. Much of the development comes from a diminution of the closing theme from... |
0:19 |
1.33 Mb |
587 Kbps |
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32. 32. A tiny detail becomes a major ingredient giving an agitated quality to a... |
0:31 |
2.19 Mb |
590 Kbps |
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33. 33. Through a sequence of keys so quickly that it is hard to keep track of th... |
0:37 |
2.68 Mb |
606 Kbps |
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34. 34. The main theme from massed cellos and double-basses topped by two trumpe... |
1:46 |
8.75 Mb |
691 Kbps |
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35. 35. After that major climax we arrive at the threshold of the recapitulation... |
1:04 |
4.55 Mb |
596 Kbps |
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36. 36. Dvorak flouts tradition by setting the secondary theme and the closing th... |
1:10 |
4.88 Mb |
584 Kbps |
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37. 37. The tumultuous convulsion of the coda brings the first movement to its ep... |
3:09 |
14.85 Mb |
658 Kbps |
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38. 38. Humpty Dumpty: putting the bits back together again |
0:20 |
1.38 Mb |
578 Kbps |
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39. 39. First movement complete |
11:36 |
55.73 Mb |
671 Kbps |
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40. 40. The very opening chords unmistakably herald the arrival of something special |
1:06 |
4.07 Mb |
516 Kbps |
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41. 41. The role of instrumentation in setting the scene |
1:10 |
4.27 Mb |
512 Kbps |
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| 42 |
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42. 42. and in enhancing the quality of one of the most famous tunes in symphonic... |
1:29 |
5.86 Mb |
552 Kbps |
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43. 43. The cor anglais is joined by the clarinet creating a fascinating change ... |
1:08 |
4.34 Mb |
534 Kbps |
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44. 44. For the closing part of the tune there is another new sonority: cor angl... |
0:24 |
1.60 Mb |
555 Kbps |
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45. 45. The closing bar is repeated by clarinets and bassoons the horn adding a ... |
0:28 |
1.69 Mb |
504 Kbps |
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46. 46. Back to the start to hear the whole of the story so far this time withou... |
2:24 |
8.64 Mb |
503 Kbps |
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47. 47. A change of scoring: the slow opening chords return this time played by ... |
1:14 |
5.09 Mb |
576 Kbps |
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48. 48. The changes in scoring are just beginning |
2:35 |
9.78 Mb |
529 Kbps |
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49. 49. The flutes and oboes introduce a new tune over hushed tremolo strings |
1:05 |
4.32 Mb |
557 Kbps |
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50. 50. A memorable combination of continuous asymmetrical melody with steady m... |
1:28 |
5.80 Mb |
552 Kbps |
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51. 51. Back in that woodland glade the light and shadows have changed revealin... |
1:33 |
6.72 Mb |
605 Kbps |
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52. 52. The next section is new and forward-looking yet also a kind of dream-rec... |
1:30 |
5.98 Mb |
557 Kbps |
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54. 54. Subjectivity and expertise Sourek and Tovey disagree onwards into the ... |
5:14 |
20.56 Mb |
549 Kbps |
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55. 55. Cue to whole movement |
0:10 |
0.69 Mb |
573 Kbps |
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56. 56. Second movement complete |
12:00 |
46.33 Mb |
539 Kbps |
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01. 01. Dvorak Beethoven and the Scherzo Dvorak purposely confuses the listene... |
1:54 |
7.74 Mb |
569 Kbps |
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02. 02. Using a little fanfare Dvorak further builds up expectation before revea... |
0:21 |
1.44 Mb |
572 Kbps |
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03. 03. When the theme is revealed we find that it is not exactly a tune |
0:36 |
2.44 Mb |
566 Kbps |
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04. 04. Two little bursts of rhythm provide the seeds from which much of the move... |
0:24 |
1.58 Mb |
548 Kbps |
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05. 05. It is the second half of the theme that dominates |
0:22 |
1.37 Mb |
519 Kbps |
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06. 06. Back to the beginning to hear the whole of this opening section |
0:48 |
3.92 Mb |
684 Kbps |
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07. 07. Without ever being remotely academic or intellectual there is much c... |
0:20 |
1.41 Mb |
589 Kbps |
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08. 08. Dvorak s very Czech love of combining conflicting rhythms sometimes metres |
2:31 |
10.61 Mb |
589 Kbps |
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09. 09. A clearly transitional passage obsessed with the rhythmic tag that both ... |
0:30 |
2.08 Mb |
581 Kbps |
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10. 10. Sooner than we may have expected we seem to have arrived at the Trio sec... |
1:07 |
4.34 Mb |
543 Kbps |
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11. 11. A new kind of tone quality sheds a subtly different light on the theme |
0:35 |
2.51 Mb |
600 Kbps |
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12. 12. The flutes and oboes now chime in with an answering variant of the opening |
0:21 |
1.48 Mb |
590 Kbps |
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13. 13. and the cellos and bassoons take up the original version of the theme. |
0:43 |
3.08 Mb |
599 Kbps |
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14. 14. A false alarm: it was not the traditional Trio section at all but rather... |
0:52 |
3.51 Mb |
566 Kbps |
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15. 15. Soon after a very rapid build the Scherzo proper does reach its final phase |
1:13 |
5.68 Mb |
652 Kbps |
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16. 16. The orchestral texture thins dramatically and we approach what this time... |
1:28 |
5.79 Mb |
552 Kbps |
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17. 17. The Trio section is reminiscent more of the Old World than the New |
0:50 |
3.48 Mb |
583 Kbps |
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18. 18. In the second half of the Trio a new tune emerges a kind of Slavonic waltz |
1:00 |
4.21 Mb |
588 Kbps |
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19. 19. The main theme of the Trio returns against a much fuller orchestral backg... |
0:36 |
2.74 Mb |
638 Kbps |
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20. 20. Then it is all a matter of repeats until we reach the coda which ends w... |
1:15 |
5.16 Mb |
576 Kbps |
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21. 21. Third movement complete |
8:07 |
36.99 Mb |
637 Kbps |
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22. 22. Like the first movement the fourth begins not with its main theme but wi... |
0:47 |
3.55 Mb |
632 Kbps |
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23. 23. The main theme: an imposing march introduced by trumpets and trombones ... |
0:48 |
3.96 Mb |
692 Kbps |
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24. 24. The main theme part two. A codetta-like passage closes off the march and... |
1:01 |
5.28 Mb |
725 Kbps |
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25. 25. The transitional theme while outwardly contrasting is actually a hidd... |
0:53 |
3.89 Mb |
615 Kbps |
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26. 26. A point of future obsession |
0:16 |
1.16 Mb |
604 Kbps |
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27. 27. The second half of this transitional theme is given to the winds as soo... |
0:16 |
1.20 Mb |
627 Kbps |
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28. 28. The obsession takes root with a ten-fold repetition before the arriva... |
0:57 |
4.24 Mb |
623 Kbps |
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29. 29. The hidden traps in sonata-form terminology: second main theme vs. sec... |
2:31 |
10.48 Mb |
582 Kbps |
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30. 30. The unexpected entry and subsequent ubiquity of Three Blind Mice |
1:23 |
5.83 Mb |
588 Kbps |
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31. 31. We meet the mice again now in the cellos and double-basses where they p... |
0:36 |
2.75 Mb |
638 Kbps |
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32. 32. More Three Blind Mice material |
0:30 |
1.96 Mb |
546 Kbps |
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33. 33. The mice return to the basement where the bassoons have joined the cello... |
0:19 |
1.33 Mb |
588 Kbps |
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34. 34. Next they are back with the clarinets now joined by pizzicato violas w... |
0:18 |
1.18 Mb |
549 Kbps |
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35. 35. Now they return to the high winds delicately trilling |
0:15 |
1.00 Mb |
560 Kbps |
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36. 36. Relief at last: the mice back off making way for a reminder of the main... |
0:34 |
2.36 Mb |
580 Kbps |
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37. 37. The mice yield to woodpeckers clarinets the main theme or its opening... |
1:07 |
4.48 Mb |
560 Kbps |
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38. 38. The triplets of the transitional theme are now handed down through stri... |
0:23 |
1.64 Mb |
596 Kbps |
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39. 39. Reminders of past movements begin to fly by thick and fast sometimes ve... |
0:28 |
1.89 Mb |
566 Kbps |
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40. 40. In fact there are three bits of quotation going on here simultaneously |
0:23 |
1.54 Mb |
561 Kbps |
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41. 41. The violas react every time the Goin Home theme is quoted by the winds |
0:13 |
0.89 Mb |
571 Kbps |
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42. 42. The rhythm of the opening of the Goin Home theme dominates transforme... |
0:35 |
2.82 Mb |
676 Kbps |
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43. 43. The march theme reappears as a Mendelssohnian fairy the main theme from ... |
1:55 |
8.78 Mb |
640 Kbps |
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44. 44. We reach an interesting point: have we heard the beginning of the recapit... |
1:05 |
5.33 Mb |
688 Kbps |
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45. 45. Perhaps this is it? Back for a reminder of the theme proper as we first ... |
1:41 |
8.70 Mb |
722 Kbps |
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46. 46. Tovey places the start of the recapitulation here |
1:27 |
5.89 Mb |
567 Kbps |
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47. 47. The main theme recast in pathetic rather than heroic terms - and with mag... |
1:51 |
7.52 Mb |
567 Kbps |
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48. 48. This unexpected crisis in confidence plays a major role in the overall dr... |
1:49 |
7.14 Mb |
549 Kbps |
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49. 49. The main theme returns - not complete but chopped up into shorter and sh... |
1:30 |
6.85 Mb |
638 Kbps |
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50. 50. A glorious thematic stew high drama a powerful build-up... but then? |
0:56 |
4.41 Mb |
659 Kbps |
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51. 51. The dramatic highpoint of the movement an astonishing transformation bu... |
1:26 |
5.49 Mb |
534 Kbps |
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52. 52. The same chords again this time blasted out by the entire wind and brass... |
1:09 |
4.87 Mb |
592 Kbps |
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53. 53. Now we are into the finishing stretch but the surprises continue to the ... |
1:42 |
8.14 Mb |
669 Kbps |
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54. 54. Summary context and cue into the whole movement |
1:05 |
4.48 Mb |
577 Kbps |
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55. 55. Fourth movement complete |
11:05 |
53.55 Mb |
675 Kbps |
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