Jeremy Siepmann

An Introduction to Beethoven: The Pastoral Symphony

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Track Listing - Disc 1

Sample		Title/Composer	Performer	Time
Discussion/Introduction to Beethoven's "Pastoral Symphony"
	1	On Beethoven's Openings Jeremy Siepmann	Jeremy Siepmann	01:26
	2	Opening phrase of the 'Pastoral': Mood, Symbolism and Musical Function Jeremy Siepmann	Jeremy Siepmann	01:44
	3	Musical Acorns: the outline of melody; the shape of a question Jeremy Siepmann	Jeremy Siepmann	00:42
	4	The 'question' in the 'Pastoral' repeated... Jeremy Siepmann	Jeremy Siepmann	00:04
	5	...and answered Jeremy Siepmann	Jeremy Siepmann	00:12
	6	The opening phrase ends on a note full of pregnant expectation Jeremy Siepmann	Jeremy Siepmann	00:19
	7	Starting with a stop Jeremy Siepmann	Jeremy Siepmann	00:36
	8	The rhythmic profile of the opening phrase; a two-part construction Jeremy Siepmann	Jeremy Siepmann	00:52
	9	Phrase One, Part One Jeremy Siepmann	Jeremy Siepmann	00:09
	10	Phrase One, Part Two Jeremy Siepmann	Jeremy Siepmann	00:06
	11	The properties of rhythmic ambiguity; the 'question' of Phrase One answered Jeremy Siepmann	Jeremy Siepmann	01:03
	12	Phrase Two: from meander to march Jeremy Siepmann	Jeremy Siepmann	00:27
	13	The makings of a conversation: contrast and variation Jeremy Siepmann	Jeremy Siepmann	00:47
	14	Repetition as a major factor, but it's never mere repitition; each time something new is added Jeremy Siepmann	Jeremy Siepmann	00:33
	15	From soft to loud and back again; instrumental enrichment from horns and double-basses Jeremy Siepmann	Jeremy Siepmann	00:18
	16	Mega-repetition: violins play exactly the same little fragment ten times in a row Jeremy Siepmann	Jeremy Siepmann	00:29
	17	But no two repetitions are quite the same; varieties of contrast Jeremy Siepmann	Jeremy Siepmann	00:34
	18	More variation: pitch rises; violins joined first by the clarinet, then by the oboe Jeremy Siepmann	Jeremy Siepmann	00:19
	19	Return to the opening idea, but with new instrumentation and articulation Jeremy Siepmann	Jeremy Siepmann	00:25
	20	Clarinets, horns, bassoons and flutes now join expansive variation Jeremy Siepmann	Jeremy Siepmann	00:49
	21	'New' insistent rhythm derived from the first four notes of the piece Jeremy Siepmann	Jeremy Siepmann	00:09
	22	With the dawn chorus, a whole forest is waking up; feelings of rapture Jeremy Siepmann	Jeremy Siepmann	00:36
	23	First violins play a derivative of the opening figure, joined by wind and strings Jeremy Siepmann	Jeremy Siepmann	00:32
	24	Sudden change of key, from the home key (tonic) to the dominant Jeremy Siepmann	Jeremy Siepmann	00:30
	25	Arrival at the highly contrasting second main theme Jeremy Siepmann	Jeremy Siepmann	00:55
	26	Unusual properties of second main theme Jeremy Siepmann	Jeremy Siepmann	02:15
	27	Rhythmic clash between simultaneous groups of three beats and groups of two Jeremy Siepmann	Jeremy Siepmann	01:09
	28	Winds fall silent as the violins and violas interrupt with a new theme Jeremy Siepmann	Jeremy Siepmann	00:30
	29	Winds answer with the same morse-like rhythm but at half the speed Jeremy Siepmann	Jeremy Siepmann	00:51
	30	Crescendo leads to strings' acceleration of the pace with no increase in tempo Jeremy Siepmann	Jeremy Siepmann	01:05
	31	Beginning of coda, directly based on morse-like rhythm of the main theme Jeremy Siepmann	Jeremy Siepmann	00:22
	32	Strings reiterate small fragment of the new theme 13 times in a row Jeremy Siepmann	Jeremy Siepmann	00:48
	33	A simple, rising violin phrase leads to a repeat of the Exposition Jeremy Siepmann	Jeremy Siepmann	00:18
	34	The nature and function of the Development section in sonata form: 'harmonic' rhythm explained Jeremy Siepmann	Jeremy Siepmann	02:22
	35	The nature of harmonic rhythm illustrated Jeremy Siepmann	Jeremy Siepmann	00:35
	36	A typically Beethovenian exercise in the frustration of experience Jeremy Siepmann	Jeremy Siepmann	00:38
	37	Repetitiousness and magic effected largely through instrumental colour Jeremy Siepmann	Jeremy Siepmann	00:42
	38	Then come four, almost identical bars Jeremy Siepmann	Jeremy Siepmann	00:08
	39	Even greater magic, with sudden switch of key and tone colour Jeremy Siepmann	Jeremy Siepmann	00:28
	40	Entire Development section up to this point Jeremy Siepmann	Jeremy Siepmann	01:55
	41	The Development continued Jeremy Siepmann	Jeremy Siepmann	01:23
	42	Increased unease and suspense as harmonic rhythm accelerates Jeremy Siepmann	Jeremy Siepmann	02:03
	43	Arrival at the point of Recapitulation; back to the beginning, as a reminder Jeremy Siepmann	Jeremy Siepmann	01:50
	44	Beginning of Recapitulation Jeremy Siepmann	Jeremy Siepmann	00:50
	45	More Beethovenian frustrations of expectations which he himself has just set up Jeremy Siepmann	Jeremy Siepmann	01:01
	46	Harmonic rhythm speeds up, giving the impression of an accent on every beat Jeremy Siepmann	Jeremy Siepmann	00:34
	47	Prevailing mood restored; new theme from clarinets and bassoons Jeremy Siepmann	Jeremy Siepmann	00:28
	48	Violins and violas take up theme; horns, cellos, double-basses accompany Jeremy Siepmann	Jeremy Siepmann	00:48
	49	A hush falls, followed by a return of the movement's most familiar tag in strings Jeremy Siepmann	Jeremy Siepmann	00:58
	50	Clarinet takes up the running triplet figures of the main closing theme Jeremy Siepmann	Jeremy Siepmann	00:32
	51	First violins take up the opening phrase again, accompanied by double-basses Jeremy Siepmann	Jeremy Siepmann	00:37
	52	Beethoven slips in one last surprise; cue to complete movement Jeremy Siepmann	Jeremy Siepmann	00:59
	53	First Movement (complete) Jeremy Siepmann	Jeremy Siepmann	11:01
	54	General introduction; the birth of a melody Jeremy Siepmann	Jeremy Siepmann	01:59
	55	Brook music quickens; syncopated horns; theme changes hands; evocation of birdsong Jeremy Siepmann	Jeremy Siepmann	01:19
	56	The 'motto' theme introduced by violins and treated to round-like overlappings Jeremy Siepmann	Jeremy Siepmann	00:52
	57	Transitional 'bridge' theme sets off for new key group. But is it? And does it? Jeremy Siepmann	Jeremy Siepmann	00:39
	58	Will he, or won't he? Beethoven keeps us guessing Jeremy Siepmann	Jeremy Siepmann	01:09
	59	The run-up to the Second Group Jeremy Siepmann	Jeremy Siepmann	01:14
	60	Arrival at the Second Group; but where is the actual Second Subject? Jeremy Siepmann	Jeremy Siepmann	00:39
	61	A new tune is introduced by the bassoon Jeremy Siepmann	Jeremy Siepmann	00:38
	62	Tune is repeated three times Jeremy Siepmann	Jeremy Siepmann	01:00
	63	...which the full orchestra now takes up in varied form Jeremy Siepmann	Jeremy Siepmann	00:45
	64	Theme carried by flutes and first violins in a charmingly waltz-like development Jeremy Siepmann	Jeremy Siepmann	00:48
	65	A reminder of the precedent Jeremy Siepmann	Jeremy Siepmann	00:14
	66	Back to the prevailing triple-metre with violins, bassoons and flutes Jeremy Siepmann	Jeremy Siepmann	00:16
	67	Another reminder of precedent... Jeremy Siepmann	Jeremy Siepmann	00:16
	68	...and a cue to some unexpected departures Jeremy Siepmann	Jeremy Siepmann	00:38
	69	The transformational magic of Beethoven's 'tone-painting' - and a new variation Jeremy Siepmann	Jeremy Siepmann	00:50
	70	Conversation of clarinet, flute and oboe on the way to the Development Jeremy Siepmann	Jeremy Siepmann	00:43
	71	Harmonic movement emphasised by violins; oboe takes up the First Subject Jeremy Siepmann	Jeremy Siepmann	00:38
	72	Flute and oboe discuss the First Subject, before arriving together at the Transition Jeremy Siepmann	Jeremy Siepmann	01:04
	73	Gains in volume and intensity lead to a new key-change Jeremy Siepmann	Jeremy Siepmann	00:47
	74	More thematic transformation through the agency of tone-colour Jeremy Siepmann	Jeremy Siepmann	01:11
	75	Harmonic fluidity - instability - as the central engine of the Development section Jeremy Siepmann	Jeremy Siepmann	01:40
	76	Harmonic instability, thematic dissolution increase, then lessen with approach of Recapitulation Jeremy Siepmann	Jeremy Siepmann	01:41
	77	Recap. and transformation: key and material are right, but what a change of presentation! Jeremy Siepmann	Jeremy Siepmann	01:29
	78	Just when we know that's coming, Beethoven changes the rules (or at least the harmony) Jeremy Siepmann	Jeremy Siepmann	00:53
	79	Transformation by reorchestration; switch to long sustained chords; then everything stops Jeremy Siepmann	Jeremy Siepmann	01:20
	80	The silence is broken by voices of nightingale (flute), quail (oboe) and cuckoo (clarinet) Jeremy Siepmann	Jeremy Siepmann	00:40
	81	First violins bring back the motto theme Jeremy Siepmann	Jeremy Siepmann	00:12
	82	Cue to complete movement on CD 2 Jeremy Siepmann	Jeremy Siepmann	00:32

Track Listing - Disc 2

Sample		Title/Composer	Performer	Time
Discussion/Introduction to Beethoven's "Pastoral Symphony"
	1	Second Movement (complete) Jeremy Siepmann	Jeremy Siepmann	12:03
	2	Beethoven and the Scherzo: and introduction; Part One of opening phrase taken by the strings Jeremy Siepmann	Jeremy Siepmann	01:32
	3	Immediate response; Part One is answered by a much more singing, continuous legato Jeremy Siepmann	Jeremy Siepmann	00:23
	4	Entire orchestra gives out opening theme, this time fortissimo and with powerful accents Jeremy Siepmann	Jeremy Siepmann	01:06
	5	A musical ball game. The contrast of this and the first two movements could hardly be greater Jeremy Siepmann	Jeremy Siepmann	00:33
	6	After quietly teasing suspense, Beethoven mocks village band, first the oboe, then the bassoon Jeremy Siepmann	Jeremy Siepmann	01:18
	7	Clarinet joins in, then horns take the tune - the dance no longer boisterous but lyrical Jeremy Siepmann	Jeremy Siepmann	00:48
	8	Strings sweep the village musicians aside and hurtle us into the new, boisterous 'Trio' section Jeremy Siepmann	Jeremy Siepmann	00:46
	9	The air is alive with the sound of (mock) bagpipes, tambourines and fifes Jeremy Siepmann	Jeremy Siepmann	01:00
	10	Coda; begins as the movement itself begins, but soon diverges in harmony and instrumentation Jeremy Siepmann	Jeremy Siepmann	01:18
	11	Original layout compressed; order of events is changed and Beethoven springs a big surprise Jeremy Siepmann	Jeremy Siepmann	00:42
	12	Third movement (complete) Jeremy Siepmann	Jeremy Siepmann	05:14
	13	Unparalleled portrait of nature's power over humanity, with some stupendous orchestration Jeremy Siepmann	Jeremy Siepmann	03:05
	14	Self-generating form and terror of total unpredictability; 'anxiety motif' from the violins Jeremy Siepmann	Jeremy Siepmann	01:34
	15	The 'lashing rain' motif - downward-driving arpeggios from the first violins and violas Jeremy Siepmann	Jeremy Siepmann	00:36
	16	The 'lightning' motif, and its recurrence later in the movement Jeremy Siepmann	Jeremy Siepmann	00:22
	17	'Rain' motif, derived from descending scale pattern from the violins at the outset Jeremy Siepmann	Jeremy Siepmann	00:13
	18	Shivering tremolandos from the strings and increasingly eerie harmonies from the wind Jeremy Siepmann	Jeremy Siepmann	00:18
	19	Steady crescendo in strings; terrifying, downward spelling-out chords in the violins Jeremy Siepmann	Jeremy Siepmann	01:37
	20	Extremes of dynamic contrasts; the unsettling, disturbing, undermining effects of chromaticism Jeremy Siepmann	Jeremy Siepmann	01:02
	21	Abandonment of the melody, and most traces even of rhythm; sustained, discordant harmony Jeremy Siepmann	Jeremy Siepmann	00:20
	22	Storm dispersed, the sun reappears, bathing sodden earth below with its life-giving rays Jeremy Siepmann	Jeremy Siepmann	01:52
	23	Cue to complete performance of Fourth Movement Jeremy Siepmann	Jeremy Siepmann	00:09
	24	Fourth movement (complete) Jeremy Siepmann	Jeremy Siepmann	03:55
	25	'Yodelling' figure from clarinet, then horn, then violins, who introduce the main theme Jeremy Siepmann	Jeremy Siepmann	00:59
	26	Details of instrumental magic in the interplay of horns, cellos, clarinets and bassoons Jeremy Siepmann	Jeremy Siepmann	01:06
	27	Main theme heard three times in a row - and yet never the same way twice Jeremy Siepmann	Jeremy Siepmann	01:06
	28	Now we get the whole orchestra, playing full out, with violins all double-stopping Jeremy Siepmann	Jeremy Siepmann	00:36
	29	Transition to the next section, based on the last two notes of the main theme Jeremy Siepmann	Jeremy Siepmann	00:43
	30	The rhythmic basis of new transition theme, first in violas, then taken up by first violins Jeremy Siepmann	Jeremy Siepmann	00:38
	31	Another rhythmic detail of extended transition comes increasingly into the foreground Jeremy Siepmann	Jeremy Siepmann	00:29
	32	...and is then heard in expanded version, taken in sequence by the strings, from the top down Jeremy Siepmann	Jeremy Siepmann	00:51
	33	New phrase, introduced by violins, brings us resoundingly back to the opening material Jeremy Siepmann	Jeremy Siepmann	01:13
	34	Main theme, re-orchestrated; unexpected drift into another key and a new, gently flowing theme Jeremy Siepmann	Jeremy Siepmann	02:15
	35	Hints of a return to main them; long 'pedal point'; running commentary from the violins Jeremy Siepmann	Jeremy Siepmann	00:58
	36	Main theme returns, but significantly altered, and not entirely intact Jeremy Siepmann	Jeremy Siepmann	00:37
	37	Running commentary now heard in the middle, with alternating pizzicatos both above and below Jeremy Siepmann	Jeremy Siepmann	00:24
	38	Part Three of main theme given to entire orchestra, leading to final appearance of Theme two Jeremy Siepmann	Jeremy Siepmann	01:21
	39	Extended coda; overlapping variations of main theme, rather in the manner of a round Jeremy Siepmann	Jeremy Siepmann	02:09
	40	Suddenly the scene changes. A variation of the 'running commentary' cited in tracks 34 and 36 Jeremy Siepmann	Jeremy Siepmann	00:51
	41	The crowning glory, as the Shepherd's Song of Thanksgiving takes on a 'heavenly' magnificence Jeremy Siepmann	Jeremy Siepmann	02:10
	42	Cue into complete performance of Fifth Movement through the 'gateway' of the Fourth Jeremy Siepmann	Jeremy Siepmann	01:09
	43	Fourth and Fifth movements (complete) Jeremy Siepmann	Jeremy Siepmann	13:47

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Jeremy Siepmann

An Introduction to Beethoven: The Pastoral Symphony

Track Listing - Disc 1

Track Listing - Disc 2