Title: Symphony 9: Introduction to Dvorak
Artist: Dvorak
Label: Naxos
Product Type: COMPACT DISCS
UPC: 636943806524
Genre: Classical



Tracks:
1.1 1st MVT. a Quiet Beginning, Sorrow, Syncopation, and Sequence
1.2 1st MVT. Instrumental Colour As a Prime Element: Clarinets and Bassoons, An Outburst By the French
1.3 1st MVT. the Opening Tune Again, with Different Instrumental Colouring: Now Flutes and Oboes
1.4 1st MVT. the First Big Surprise: Strings, Shattering Drumbeats, Shrieks from Flutes, Oboes, and Cla
1.5 1st MVT. Cellos and Basses Take Us Into a New Key While Flutes and Oboes Dance in Syncopation
1.6 1st MVT. Horns, Violas, and Cellos Introduce a New Idea, Soon to Evolve Into the Main Theme
1.7 1st MVT. a Tiny Detail from the Opening Culminates in a Wild Drumming That Heralds a Major Event
1.8 1st MVT. Introduction Complete
1.9 1st MVT. a Solo Horn Introduces the Main Theme, Perkily Answered By Bassoons and Horns
1.10 1st MVT. the Theme Moves to G Major; Answering Phrase from Flutes, Oboes, Bassoons; the Main Theme
1.11 1st MVT. Long Crescendo, Tremolo Strings, Back to Tonic and Biggest Statement Yet of the Main Theme
1.12 1st MVT. Transition to the Secondary Theme Through the Use of Sequence. Sonata Form; Stability and
1.13 1st MVT. Three-Bar Groupings and Again the Use of Sequence, Spelling Out a Chord
1.14 1st MVT. The Sequence Continues to Rise, and the Four-Bar Phrase Returns As the Standard Unit
1.15 1st MVT. the First Violins Start Off the Next Phrase, But the Melodic Shape Is More Compact
1.16 1st MVT. the Violins Fall Silent; the Violas and Cellos Answer with a New Figure, a Variation of TH
1.17 1st MVT. So Now We Have a Two-Bar Group, Made Up of Statement and Answer
1.18 1st MVT. The Same Thing Again (Through Not Quite the Same)
1.19 1st MVT. Transition Complete. the Secondary Theme Arrives, with French Horns As 'Bagpipes'
1.20 1st MVT. The 'Bagpipe Drone' Is Taken Over By Cellos with Their Insistently Repeated G and D
1.21 1st MVT. the Tune Is Taken Up By Cellos and Double-Basses, 'Shadowed' By the Second Violins; a Fanf
1.22 1st MVT. the Violins Continue a Patterns of Steady Pairs, and the Cellos and Basses Introduce a New
1.23 1st MVT. Unexpectedly, We Find Ourselves Back with the Secondary Theme. A New Idea Emerges
1.24 1st MVT. Again We Hear the Shortened Version of the Secondary Theme, Followed By Mounting Instabili
1.25 1st MVT. The Suspense Is Heightened As Everything Slows Down; a Soft, Still Variant of the 'Interru
1.26 1st MVT. This Beautiful Flute Tune Is Said to Resemble 'Swing Low, Sweet Chariot'
1.27 1st MVT. a Big Crescendo Leads to a Final Statement of the Closing Theme, Bringing the Exposition T
1.28 1st MVT. the Development Section Begins with a Conversation Between Cellos, Double-Basses, and Viol
1.29 1st MVT. The Beginning of the Closing Theme Is Taken Up in Turn By the Horn, Piccolo, and Trumpet
1.30 1st MVT. Sequential Chirping from the Oboes Based on the 'Answering' Part of the Main Theme, Now in
1.31 1st MVT. Much of the Development Comes from a Diminution of the Closing Theme from the Exposition
1.32 1st MVT. a Tiny Detail Becomes a Major Ingredient, Giving An Agitated Quality to An Originally Sunn
1.33 1st MVT. Through a Sequence of Keys So Quickly That It Is Hard to Keep Track of Them: There Is a de
1.34 1st MVT. the Main Theme from Massed Cellos and Double-Basses, Topped By Two Trumpets Over Tremolo V
1.35 1st MVT. After That Major Climax, We Arrive at the Threshold of the Recapitulation, Courtesy of Win
1.36 1st MVT. Dvorã¡K Flouts Tradition By Setting the Secondary Theme and the Closing Theme in Unexpected
1.37 1st MVT. the Tumultuous Convulsion of the Coda Brings the First Movement to It's Epic Close
1.38 1st MVT. Humpty Dumpty: Putting the Bits Back Together Again
1.39 1st MVT. First Movement (Complete)
1.40 2nd MVT. the Very Opening Chords Unmistakably Herald the Arrival of Something Special
1.41 2nd MVT. the Role of Instrumentation in Setting the Scene
1.42 2nd MVT... And in Enhancing the Quality of One of the Most Famous Tunes in Symphonic History
1.43 2nd MVT. the Cor Anglais Is Joined By the Clarinet, Creating a Fascinating Change in the Timbre
1.44 2nd MVT. For the Closing Part of the Tune, There Is Another New Sonority: Cor Anglais Plus Bassoon
1.45 2nd MVT. The Closing Bar Is Repeated By Clarinets and Bassoons, the Horn Adding a New Touch of Colo
1.46 2nd MVT. Back to the Start to Hear the Whole of the Story So Far, This Time Without Commentary
1.47 2nd MVT. a Change of Scoring: The Slow Opening Chords Return, This Time Played By the Winds Alone
1.48 2nd MVT. the Changes in Scoring Are Just Beginning
1.49 2nd MVT. the Flutes and Oboes Introduce a New Tune, Over Hushed Tremolo Strings
1.50 2nd MVT. a Memorable Combination of Continuous, Asymmetrical Melody with Steady, March-Like Counter
1.51 2nd MVT. Back in That Woodland Glade, the Light and Shadows Have Changed, Revealing New Shapes and
1.52 2nd MVT. the Next Section Is New and Forward-Looking, Yet Also a Kind of Dream-Recollection of a Pa
1.53 2nd MVT. An Abrupt Change of Mood, Much Discussion and Embellishment, and a Hushed Note of Expectan
1.54 2nd MVT. Subjectivity and Expertise; Sourek and Tovey Disagree; Onwards, Into the Final Section
1.55 2nd MVT. Cue to Whole Movement
1.56 2nd MVT. Second Movement (Complete)
2.1 3rd MVT. Dvorã¡K, Beethoven and the Scherzo. Dvorã¡K Purposely Confuses the Listener's Expectations
2.2 3rd MVT. Using a Little Fanfare, Dvorã¡K Further Builds Up Expectation Before Revealing the Movement
2.3 3rd MVT. When the Theme Is Revealed, We Find That It Is Not Exactly a Tune
2.4 3rd MVT. Two Little Bursts of Rhythm Povide the Seeds from Which Much of the Movement Grows
2.5 3rd MVT. It Is the Second Half of the Theme That Dominates
2.6 3rd MVT. Back to the Beginning to Hear the Whole of This Opening Section
2.7 3rd MVT. Without Ever Being Remotely 'Academic' or 'Intellectual', There Is Much Counterpoint Going
2.8 3rd MVT. Dvorã¡K's Very Czech Love of Combining Conflicting Rhythms, Sometimes Metres
2.9 3rd MVT. A Clearly Transitional Passage, Obsessed with the Rhythmic Tag That Both Opens and Closes
2.10 3rd MVT. Sooner Than We May Have Expected, We Seem to Have Arrived at the Trio Section
2.11 3rd MVT. A New Kind of Tone Quality Sheds a Subtly Different Light on the Theme
2.12 3rd MVT. The Flutes and Oboes Now Chime in with An Answering Variant of the Opening
2.13 3rd MVT... And the Cellos and Bassoons Take Up the Original Version of the Theme
2.14 3rd MVT. A False Alarm: It Was Not the Traditional Trio Section at All, But Rather Part Two of the
2.15 3rd MVT. Soon, After a Very Rapid Build, the Scherzo Proper Does Reach It's Final Phase
2.16 3rd MVT. The Orchestral Texture Thins Dramatically, and We Approach What This Time Really Is the TR
2.17 3rd MVT. The Trio Section Is Reminiscent More of the 'Old World' Than the 'New'
2.18 3rd MVT. In the Second Half of the Trio, a New Tune Emerges, a Kind of Slavonic Waltz
2.19 3rd MVT. The Main Theme of the Trio Returns Against a Much Fuller Orchestral Background
2.20 3rd MVT. Then It Is All a Matter of Repeats, Until We Reach the Coda, Which Ends with An Explosive
2.21 3rd MVT. Third Movement (Complete)
2.22 4th MVT. Like the First Movement, the Fourth Begins Not with It's Main Theme But with An Introductio
2.23 4th MVT. The Main Theme: An Imposing March, Introduced By Trumpets and Trombones, with Timpani
2.24 4th MVT. The Main Theme, Part Two. A Codetta-Like Passage Closes Off the March and Introduces the '
2.25 4th MVT. The 'Transitional' Theme, While Outwardly Contrasting, Is Actually a Hidden Variant of the
2.26 4th MVT. A Point of Future Obsession
2.27 4th MVT. The Second Half of This 'Transitional' Theme Is Given to the Winds As Soon As the Strings
2.28 4th MVT. The 'Obsession' Takes Root, with a Ten-Fold Repetition, Before the Arrival of the Second S
2.29 4th MVT. The Hidden Traps in Sonata-Form Terminology: 'Second Main Theme' Vs. 'Second Subject'
2.30 4th MVT. The Unexpected Entry and Subsequent Ubiquity of 'Three Blind Mi