album

Classics Explained: BEETHOVEN - Symphony No. 6, 'Pastoral' (Siepmann)

125 songs (2 hours and 33 minutes) Released on July 5, 2002
Disc 1
1
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: On Beethoven's Openings
1:26
2
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: Opening phrase of the 'Pastoral': ood, Symbolism and Musical Function
1:44
3
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: Musical Acorns: the outline of melody; the shape of a question
0:42
4
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: The 'question' in the 'Pastoral' repeated...
0:04
5
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: ...and answered
0:12
6
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: The opening phrase ends on a note full of pregnant expectation
0:19
7
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: Starting with a stop
0:36
8
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: The rhythmic profile of the opening phrase; a two-part construction
0:52
9
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: Phrase One, Part One
0:09
10
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: Phrase One, Part Two
0:06
11
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: The properties of rhythmic ambiguity; the 'question' of Phrase One answered
1:03
12
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: Phrase Two: from meander to march
0:27
13
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: The makings of a conversation: contrast and variation
0:47
14
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: Repetition as a major factor, but it's never mere repetition; each time something new is added
0:33
15
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: From soft to loud and back again; instrumental enrichment from horns and double-basses
0:18
16
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: Mega-repetition: violins play exactly the same little fragment ten times in a row
0:29
17
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: But no two repetitions are quite the same; varieties of contrast
0:34
18
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: More variation: pitch rises; violins joined frist by the clarinet, then by the oboe
0:19
19
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: Return to opening idea, but with new instrumentation and articulation
0:25
20
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: Clarinets, horns, bassoons and flutes now join expansive variation
0:49
21
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: 'New' insistent rhythm derived from the first four notes of the piece
0:09
22
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: With the dawn chorus, a whole forest is waking up; feelings of rapture
0:36
23
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: First violins play a derivative of the opening figure, joined by wind and strings
0:32
24
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: Sudden change of key, from the home key (tonic) to the dominant
0:30
25
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: Arrival at the hightly contrasting second main theme
0:55
26
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: Unusual properties of second main theme
2:15
27
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: Rhythmic clash between simultaneous groups of three beats and groups of two
1:09
28
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: winds fall selent as the violins and violas interrupt with a new theme
0:30
29
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: Winds answer with the same morse-like rhythm but at half the speed
0:51
30
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: Crescendo leads to strings' acceleration of the pace with no increase in tempo
1:05
31
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: Beginning of coda, directly based on morse-like rhythm of the main theme
0:22
32
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: Strings reiterate small fragment of the new theme 13 times in a row
0:48
33
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: A simple, rising violin phrase leads to a repeat of the Exposition
0:18
34
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: The nature and function of the Development section in sonata form; 'harmonic' rhythm explained
2:22
35
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: The nature of harmonic rhythm illustrated
0:35
36
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: A typically Beethovenian exercise in the frustration of expectation
0:38
37
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: Repetitiousness and magic effected largely through instrumental colour
0:42
38
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: Then come four, almost identical bars
0:08
39
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: Even greater magic, with sudden switch of key and tone colour
0:28
40
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: Entire Development section up to this point
1:55
41
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: The Development continued
1:23
42
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: Increased unease and suspense as harmonic rhythm accelerates
2:03
43
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: Arrival at the point of Recapitulation; back to the beginning, as a reminder
1:50
44
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: Beginning of Recapitulation
0:50
45
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: More Beethovenian frustrations of expectations which he himself has just set up
1:01
46
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: Harmonic rhythm speeds up, giving the impression of an accent on every beat
0:34
47
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: Prevailing mood restored; new theme from clarinets and bassoons
0:28
48
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: Violins and violas take up theme; horns, cellos, double-basses accompany
0:48
49
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: A hush falls, followed by a return of the movement's most familiar tag in strings
0:58
50
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: Clarinet takes up the running triplet figures of the main closing theme
0:32
51
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: First violins take up the opening phrase again, accompanied by double-basses
0:37
52
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: Beethoven slips in one last surprise; cue to complete movement
0:59
53
Symphony No. 6 in F major, Op. 68, "Pastoral": I. Awakening of Cheerful Feelings on Arriving in the Country: First movement (complete)
11:01
54
Second Movement: Scene by the Brook: General introduction; the birth of a melody
1:59
55
Second Movement: Scene by the Brook: Brook music quickens; syncopated horns; theme changes hands; evocation of birdsong
1:19
56
Second Movement: Scene by the Brook: The 'motto' theme introduced by violins and treated to round-like overlappings
0:52
57
Second Movement: Scene by the Brook: Transitional 'bridge' theme sets off for new key group. But is it? And does it?
0:39
58
Second Movement: Scene by the Brook: Will he, or won't he? Beethoven keeps us guessing
1:09
59
Second Movement: Scene by the Brook: The run-up to the Second Group
1:14
60
Second Movement: Scene by the Brook: Arrival at the Second Group; but where is the actual Second Subject?
0:39
61
Second Movement: Scene by the Brook: A new tune is introduced by the bassoon
0:38
62
Second Movement: Scene by the Brook: Tune is repeated three times
1:00
63
Second Movement: Scene by the Brook: ...which the full orchestra now takes up in varied form
0:45
64
Second Movement: Scene by the Brook: Theme carried by flutes and first violins in a charmingly waltz-like development
0:48
65
Second Movement: Scene by the Brook: A reminder of precedent
0:14
66
Second Movement: Scene by the Brook: Back to the prevailing triple-metre with violins, bassoons and flutes
0:16
67
Second Movement: Scene by the Brook: Another reminder of precedent...
0:16
68
Second Movement: Scene by the Brook: ...and a cue to some unexpected departures
0:38
69
Second Movement: Scene by the Brook: The transformational magic of Beethoven's 'tone-painting' - and a new varation
0:50
70
Second Movement: Scene by the Brook: Conversation of clarinet, flute and oboe on the way to the Development
0:43
71
Second Movement: Scene by the Brook: Harmonic movement emphasised by violins; oboe takes up the First Subject
0:39
72
Second Movement: Scene by the Brook: Flute and oboe discuss the First Subject, before arriving together at the Transition
1:04
73
Second Movement: Scene by the Brook: Gains in volume and intensity lead to a new key-change
0:47
74
Second Movement: Scene by the Brook: More thematic transformation through the agency of tone-colour
1:11
75
Second Movement: Scene by the Brook: Harmonic fluideity - instability - as the central engine of the Development section
1:40
76
Second Movement: Scene by the Brook: Harmonic instability, thematic dissolution increase, then lessen with approach of Recapitulation
1:41
77
Second Movement: Scene by the Brook: Recap. and transformation: key and material are right, but what a change of presentation!
1:29
78
Second Movement: Scene by the Brook: Just when we know what's coming, Beethoven changes the rules (or at least the harmony)
0:53
79
Second Movement: Scene by the Brook: Transformation by reorchestration; switch to long sustained chords; then everything stops
1:20
80
Second Movement: Scene by the Brook: The silence is broken by voices of nightingale (flute), quail (oboe) and cuckoo (clarinet)
0:40
81
Second Movement: Scene by the Brook: First violins bring back motto theme
0:12
82
Second Movement: Scene by the Brook: Cue to complete movement on CD 2
0:33
Disc 2
1
Second Movement: Scene by the Brook: Second movement (complete)
12:03
2
Symphony No. 6 in F major, Op. 68, "Pastoral": III. Merry Gathering of Country Folk: Beethoven and the Scherzo: an introduction; Part One of opening phrase taken by the strings
1:31
3
Symphony No. 6 in F major, Op. 68, "Pastoral": III. Merry Gathering of Country Folk: Immediate response; Part One is answered by a march more singing, continuous legato
0:23
4
Symphony No. 6 in F major, Op. 68, "Pastoral": III. Merry Gathering of Country Folk: Entire orchestra gives out opening theme, this time fortissimo and with powerful accents
1:06
5
Symphony No. 6 in F major, Op. 68, "Pastoral": III. Merry Gathering of Country Folk: A mustical ball game. The contrast of this and the first two movements could hardly be greater
0:33
6
Symphony No. 6 in F major, Op. 68, "Pastoral": III. Merry Gathering of Country Folk: After quietly teasing suspense, Beethoven mocks village band, first the oboe, then the bassoon
1:18
7
Symphony No. 6 in F major, Op. 68, "Pastoral": III. Merry Gathering of Country Folk: Clarinet joins in, then horn takes the tune - the dance no longer boisterous but lyrical
0:48
8
Symphony No. 6 in F major, Op. 68, "Pastoral": III. Merry Gathering of Country Folk: Strings sweep the village musicians aside and hurtle us into the new, boisterous 'Trio' section
0:46
9
Symphony No. 6 in F major, Op. 68, "Pastoral": III. Merry Gathering of Country Folk: The air is alive with the sound of (mock) bagpipes, tambourines and fifes
1:00
10
Symphony No. 6 in F major, Op. 68, "Pastoral": III. Merry Gathering of Country Folk: Coda; begins as the movement itself begins, but soon diverges in harmony and instrumentation
1:18
11
Symphony No. 6 in F major, Op. 68, "Pastoral": III. Merry Gathering of Country Folk: Original layout compressed; order of events is changed nd Beethoven springs a big surprise
0:42
12
Symphony No. 6 in F major, Op. 68, "Pastoral": III. Merry Gathering of Country Folk: Third movement (complete)
5:14
13
Symphony No. 6 in F major, Op. 68, "Pastoral": IV. Thunderstorm: Unparalled portrait of nature's power over humanity, with some stupendous orchestration
3:05
14
Symphony No. 6 in F major, Op. 68, "Pastoral": IV. Thunderstorm: Self-generating form and terror of total unpredictability; 'anxiety motif' from the violins
1:34
15
Symphony No. 6 in F major, Op. 68, "Pastoral": IV. Thunderstorm: The 'lashing rain' motif - downward-driving arpeggios from the first violins and violas
0:36
16
Symphony No. 6 in F major, Op. 68, "Pastoral": IV. Thunderstorm: The 'lightning' motif, and its recurrnece later in the movement
0:22
17
Symphony No. 6 in F major, Op. 68, "Pastoral": IV. Thunderstorm: 'Rain' motif, derived from descending scale pattern from the violins at the outest
0:13
18
Symphony No. 6 in F major, Op. 68, "Pastoral": IV. Thunderstorm: Shivering tremolandos from the strings and increasingly eerie harmonies from the wind
0:18
19
Symphony No. 6 in F major, Op. 68, "Pastoral": IV. Thunderstorm: Steady crescendo in strings; terrifying, downward spelling-out of chords in the violins
1:37
20
Symphony No. 6 in F major, Op. 68, "Pastoral": IV. Thunderstorm: Extremes of dynamic contrasts; the unsettling, disturbing, undermining effects of chromaticism
1:02
21
Symphony No. 6 in F major, Op. 68, "Pastoral": IV. Thunderstorm: Abandonment of melody, and most traces even of rhythm; sustained, discordant harmony
0:20
22
Symphony No. 6 in F major, Op. 68, "Pastoral": IV. Thunderstorm: Storm dispersed, the sun reappears, bathing sodden earth below with its life-giving rays
1:52
23
Symphony No. 6 in F major, Op. 68, "Pastoral": IV. Thunderstorm: Cue to complete preformance of Fourth Movement
0:09
24
Symphony No. 6 in F major, Op. 68, "Pastoral": IV. Thunderstorm: Fourth movement (complete)
3:55
25
Fifth Movement: Shepherd's Song - Happy and Thankful Feelings After the Storm: 'Yodelling' figure from clarinet, then horn, the violins, who introduce the main theme
0:59
26
Fifth Movement: Shepherd's Song - Happy and Thankful Feelings After the Storm: Details of instrumental magic in the interplay of horns, cellos, clarinets and bassoons
1:06
27
Fifth Movement: Shepherd's Song - Happy and Thankful Feelings After the Storm: Main theme heard three times in a row - and yet never the same way twice
1:06
28
Fifth Movement: Shepherd's Song - Happy and Thankful Feelings After the Storm: Now we get the whole orchestra, playing full out, with violins all double-stopping
0:36
29
Fifth Movement: Shepherd's Song - Happy and Thankful Feelings After the Storm: Transition to the next section, based on the last two notes of the main theme
0:43
30
Fifth Movement: Shepherd's Song - Happy and Thankful Feelings After the Storm: The rhythmic basis of new transition theme, first in violas, then takes up by first violins
0:38
31
Fifth Movement: Shepherd's Song - Happy and Thankful Feelings After the Storm: Another rhythmic details of extended transition comes increasingly into the foreground
0:29
32
Fifth Movement: Shepherd's Song - Happy and Thankful Feelings After the Storm: ...and is then heard in expanded version, taken in sequence by the strings, from the top down
0:52
33
Fifth Movement: Shepherd's Song - Happy and Thankful Feelings After the Storm: New phrase, introduced by violins, brings us resoundingly back to the opening material
1:13
34
Fifth Movement: Shepherd's Song - Happy and Thankful Feelings After the Storm: Main theme, re-orchestrated; unexpected drift into another key and a new, gently flowing theme
2:15
35
Fifth Movement: Shepherd's Song - Happy and Thankful Feelings After the Storm: Hints of a return to main theme; long 'pedal point'; running commentary from the violins
0:58
36
Fifth Movement: Shepherd's Song - Happy and Thankful Feelings After the Storm: Main theme returns, but significantly altered, and not entirely intact
0:37
37
Fifth Movement: Shepherd's Song - Happy and Thankful Feelings After the Storm: Running commentary now heard in the middle, with alternating pizzicatos both above and below
0:24
38
Fifth Movement: Shepherd's Song - Happy and Thankful Feelings After the Storm: Part Three of main theme given to entire orchestra, leading to final appearance of Theme two
1:21
39
Fifth Movement: Shepherd's Song - Happy and Thankful Feelings After the Storm: Extended coda; overlapping variations of main theme, rather in the manner of a round
2:09
40
Fifth Movement: Shepherd's Song - Happy and Thankful Feelings After the Storm: Suddenly the scene changes. A variation of the 'running commentary' cited in Tracks 34 and 36
0:51
41
Fifth Movement: Shepherd's Song - Happy and Thankful Feelings After the Storm: The crowning glory, as the Shepherd's Song of Thanksgiving takes on a 'heavenly' magnificence
2:11
42
Fifth Movement: Shepherd's Song - Happy and Thankful Feelings After the Storm: Cue into complete performance of Fifth Movement through the 'gateway' of the Fourth
1:09
43
Fifth Movement: Shepherd's Song - Happy and Thankful Feelings After the Storm: Fourth and Fifth movements (complete)
13:47