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

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NA 8034
 
Multiple Set of 2 CDs
Classics Explained: BEETHOVEN - Symphony No. 6, 'Pastoral' (Siepmann)
Label Catalogue Number:
8.558034-35
Running Time: 153:00
Digital UPC: 0636943803424

Release Date: July 2002
Composer
Jeremy Siepmann

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JEREMY SIEPMANN

Symphony No. 6 in F major, Op. 68, 'Pastoral': I. Awakening of Cheerful Feelings on Arriving in the Country

1.
On Beethoven's Openings
1:26
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2.
Opening phrase of the 'Pastoral': ood, Symbolism and Musical Function
1:44
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LUDWIG VAN BEETHOVEN

3.
Musical Acorns: the outline of melody; the shape of a question
0:42
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4.
The 'question' in the 'Pastoral' repeated...
0:04
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5.
...and answered
0:12
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JEREMY SIEPMANN

6.
The opening phrase ends on a note full of pregnant expectation
0:19
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LUDWIG VAN BEETHOVEN

7.
Starting with a stop
0:36
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JEREMY SIEPMANN

8.
The rhythmic profile of the opening phrase; a two-part construction
0:52
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LUDWIG VAN BEETHOVEN

9.
Phrase One, Part One
0:09
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10.
Phrase One, Part Two
0:06
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JEREMY SIEPMANN

11.
The properties of rhythmic ambiguity; the 'question' of Phrase One answered
1:03
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LUDWIG VAN BEETHOVEN

12.
Phrase Two: from meander to march
0:27
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13.
The makings of a conversation: contrast and variation
0:47
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14.
Repetition as a major factor, but it's never mere repetition; each time something new is added
0:33
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JEREMY SIEPMANN

15.
From soft to loud and back again; instrumental enrichment from horns and double-basses
0:18
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16.
Mega-repetition: violins play exactly the same little fragment ten times in a row
0:29
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LUDWIG VAN BEETHOVEN

17.
But no two repetitions are quite the same; varieties of contrast
0:34
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18.
More variation: pitch rises; violins joined frist by the clarinet, then by the oboe
0:19
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19.
Return to opening idea, but with new instrumentation and articulation
0:25
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20.
Clarinets, horns, bassoons and flutes now join expansive variation
0:49
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JEREMY SIEPMANN

21.
'New' insistent rhythm derived from the first four notes of the piece
0:09
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LUDWIG VAN BEETHOVEN

22.
With the dawn chorus, a whole forest is waking up; feelings of rapture
0:36
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23.
First violins play a derivative of the opening figure, joined by wind and strings
0:32
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JEREMY SIEPMANN

24.
Sudden change of key, from the home key (tonic) to the dominant
0:30
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25.
Arrival at the hightly contrasting second main theme
0:55
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26.
Unusual properties of second main theme
2:15
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LUDWIG VAN BEETHOVEN

27.
Rhythmic clash between simultaneous groups of three beats and groups of two
1:09
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JEREMY SIEPMANN

28.
winds fall selent as the violins and violas interrupt with a new theme
0:30
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29.
Winds answer with the same morse-like rhythm but at half the speed
0:51
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30.
Crescendo leads to strings' acceleration of the pace with no increase in tempo
1:05
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LUDWIG VAN BEETHOVEN

31.
Beginning of coda, directly based on morse-like rhythm of the main theme
0:22
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JEREMY SIEPMANN

32.
Strings reiterate small fragment of the new theme 13 times in a row
0:48
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33.
A simple, rising violin phrase leads to a repeat of the Exposition
0:18
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34.
The nature and function of the Development section in sonata form; 'harmonic' rhythm explained
2:22
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35.
The nature of harmonic rhythm illustrated
0:35
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36.
A typically Beethovenian exercise in the frustration of expectation
0:38
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LUDWIG VAN BEETHOVEN

37.
Repetitiousness and magic effected largely through instrumental colour
0:42
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JEREMY SIEPMANN

38.
Then come four, almost identical bars
0:08
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39.
Even greater magic, with sudden switch of key and tone colour
0:28
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40.
Entire Development section up to this point
1:55
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41.
The Development continued
1:23
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LUDWIG VAN BEETHOVEN

42.
Increased unease and suspense as harmonic rhythm accelerates
2:03
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43.
Arrival at the point of Recapitulation; back to the beginning, as a reminder
1:50
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JEREMY SIEPMANN

44.
Beginning of Recapitulation
0:50
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45.
More Beethovenian frustrations of expectations which he himself has just set up
1:01
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46.
Harmonic rhythm speeds up, giving the impression of an accent on every beat
0:34
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47.
Prevailing mood restored; new theme from clarinets and bassoons
0:28
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LUDWIG VAN BEETHOVEN

48.
Violins and violas take up theme; horns, cellos, double-basses accompany
0:48
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49.
A hush falls, followed by a return of the movement's most familiar tag in strings
0:58
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JEREMY SIEPMANN

50.
Clarinet takes up the running triplet figures of the main closing theme
0:32
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LUDWIG VAN BEETHOVEN

51.
First violins take up the opening phrase again, accompanied by double-basses
0:37
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JEREMY SIEPMANN

52.
Beethoven slips in one last surprise; cue to complete movement
0:59
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53.
First movement (complete)
11:01
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Second Movement: Scene by the Brook

54.
General introduction; the birth of a melody
1:59
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LUDWIG VAN BEETHOVEN

55.
Brook music quickens; syncopated horns; theme changes hands; evocation of birdsong
1:19
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56.
The 'motto' theme introduced by violins and treated to round-like overlappings
0:52
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JEREMY SIEPMANN

57.
Transitional 'bridge' theme sets off for new key group. But is it? And does it?
0:39
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LUDWIG VAN BEETHOVEN

58.
Will he, or won't he? Beethoven keeps us guessing
1:09
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59.
The run-up to the Second Group
1:14
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60.
Arrival at the Second Group; but where is the actual Second Subject?
0:39
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61.
A new tune is introduced by the bassoon
0:38
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62.
Tune is repeated three times
1:00
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JEREMY SIEPMANN

63.
...which the full orchestra now takes up in varied form
0:45
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64.
Theme carried by flutes and first violins in a charmingly waltz-like development
0:48
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LUDWIG VAN BEETHOVEN

65.
A reminder of precedent
0:14
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JEREMY SIEPMANN

66.
Back to the prevailing triple-metre with violins, bassoons and flutes
0:16
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LUDWIG VAN BEETHOVEN

67.
Another reminder of precedent...
0:16
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68.
...and a cue to some unexpected departures
0:38
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JEREMY SIEPMANN

69.
The transformational magic of Beethoven's 'tone-painting' - and a new varation
0:50
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70.
Conversation of clarinet, flute and oboe on the way to the Development
0:43
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71.
Harmonic movement emphasised by violins; oboe takes up the First Subject
0:38
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LUDWIG VAN BEETHOVEN

72.
Flute and oboe discuss the First Subject, before arriving together at the Transition
1:04
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73.
Gains in volume and intensity lead to a new key-change
0:47
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74.
More thematic transformation through the agency of tone-colour
1:11
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75.
Harmonic fluideity - instability - as the central engine of the Development section
1:40
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JEREMY SIEPMANN

76.
Harmonic instability, thematic dissolution increase, then lessen with approach of Recapitulation
1:41
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LUDWIG VAN BEETHOVEN

77.
Recap. and transformation: key and material are right, but what a change of presentation!
1:29
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78.
Just when we know what's coming, Beethoven changes the rules (or at least the harmony)
0:53
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JEREMY SIEPMANN

79.
Transformation by reorchestration; switch to long sustained chords; then everything stops
1:20
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80.
The silence is broken by voices of nightingale (flute), quail (oboe) and cuckoo (clarinet)
0:40
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LUDWIG VAN BEETHOVEN

81.
First violins bring back motto theme
0:12
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82.
Cue to complete movement on CD 2
0:32
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JEREMY SIEPMANN

1.
Second movement (complete)
12:03
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LUDWIG VAN BEETHOVEN

Symphony No. 6 in F major, Op. 68, 'Pastoral': III. Merry Gathering of Country Folk

2.
Beethoven and the Scherzo: an introduction; Part One of opening phrase taken by the strings
1:32
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3.
Immediate response; Part One is answered by a march more singing, continuous legato
0:23
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JEREMY SIEPMANN

4.
Entire orchestra gives out opening theme, this time fortissimo and with powerful accents
1:06
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5.
A mustical ball game. The contrast of this and the first two movements could hardly be greater
0:33
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LUDWIG VAN BEETHOVEN

6.
After quietly teasing suspense, Beethoven mocks village band, first the oboe, then the bassoon
1:18
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7.
Clarinet joins in, then horn takes the tune - the dance no longer boisterous but lyrical
0:48
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8.
Strings sweep the village musicians aside and hurtle us into the new, boisterous 'Trio' section
0:46
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JEREMY SIEPMANN

9.
The air is alive with the sound of (mock) bagpipes, tambourines and fifes
1:00
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LUDWIG VAN BEETHOVEN

10.
Coda; begins as the movement itself begins, but soon diverges in harmony and instrumentation
1:18
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JEREMY SIEPMANN

11.
Original layout compressed; order of events is changed nd Beethoven springs a big surprise
0:42
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12.
Third movement (complete)
5:14
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LUDWIG VAN BEETHOVEN

Symphony No. 6 in F major, Op. 68, 'Pastoral': IV. Thunderstorm

13.
Unparalled portrait of nature's power over humanity, with some stupendous orchestration
3:05
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14.
Self-generating form and terror of total unpredictability; 'anxiety motif' from the violins
1:34
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JEREMY SIEPMANN

15.
The 'lashing rain' motif - downward-driving arpeggios from the first violins and violas
0:36
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16.
The 'lightning' motif, and its recurrnece later in the movement
0:22
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LUDWIG VAN BEETHOVEN

17.
'Rain' motif, derived from descending scale pattern from the violins at the outest
0:13
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JEREMY SIEPMANN

18.
Shivering tremolandos from the strings and increasingly eerie harmonies from the wind
0:18
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19.
Steady crescendo in strings; terrifying, downward spelling-out of chords in the violins
1:37
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20.
Extremes of dynamic contrasts; the unsettling, disturbing, undermining effects of chromaticism
1:02
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21.
Abandonment of melody, and most traces even of rhythm; sustained, discordant harmony
0:20
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LUDWIG VAN BEETHOVEN

22.
Storm dispersed, the sun reappears, bathing sodden earth below with its life-giving rays
1:52
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JEREMY SIEPMANN

23.
Cue to complete preformance of Fourth Movement
0:09
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LUDWIG VAN BEETHOVEN

24.
Fourth movement (complete)
3:55
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JEREMY SIEPMANN

Fifth Movement: Shepherd's Song - Happy and Thankful Feelings After the Storm

25.
'Yodelling' figure from clarinet, then horn, the violins, who introduce the main theme
0:59
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26.
Details of instrumental magic in the interplay of horns, cellos, clarinets and bassoons
1:06
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LUDWIG VAN BEETHOVEN

27.
Main theme heard three times in a row - and yet never the same way twice
1:06
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28.
Now we get the whole orchestra, playing full out, with violins all double-stopping
0:36
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29.
Transition to the next section, based on the last two notes of the main theme
0:43
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30.
The rhythmic basis of new transition theme, first in violas, then takes up by first violins
0:38
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31.
Another rhythmic details of extended transition comes increasingly into the foreground
0:29
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32.
...and is then heard in expanded version, taken in sequence by the strings, from the top down
0:51
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JEREMY SIEPMANN

33.
New phrase, introduced by violins, brings us resoundingly back to the opening material
1:13
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LUDWIG VAN BEETHOVEN

34.
Main theme, re-orchestrated; unexpected drift into another key and a new, gently flowing theme
2:15
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35.
Hints of a return to main theme; long 'pedal point'; running commentary from the violins
0:58
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36.
Main theme returns, but significantly altered, and not entirely intact
0:37
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37.
Running commentary now heard in the middle, with alternating pizzicatos both above and below
0:24
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JEREMY SIEPMANN

38.
Part Three of main theme given to entire orchestra, leading to final appearance of Theme two
1:21
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39.
Extended coda; overlapping variations of main theme, rather in the manner of a round
2:09
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40.
Suddenly the scene changes. A variation of the 'running commentary' cited in Tracks 34 and 36
0:51
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LUDWIG VAN BEETHOVEN

41.
The crowning glory, as the Shepherd's Song of Thanksgiving takes on a 'heavenly' magnificence
2:10
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42.
Cue into complete performance of Fifth Movement through the 'gateway' of the Fourth
1:09
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JEREMY SIEPMANN

43.
Fourth and Fifth movements (complete)
13:47
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Solo: Jeremy Siepmann Soloist

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JEREMY SIEPMANN

Symphony No. 6 in F major, Op. 68, 'Pastoral': I. Awakening of Cheerful Feelings on Arriving in the Country

1.
On Beethoven's Openings
1:26
2.
Opening phrase of the 'Pastoral': ood, Symbolism and Musical Function
1:44

LUDWIG VAN BEETHOVEN

3.
Musical Acorns: the outline of melody; the shape of a question
0:42
4.
The 'question' in the 'Pastoral' repeated...
0:04
5.
...and answered
0:12

JEREMY SIEPMANN

6.
The opening phrase ends on a note full of pregnant expectation
0:19

LUDWIG VAN BEETHOVEN

7.
Starting with a stop
0:36

JEREMY SIEPMANN

8.
The rhythmic profile of the opening phrase; a two-part construction
0:52

LUDWIG VAN BEETHOVEN

9.
Phrase One, Part One
0:09
10.
Phrase One, Part Two
0:06

JEREMY SIEPMANN

11.
The properties of rhythmic ambiguity; the 'question' of Phrase One answered
1:03

LUDWIG VAN BEETHOVEN

12.
Phrase Two: from meander to march
0:27
13.
The makings of a conversation: contrast and variation
0:47
14.
Repetition as a major factor, but it's never mere repetition; each time something new is added
0:33

JEREMY SIEPMANN

15.
From soft to loud and back again; instrumental enrichment from horns and double-basses
0:18
16.
Mega-repetition: violins play exactly the same little fragment ten times in a row
0:29

LUDWIG VAN BEETHOVEN

17.
But no two repetitions are quite the same; varieties of contrast
0:34
18.
More variation: pitch rises; violins joined frist by the clarinet, then by the oboe
0:19
19.
Return to opening idea, but with new instrumentation and articulation
0:25
20.
Clarinets, horns, bassoons and flutes now join expansive variation
0:49

JEREMY SIEPMANN

21.
'New' insistent rhythm derived from the first four notes of the piece
0:09

LUDWIG VAN BEETHOVEN

22.
With the dawn chorus, a whole forest is waking up; feelings of rapture
0:36
23.
First violins play a derivative of the opening figure, joined by wind and strings
0:32

JEREMY SIEPMANN

24.
Sudden change of key, from the home key (tonic) to the dominant
0:30
25.
Arrival at the hightly contrasting second main theme
0:55
26.
Unusual properties of second main theme
2:15

LUDWIG VAN BEETHOVEN

27.
Rhythmic clash between simultaneous groups of three beats and groups of two
1:09

JEREMY SIEPMANN

28.
winds fall selent as the violins and violas interrupt with a new theme
0:30
29.
Winds answer with the same morse-like rhythm but at half the speed
0:51
30.
Crescendo leads to strings' acceleration of the pace with no increase in tempo
1:05

LUDWIG VAN BEETHOVEN

31.
Beginning of coda, directly based on morse-like rhythm of the main theme
0:22

JEREMY SIEPMANN

32.
Strings reiterate small fragment of the new theme 13 times in a row
0:48
33.
A simple, rising violin phrase leads to a repeat of the Exposition
0:18
34.
The nature and function of the Development section in sonata form; 'harmonic' rhythm explained
2:22
35.
The nature of harmonic rhythm illustrated
0:35
36.
A typically Beethovenian exercise in the frustration of expectation
0:38

LUDWIG VAN BEETHOVEN

37.
Repetitiousness and magic effected largely through instrumental colour
0:42

JEREMY SIEPMANN

38.
Then come four, almost identical bars
0:08
39.
Even greater magic, with sudden switch of key and tone colour
0:28
40.
Entire Development section up to this point
1:55
41.
The Development continued
1:23

LUDWIG VAN BEETHOVEN

42.
Increased unease and suspense as harmonic rhythm accelerates
2:03
43.
Arrival at the point of Recapitulation; back to the beginning, as a reminder
1:50

JEREMY SIEPMANN

44.
Beginning of Recapitulation
0:50
45.
More Beethovenian frustrations of expectations which he himself has just set up
1:01
46.
Harmonic rhythm speeds up, giving the impression of an accent on every beat
0:34
47.
Prevailing mood restored; new theme from clarinets and bassoons
0:28

LUDWIG VAN BEETHOVEN

48.
Violins and violas take up theme; horns, cellos, double-basses accompany
0:48
49.
A hush falls, followed by a return of the movement's most familiar tag in strings
0:58

JEREMY SIEPMANN

50.
Clarinet takes up the running triplet figures of the main closing theme
0:32

LUDWIG VAN BEETHOVEN

51.
First violins take up the opening phrase again, accompanied by double-basses
0:37

JEREMY SIEPMANN

52.
Beethoven slips in one last surprise; cue to complete movement
0:59
53.
First movement (complete)
11:01

Second Movement: Scene by the Brook

54.
General introduction; the birth of a melody
1:59

LUDWIG VAN BEETHOVEN

55.
Brook music quickens; syncopated horns; theme changes hands; evocation of birdsong
1:19
56.
The 'motto' theme introduced by violins and treated to round-like overlappings
0:52

JEREMY SIEPMANN

57.
Transitional 'bridge' theme sets off for new key group. But is it? And does it?
0:39

LUDWIG VAN BEETHOVEN

58.
Will he, or won't he? Beethoven keeps us guessing
1:09
59.
The run-up to the Second Group
1:14
60.
Arrival at the Second Group; but where is the actual Second Subject?
0:39
61.
A new tune is introduced by the bassoon
0:38
62.
Tune is repeated three times
1:00

JEREMY SIEPMANN

63.
...which the full orchestra now takes up in varied form
0:45
64.
Theme carried by flutes and first violins in a charmingly waltz-like development
0:48

LUDWIG VAN BEETHOVEN

65.
A reminder of precedent
0:14

JEREMY SIEPMANN

66.
Back to the prevailing triple-metre with violins, bassoons and flutes
0:16

LUDWIG VAN BEETHOVEN

67.
Another reminder of precedent...
0:16
68.
...and a cue to some unexpected departures
0:38

JEREMY SIEPMANN

69.
The transformational magic of Beethoven's 'tone-painting' - and a new varation
0:50
70.
Conversation of clarinet, flute and oboe on the way to the Development
0:43
71.
Harmonic movement emphasised by violins; oboe takes up the First Subject
0:38

LUDWIG VAN BEETHOVEN

72.
Flute and oboe discuss the First Subject, before arriving together at the Transition
1:04
73.
Gains in volume and intensity lead to a new key-change
0:47
74.
More thematic transformation through the agency of tone-colour
1:11
75.
Harmonic fluideity - instability - as the central engine of the Development section
1:40

JEREMY SIEPMANN

76.
Harmonic instability, thematic dissolution increase, then lessen with approach of Recapitulation
1:41

LUDWIG VAN BEETHOVEN

77.
Recap. and transformation: key and material are right, but what a change of presentation!
1:29
78.
Just when we know what's coming, Beethoven changes the rules (or at least the harmony)
0:53

JEREMY SIEPMANN

79.
Transformation by reorchestration; switch to long sustained chords; then everything stops
1:20
80.
The silence is broken by voices of nightingale (flute), quail (oboe) and cuckoo (clarinet)
0:40

LUDWIG VAN BEETHOVEN

81.
First violins bring back motto theme
0:12
82.
Cue to complete movement on CD 2
0:32

JEREMY SIEPMANN

1.
Second movement (complete)
12:03

LUDWIG VAN BEETHOVEN

Symphony No. 6 in F major, Op. 68, 'Pastoral': III. Merry Gathering of Country Folk

2.
Beethoven and the Scherzo: an introduction; Part One of opening phrase taken by the strings
1:32
3.
Immediate response; Part One is answered by a march more singing, continuous legato
0:23

JEREMY SIEPMANN

4.
Entire orchestra gives out opening theme, this time fortissimo and with powerful accents
1:06
5.
A mustical ball game. The contrast of this and the first two movements could hardly be greater
0:33

LUDWIG VAN BEETHOVEN

6.
After quietly teasing suspense, Beethoven mocks village band, first the oboe, then the bassoon
1:18
7.
Clarinet joins in, then horn takes the tune - the dance no longer boisterous but lyrical
0:48
8.
Strings sweep the village musicians aside and hurtle us into the new, boisterous 'Trio' section
0:46

JEREMY SIEPMANN

9.
The air is alive with the sound of (mock) bagpipes, tambourines and fifes
1:00

LUDWIG VAN BEETHOVEN

10.
Coda; begins as the movement itself begins, but soon diverges in harmony and instrumentation
1:18

JEREMY SIEPMANN

11.
Original layout compressed; order of events is changed nd Beethoven springs a big surprise
0:42
12.
Third movement (complete)
5:14

LUDWIG VAN BEETHOVEN

Symphony No. 6 in F major, Op. 68, 'Pastoral': IV. Thunderstorm

13.
Unparalled portrait of nature's power over humanity, with some stupendous orchestration
3:05
14.
Self-generating form and terror of total unpredictability; 'anxiety motif' from the violins
1:34

JEREMY SIEPMANN

15.
The 'lashing rain' motif - downward-driving arpeggios from the first violins and violas
0:36
16.
The 'lightning' motif, and its recurrnece later in the movement
0:22

LUDWIG VAN BEETHOVEN

17.
'Rain' motif, derived from descending scale pattern from the violins at the outest
0:13

JEREMY SIEPMANN

18.
Shivering tremolandos from the strings and increasingly eerie harmonies from the wind
0:18
19.
Steady crescendo in strings; terrifying, downward spelling-out of chords in the violins
1:37
20.
Extremes of dynamic contrasts; the unsettling, disturbing, undermining effects of chromaticism
1:02
21.
Abandonment of melody, and most traces even of rhythm; sustained, discordant harmony
0:20

LUDWIG VAN BEETHOVEN

22.
Storm dispersed, the sun reappears, bathing sodden earth below with its life-giving rays
1:52

JEREMY SIEPMANN

23.
Cue to complete preformance of Fourth Movement
0:09

LUDWIG VAN BEETHOVEN

24.
Fourth movement (complete)
3:55

JEREMY SIEPMANN

Fifth Movement: Shepherd's Song - Happy and Thankful Feelings After the Storm

25.
'Yodelling' figure from clarinet, then horn, the violins, who introduce the main theme
0:59
26.
Details of instrumental magic in the interplay of horns, cellos, clarinets and bassoons
1:06

LUDWIG VAN BEETHOVEN

27.
Main theme heard three times in a row - and yet never the same way twice
1:06
28.
Now we get the whole orchestra, playing full out, with violins all double-stopping
0:36
29.
Transition to the next section, based on the last two notes of the main theme
0:43
30.
The rhythmic basis of new transition theme, first in violas, then takes up by first violins
0:38
31.
Another rhythmic details of extended transition comes increasingly into the foreground
0:29
32.
...and is then heard in expanded version, taken in sequence by the strings, from the top down
0:51

JEREMY SIEPMANN

33.
New phrase, introduced by violins, brings us resoundingly back to the opening material
1:13

LUDWIG VAN BEETHOVEN

34.
Main theme, re-orchestrated; unexpected drift into another key and a new, gently flowing theme
2:15
35.
Hints of a return to main theme; long 'pedal point'; running commentary from the violins
0:58
36.
Main theme returns, but significantly altered, and not entirely intact
0:37
37.
Running commentary now heard in the middle, with alternating pizzicatos both above and below
0:24

JEREMY SIEPMANN

38.
Part Three of main theme given to entire orchestra, leading to final appearance of Theme two
1:21
39.
Extended coda; overlapping variations of main theme, rather in the manner of a round
2:09
40.
Suddenly the scene changes. A variation of the 'running commentary' cited in Tracks 34 and 36
0:51

LUDWIG VAN BEETHOVEN

41.
The crowning glory, as the Shepherd's Song of Thanksgiving takes on a 'heavenly' magnificence
2:10
42.
Cue into complete performance of Fifth Movement through the 'gateway' of the Fourth
1:09

JEREMY SIEPMANN

43.
Fourth and Fifth movements (complete)
13:47
Solo: Jeremy Siepmann Soloist




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