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Album

The Instruments of the Orchestra (Box Set)

The Instruments of the Orchestra (Box Set)

Jeremy Siepmann Narrator

CDs: 7
Tracks: 410
Length: 7:55:17

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$39.99

Naxos
Rel. 2 Nov 2002

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The Instruments of the Orchestra (Box Set)

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CD 1 of 7
1 Violin: "Oh! to be a conductor..." Includes excerpt from Wagner's Overture to Tannhäuser 2:06
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2 Excerpt 0:28
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3 Violin: We don't merely use instruments, we play on them. And they play on us. 1:19
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4 7.Allegretto in A 1:39
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5 Violin: The violin is one of the most tender and beautiful instruments ever invented 0:45
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6 2.Adagio (excerpt) 1:08
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7 Violin: But for a long time it was seen as the instrument of the devil. 0:17
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8 15.Triumphal March of the Devil (excerpt) 0:45
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9 Violin: The manipulative seductiveness of the gypsy violin 0:43
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10 Csárdás, for violin and piano 3:33
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11 Violin: The violin and the imitation of nature 0:23
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12 1.Allegro (excerpt) 0:35
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13 Violin: Birds are again evoked in the second concerto, especially music's natural favourite 0:09
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14 1.Allegro non molto. Allegro (excerpt) 0:41
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15 Violin: Like the devil, the violin is a master of disguise. 0:18
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Jenö Jandó Piano, Takako Nishizaki Violin, Jeremy Siepmann Narrator
16 Schön Rosmarin 1:55
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17 Violin: The menacing sensuality of Ravel's Tzigane; a very different side of the violin 0:15
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18 Tzigane: Rhapsodie de concert, for violin and piano (excerpt) 0:51
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19 Violin: Do we now have the true measure of this instrument? Not just jet. 0:15
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20 24.Finale: Theme and Variations in A- (excerpt) 0:48
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21 Violin: The many effects of the string tremolando. Includes excerpt from Bach's Brandenburg Concerto; Schubert's Quartettsatz in C mi 1:57
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22 Variation 7: Moto perpetuo 1:06
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23 Violin: Prokofiev's tremolo in Romeo and Juliet should not be heard just before bedtime 0:22
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24 Excerpt 0:46
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25 Violin: Vivaldi uses it to illustrate the shivering of travellers crossing the ice 0:14
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26 1.Allegro non molto (excerpt) 0:57
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27 Violin: The violin muted 0:31
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28 3.Clair de lune 1:41
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29 Violin: The gentleness of muted strings persists even when a whole orchestra plays 0:30
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30 2.Andante ('Theme from Elvira Madigan'; excerpt) 1:26
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31 Violin: The pizzicato violin 0:38
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32 Pizzicato Polka, Op.234 2:29
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33 Violin: In Prokofiev's Second Violin Concerto, the accompaniment is pizzicato 0:26
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34 2.Andante assai (excerpt) 2:02
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35 Violin: Varieties of pizzicato. Includes excerpt from Kabalevsky's Colas Breugon; Warlock's Capriol Suite (Tordion); Prokofiev's Rome 3:09
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36 1.Mars: The Bringer of War (excerpt) 1:27
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37 Violin: The technique of double-stopping enables the violin to play duets with itself. Includes excerpt from Bach: Sonata No.3 in C 2:09
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38 4.Poco sostentuo. Vivace in F#- 3:51
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39 Violin: Double-stopping is a standerd feature of a lot of folk music 0:14
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40 1.Allegro non molto (excerpt) 0:37
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41 Violin: Now the same technique, but the sound might have come from another world 0:30
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42 Boléro (Excerpt 1) 0:49
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43 Violin: Double-stopping can only approximate the sound of a real violin duet. 0:20
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44 Excerpt 0:44
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45 Violin: Now compare that with a real violin duet 0:12
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46 1.Párosíto (Teasing Song) 0:52
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47 Violin: Another Duo by Bartök, demonstrating the violin's rich lower register 0:10
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48 2.Kalamajkó (Maypole Dance) 0:40
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49 Violin: And now what may be the most beautiful accompanied violin duet in history 0:17
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50 2.Largo ma non tanto 6:43
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51 Violin: The soul of the violin is in song; but what about this wierd passage? 0:42
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52 2.Scherzo: Vivacissimo (excerpt) 0:34
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53 Violin: The use of harmonics in the orchestra can be both magical and unsettling 0:29
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54 1.Langsam. Schleppend 1:33
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55 Violin: Tchaikovsky's use of harmonics in The Sleeping Beauty is both strange and daring 0:11
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56 19.Entr'acte (excerpt) 0:33
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57 Violin: Ravel's harmonics in Mother Goose effect a magical transformation 0:29
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58 4a.Les entretiens de la Belle et de la Bête (The conversations of Beauty and the Beast) Part 1 0:36
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59 Violin: Stravinsky's harmonies in The Firebirg transport us almost into another world. Includes excerpt from Stravinsky's The Firebir 0:32
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60 Violin: The Natural upper notes of the violins have a unique emotional "grab" 0:32
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61 2.Von den Hinterweltlern (Of the Backworldsmen) 0:55
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62 Violin: Still in their upper register, the violins unleash the energy of a young colt 0:14
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63 Variation 4: Aria Italiana 1:10
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64 Violin: Elsewhere, Britten uses the same high register to create a very different mood 0:11
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65 1.Dawn: Lento e tranquillo (excerpt) 1:08
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66 Violin: To end this outing with the violins, a charming little elfin dance 0:12
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67 Excerpt 1:29
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CD 2 of 7
1 Lower Strings: Introduction to the viola 0:42
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2 1.Largo 2:46
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3 Lower Strings: Khatchaturian gets a very different sound from it: fuller, fruitier, more exotic 0:14
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4 3.Ayesha's Dance (excerpt) 1:15
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5 Lower Strings: Very nearly the whole of the violin's upper register is also available to the viola 0:39
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6 Passacaglia (from Peter Grimes), Op.33b (excerpt) 1:00
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7 Lower Strings: The viola can bring a special, rich tranginess to pizzicato that the violins lack. Includes excerpt from Strauss's Don 1:03
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8 4.Orgie de brigands. Souvenir des scènes précédentes 2:00
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9 Lower Strings: The muted viola: intimate, gentle, poignant in Dvorák 0:34
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10 9.Moderato (Oh, dear soul, only one) 3:00
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11 Lower Strings: The massed violas of the modern symphony orchestra in Mahler 0:40
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12 3.Ruhevoll (excerpt) 1:13
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13 Lower Strings: The "period" viola in Bach 1:05
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14 3.Allegro 5:18
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15 Lower Strings: The cello: a voice of unique nobility 0:28
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16 1.Prelude 2:30
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17 Lower Strings: Brahms and the "soul" of the cello 0:19
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18 3.Andante (excerpt) 1:04
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19 Lower Strings: Most orchestral composers tend to emphasise the cello's lower register 0:27
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20 5.Aria (Soprano): Bereite dir, Jesu, noch itzo die Bahn 3:03
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21 Lower Strings: In the time of Beethoven the cello remained as fundamental as ever 0:14
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22 4.Finale: Allegro molto (excerpt) 0:46
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23 Lower Strings: But the cello is not condemned to spend its life in the basement 0:33
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24 Elfentanz, for Cello and Piano, Op.39 ('Dance of the Elves') 2:55
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25 Lower Strings: Not only in recital showpieces like that is the cello used in its highest register 0:10
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26 19.Opening (excerpt) 2:54
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27 Lower Strings: A cello with an identity-crisis: the pizzicato Flamencan 0:15
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28 Flamenco, for cello and piano 2:48
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29 Lower Strings: Double-stopping in the lower reaches of the cello's range 0:31
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30 2.Sardana (Danza; excerpt) 1:08
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31 Lower Strings: It's in its middle register that the cello really comes into its own 0:21
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32 2.Danse Orientale (excerpt) 1:32
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33 Lower Strings: It was to the cellos that Beethoven gave two of his most famous themes. Includes excerpt from Beethoven's Symphony No. 0:54
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34 4a.Presto. Allegro assai (with instrumental 'Ode to Joy' theme; excerpt) 0:54
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35 Lower Strings: Introduction to the double-bass 0:43
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36 5.Elephants 1:32
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37 Lower Strings: but the double-bass can be intensely expressive and graceful 0:10
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38 Excerpt 2:37
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39 Lower Strings: The range of the double-bass is the greatest of all the string instruments. Includes excerpt from Bottesini's Allegro 0:47
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40 Excerpt 4:42
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41 Lower Strings: Double-bass solos in orchestral scores are rare but often memorable. Includes excerpts from Mahler's Symphony No.1 "T 1:33
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42 Lower Strings: The Double-bass muted in Prokofiev. Includes excerpt from Prokofiev's Lieutenant Kijé Suite (Kijé's Wedding); Romeo an 2:25
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43 3.Scherzo: Allegro (excerpt) 1:20
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CD 3 of 7
1 Woodwinds: The antiquity and magic of the flute 0:20
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2 Prélude à l'après-midi d'un faune, L.86 (flute excerpt) 3:19
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3 Woodwinds: The versatility and agility of the flute 0:21
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4 7.Badinerie 1:18
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5 Woodwinds: The flute in fifteenth-century Spain 0:24
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Thomas Wimmer Conductor, Ensemble Accentus Ensemble, Jeremy Siepmann Narrator
6 Excerpt 0:55
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7 Woodwinds: Other flutes: the bass and alto 0:29
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8 excerpt #1. 1:12
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9 Woodwinds: The piccolo - aptly named 0:19
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10 No.6 (excerpt) 0:47
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11 Woodwinds: From a piccolo of the eighteenth century to one of its descendants in the twentieth 0:09
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12 2.Valse 0:54
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13 Woodwinds: A variety of techniques 0:19
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14 excerpt #2. 0:31
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15 Woodwinds: Flutter-tonguing. But Tchaikovsky got there eighty years before 0:28
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16 Excerpt 0:44
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17 Woodwinds: From the transverse to the vertical: the Baroque recorder 0:40
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18 4b.Menuet 2:12
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19 Woodwinds: An unfamiliar, early version of the instrument 0:23
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20 Needles, needles 1:09
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21 Woodwinds: The Bachian oboe 0:35
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22 7.Duet (Alto, Tenor): Wie selig sind doch die, die Gott im Munde tragen 3:34
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23 Woodwinds: Introduction to the cor anglais or "English horn" 0:41
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24 2.Largo 1:24
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25 Woodwinds: The loneliness of the cor anglais 0:11
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26 3.The Swan of Tuonela (excerpt) 1:49
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27 Woodwinds: The cor anglais joins the French horn in Haydn 0:17
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28 1.Adagio (excerpt) 1:43
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29 Woodwinds: Introduction to the oboe d'amore, beloved of Bach - but also of Ravel 0:22
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30 Boléro (Excerpt 2) 0:50
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31 Woodwinds: The Clarinet family: boxing the compass, from the depths of the bass clarinet... Includes excerpt from Herrmann's The Egyp 0:37
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32 Woodwinds: ... to the shrill and complaining.... Includes excerpt from Stravinsky's Petrushka (No.8. Peasant with Bear); Berlioz's S 1:38
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33 Woodwinds: As the high clarinets tend to be loud, so the bass tends to be soft 0:18
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34 5.Lullaby (excerpt) 0:54
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35 Woodwinds: The bass clarinet is used by most composers mainly as a colouring agent.... Includes excerpt from Stravinsky's Petrushka ( 1:44
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36 Woodwinds: The Range of the normal clarinet parts goes quite high 0:14
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37 5.Melodrama (excerpt) 1:17
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38 Woodwinds: ... and quite low 0:05
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39 4b.Attack of the Cat 0:45
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40 Woodwinds: The clarinet as concerto soloist 0:19
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41 3.Rondo: Allegro (excerpt) 2:48
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42 Woodwinds: but that's not the instrument Mozart wrote it for; this is: 0:16
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43 3.Rondo: Allegro (excerpt) 2:47
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44 Woodwinds: Introduction to the saxophone 2:47
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45 4.Battle and Defeat of Napoleon 1:03
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46 Woodwinds: The Soprano saxophone has quite a different feel to it 0:09
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47 2.Minuetto 1:17
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48 Woodwinds: The little sopranino sax goes even higher 0:12
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49 Boléro (Excerpt 3) 0:53
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50 Woodwinds: The most famous use of the saxophone is in an orchestration by Ravel 0:16
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51 4.The Old Castle (excerpt) 0:55
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52 Woodwinds: The saxophhone can be quite contagiously good-humored 0:11
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53 Excerpt 0:22
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54 Woodwinds: The puffa-puffa image of the bassoon 0:25
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55 5.Grandfather 0:46
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56 Woodwinds: the Bachian bassoon, in accompanimental mode 0:20
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57 1.Aria (Soprano): Weichet nur, betrubte Schatten 1:19
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58 Woodwinds: Bizet leaves the puffa-puffa image out, allowing the bassoon to sing. Includes excerpt from Bizet's Carmen Suite No.1 (Le 0:56
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59 Woodwinds: And Ravel, also in spanish mode, does likewise 0:16
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60 Boléro (Excerpt 4) 0:59
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61 Woodwinds: The Bassoon as a voice of high seriousness, indeed desolate loneliness 0:15
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62 1.Lento moderato (excerpt) 1:03
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63 Woodwinds: The eerie bassoon in its highest register 0:15
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64 Part 1: Introduction 0:58
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65 Woodwinds: Stravinsky now draws on its lowest register, lonely and melancholy 0:21
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66 6.Berceuse (Lullaby) 1:01
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67 Woodwinds: The bassoon as concerto soloist, avoiding all exaggeration 0:14
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68 Finale (excerpt) 2:02
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69 Woodwinds: the deep-voiced contra-bassoon, as a fairy-tale beast 0:28
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70 4b.Les entretiens de la Belle et de la Bête (The conversations of Beauty and the Beast) Part 2 1:30
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71 Woodwinds: The French horn under its woodwind hat 0:25
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72 4.Tema con variazioni (excerpt) 1:42
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73 Woodwinds: Now a more prominent role, in a woodwind quintet from an earlier era 0:12
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74 No.2 (excerpt) 1:32
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75 Woodwinds: The horn in harmonious blend with strings in another quintet 0:16
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Jeno Kevehazi French Horn, Kodaly Quartet String Quartet, Jeremy Siepmann Narrator
76 3.Rondo: Allegro 3:55
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CD 4 of 7
1 Brass: The trumpet as virtuoso soloist 1:02
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2 3.Allegro assai 2:37
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3 Brass: The special brilliance of paired trumpets 0:19
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4 1.Allegro 2:54
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5 Brass: The ceremonial trumpet 0:36
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6 Excerpt 1:25
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7 Brass: Trumpets and drums - an incomparable alliance 0:34
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8 51.Aria (Bass): The trumpet shall sound 4:10
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9 Brass: The versatility of the trumpet, from the most public to the most lonely 0:38
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10 2.Andante con moto (excerpt) 1:14
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11 Brass: The trumpet as the voice of the city. Includes excerpt from Gershwin's An American in Paris; Stravinsky's The Soldier's Tale ( 2:05
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12 2.Habanera (excerpt) 0:55
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13 Brass: The trumpet as the voice of strength and courage 0:13
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14 4.Chanson du toréador (excerpt) 2:20
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15 Brass: The trumpet muted. Includes excerpt from Stravinsky's Petrushka (No.4. The Blackamoor); Prokofiev's Lieutenant Kijé Suite (Op 1:14
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16 Excerpt 1:16
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17 Brass: The trumpet as a character actor 0:31
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18 6.Tuileries 2:25
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19 Brass: The trumpet as the voice of God 0:15
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20 3i.Et expecto resurrectionem 4:35
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21 Brass: The birth of the trombone 0:38
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22 Aenmerckt nu hier 1:36
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23 Brass: The birth of the brass as a family 1:24
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24 13.Canzon in echo duodecimi toni (a10) 3:18
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25 Brass: The trombone in the eighteenth century 0:36
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26 Finale 3:06
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27 Brass: The tone of the tenor trombone. Includes excerpt from Höser's Romance for Trombone and Organ; Berlioz's Requiem (2nd mvt) 2:18
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28 Hosanna, for organ and trombone, S.677, R.409 (excerpt) 1:20
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29 Brass: The trombones become part of the orchestra 0:47
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30 4.Allegro (excerpt) 2:46
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31 Brass: The Wagnerian trombone. Includes excerpt from Wagner's Overture to Tannhäuser 1:04
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32 Brass: The trombone as a caricaturist 0:13
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33 No.19: Vivo (excerpt) 1:37
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34 Brass: The trombone as raspberry. Includes excerpt from Bartók's Conceto for Orchestra (Intermezzo) 1:46
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35 Brass: The horn and the hunt 0:40
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36 3.Rondo: Allegro vivace 3:39
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37 Brass: The challenging horn of the Baroque 0:42
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38 Minuet 1:20
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39 Brass: The scarcity of first-rate players in Handel's time 0:24
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40 6.Menuet 1:57
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41 Brass: The horn as magician. Includes excerpt fron Stravinsky's Firebird Suite (1919 version) (finale) 0:59
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42 Brass: horns and the sound of nobility 0:12
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43 1.Overture (excerpt) 0:56
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44 Brass: the special sound of the horn in its higher register 0:11
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45 2h.Quoniam tu solus sanctus 4:15
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46 Brass: The trumpet-like sound of massed horns 0:21
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47 1.Kraftig Entschieden (excerpt) 0:38
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48 Brass: The tuba - Unfairly maligned? 0:49
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49 3.Vivace (excerpt) 1:07
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50 Brass: The tuba perfectly cast by Ravel 0:26
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51 7.Bydlo 3:00
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CD 5 of 7
1 Percussion: Introduction. And we begin with a bang 1:02
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2 Percussion: The bass drum on the battlefields. Includes excerpt from Copland's Fanfare for the Common Man; Beethoven's Wellington's V 1:03
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3 Percussion: At the opposite extreme is the triangle 0:26
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4 2.Quasi adagio (excerpt) 1:21
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5 Percussion: Categories of percussion: tuned and untuned. The side drum 0:36
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6 1a.Overture. Maestoso marziale 0:52
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7 Percussion: The side drum in an effective but unexpected role. Includes excerpt from Nielsen's Clarinet Concerto (mvt 1) 1:08
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8 Percussion: The tambourine. One of the oldest instruments in the world 0:21
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9 Den hoboecken dans 1:43
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10 Percussion: Even older is the originally oriental gong 0:28
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11 3.Laideronnette, Imperatrice des Pagodes ('Little Ugly', Empress of the Pagodas) (excerpt) 1:00
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12 Percussion: No single instrument can match the gong in evoking the breaking of waves. Includes excerpt from Britten's Passacaglia, Op 1:00
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13 2.Lent et triste 1:02
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14 Percussion: The cymbals are generally discovered early in life. Includes excerpt from Elgar's The Sanguine Fan; Studio examples 1:28
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15 Percussion: Other untuned percussion instruments include the whip. Includes excerpt from Ravel's Piano Concerto in G (opening); 1:05
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16 Percussion: More versatile than the whip are the wood blocks.... Includes studio example 0:31
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17 5.Hoe-Down (excerpt) 0:44
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18 Percussion: Related to the wood blocks, by sound, are the castanets. Includes excerpt from Glinka's Jota aragonesa 1:09
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19 Damigella tutta bella (a3), SV235 (excerpt) 1:50
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20 Percussion: A still earlier example from fifteenth-century Spain 0:30
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21 Yo m'enamori d'un ayre, song 1:06
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22 Percussion: The birth of the bongo 0:33
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23 Excerpt 1:39
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24 Percussion: From the streets of New York to the blacksmith's shop. Includes excerpt rom Verdi's Il Trovatore (Anvil Chorus) 1:08
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25 Percussion: Desert-island decibels. Includes excerpt from Grofé's Grand Canyon Suite (On the Trail); Varèse's Arcana 1:27
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26 Percussion: From one vegetable to another: the humble squash, or marrow. Includes excerpt from Moncayo's Huapango 1:20
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27 Percussion: Onwards to the tuned percussion. First, the timpani 0:14
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28 1.Einleitung (Introduction: Sunrise) 1:48
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29 Percussion: But the drum roll can be more effectively frightening than the big band. Includes excerpt from Mahler's Symphony No.2 "R 0:29
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30 Percussion: Not one drum roll, but many. Includes excerpt from Grofé's Grand Canyon Suite (Sunrise); Berlioz's Symphonie fantastique 0:37
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31 Percussion: Taking advantage of tunability 0:22
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