| Track List |
| Baroque Blend |
69:18 |
| 01 |
Antonio Vivaldi - Concerto in G Minor for Two Cellos, RV531 Allegro (The Academy Of Ancient Music, Christopher Hogwood) |
03:26 |
| 02 |
Arcangelo Corelli - Concerto Grossa Op. 6 No. 8 Allegro-Pastorale (Largo) (The Academy Of Ancient Music, Christopher Hogwood) |
05:29 |
| 03 |
Francois-Joseph Gossec - Christmas Suite I. Adagio II. Sicilana III. Le Chat IV. Accurite Gentes (The Academy Of Ancient Music, |
05:54 |
| 04 |
George Fredrick Handel - Messiah-Pifa (The Academy Of Ancient Music, Christopher Hogwood) |
02:50 |
| 05 |
Johann Sebastian Bach - Brandenberg Concerto No. 1 in F Major Menuet (The Academy Of Ancient Music, Christopher Hogwood) |
06:05 |
| 06 |
Johann Sebastian Bach - Brandenberg Concerto No. 3 in G Major Allegro (The Academy Of Ancient Music, Christopher Hogwood) |
05:48 |
| 07 |
Giuseppe Torelli - Concerto Grosso Op. 8 No. 6 I. Grave II. Vivace III. Largo IV. Vivace (The Academy Of Ancient Music, Christo |
05:46 |
| 08 |
Georg Philipp Telemann - Concerto in E Minor for Recorder & Flute Allegro (The Academy Of Ancient Music, Christopher Hogwood) |
04:23 |
| 09 |
Johann Sebastian Bach - Christmas Oratorio-Sinfonia (The Academy Of Ancient Music, Christopher Hogwood) |
05:17 |
| 10 |
George Fredrick Handel - Air & Hornpipe (The Academy Of Ancient Music, Christopher Hogwood) |
07:04 |
| 11 |
Christoph Willibald Gluck - Orfeo Dance of the Bessed Spirit (The Academy Of Ancient Music, Christopher Hogwood) |
07:40 |
| 12 |
Antonio Vivaldi - Concerto in G Major for Two Mandolins (New London Consort, Phillip Picket) |
04:33 |
| 13 |
Antonio Vivaldi - Concerto in D Major for Lute (New London Consort, Phillip Picket) |
05:03 |
| The Instruments of the Orchestra - Disc 2 |
|
| 01 |
Overture To 'Tannhauser' |
|
| 02 |
Domna, Pos Vos Ay Chausida |
|
| 03 |
We Don't Merely Use Instruments, We Play On Them. And They Play On Us. |
|
| 04 |
Hungarian Dance No.7 |
|
| 05 |
The Violin Is One Of The Most Tender And Beautiful Instruments Ever Invented. |
|
| 06 |
Violin Concerto In D Major (Adagio) |
|
| 07 |
But For A Long Time It Was Seen As The Instrument Of The Devil. |
|
| 08 |
The Soldier's Tale: Triumphal March Of The Devil |
|
| 09 |
The Manipulative Seductiveness Of The Gypsy Violin. |
|
| 10 |
Csardas Music |
|
| 11 |
The Violin And The Initiation Of Nature |
|
| 12 |
The Four Seasons (Spring, Mvt 1) |
|
| 13 |
Birds Are Again Evoked In The Second Concerto, Especially Music's Natural Favourite. |
|
| 14 |
The Four Seasons (Summer, Mvt 1) |
|
| 15 |
Like The Devil, The Violin Is A Master Of Disguise. |
|
| 16 |
Old Viennese Dance No.3 'Schon Rosmarin' |
|
| 17 |
The Menacing Sensuality Of Ravel's Tzigane: A Very Different Side Of The Violin: |
|
| 18 |
Tzigane |
|
| 19 |
Do We Now Have The True Measure Of This Instrument? Not Just Yet. |
|
| 20 |
Caprice No.24 |
|
| 21 |
The Many Effects Of The String Tremolando: Brandenburg Concerto No.4 (Last Mvt)/From Joy To Fright/Quartettsatz In C Minor/The String Tremolo Practically Spells The World Agitato. |
|
| 22 |
Variations On A Theme Of Frank Bridge (No.7) |
|
| 23 |
Prokofiev's Tremolo In Romeo And Juliet Should Not Be Heard Just Before Bedtime. |
|
| 24 |
Romeo And Juliet: Act IV |
|
| 25 |
Vivaldi Use It To Illustrate The Shivering Of Travellers Crossing The Ice. |
|
| 26 |
The Four Seasons (Winter, Mvt 1) |
|
| 27 |
The Violin Muted |
|
| 28 |
Clair De Lune |
|
| 29 |
The Gentleness Of Muted Strings Persists Even When A Whole Orchestra Plays. |
|
| 30 |
Piano Concerto No.21 In C Major, K.467 (Slow Mvt) |
|
| 31 |
The Pizzicato Violin |
|
| 32 |
Pizzicato Polka |
|
| 33 |
In Prokofiev's Second Violin Concerto, The Accompaniment Is Pizzicato. |
|
| 34 |
Violin Concerto No.2 In G Minor (Slow Mvt) |
|
| 35 |
Varieties Of Pizzicato: Colas Breugnon (The People's Feast)/Now A Drier, Leaner, Hungrier Pizzicato. There's Not A Lot Of Comfort Here./Capriol Suite (Tordion)/The Use Of Pizzicato As 'Percussion'/Romeo And Juliet (Act I)/Mahler Used Pizzicato... |
|
| 36 |
The Planets (Mars - The Bringer Of War) |
|
| 37 |
The Technique Of Double-Stopping Enables The Violin To Play Duets With Itself./Sonata No.3 In C Major For Unaccompanied Violin (Fugue)/Now A Later Example Of The Same Technique |
|
| 38 |
Hungarian Dance No.4 |
|
| 39 |
Double-Stopping Is A Standard Feature Of A Lot Of Folk Music. |
|
| 40 |
The Four Seasons (Autumn, Mvt 1) |
|
| 41 |
Now The Same Technique, But The Sound Might Have Come From Another World. |
|
| 42 |
Bolero |
|
| 43 |
Double-Stopping Can Only Approximate The Sound Of A Real Violin Duet. |
|
| 44 |
Cadenza To The Violin Concerto By Brahms |
|
| 45 |
Now Compare That With A Real Violin Duet. |
|
| 46 |
Forty-Four Duos (No. 1: Teasing Song) |
|
| 47 |
Another Duo By Bartok, Demonstrating The Violin's Rich Lower Register |
|
| 48 |
Forty-Four Duos (No.2: Maypole Dance) |
|
| 49 |
And Now What May Be The Most Beautiful Accompanied Violin Duet In History |
|
| 50 |
Concerto In D Minor For Two Violins (Largo) |
|
| 51 |
The Soul Of The Violin Is In Song; But What About This Weird Passage? |
|
| 52 |
Violin Concerto No.1 In D Major (Mvt 2) |
|
| 53 |
The Use Of Harmonies In The Orchestra Can Be Both Magical And Unsettling. |
|
| 54 |
Symphony No.1 'Titan' (Mvt 1, Opening) |
|
| 55 |
Tchaikovsky's Use Of Harmonics In The Sleeping Beauty Is Both Strange And Darling. |
|
| 56 |
The Sleeping Beauty (Act II, No.15: Entr'Acte) |
|
| 57 |
Ravel's Harmonics In Mother Goose Effect A Magical Transformation. |
|
| 58 |
Ma Mere L'Oye - Mother Goose (Beauty And The Beast) |
|
| 59 |
Stravinsky's Harmonics In The Firebird Transport Us Almost Into Another World./The Firebird (Introduction) |
|
| 60 |
The Natural Upper Notes Of The Violins Have A Unique Emotional 'Grab'. |
|
| 61 |
Also Sprach Zarathustra (Of The Afterworldsmen) |
|
| 62 |
Still In Their Upper Register, The Violins Unleash The Energy Of A Young Colt. |
|
| 63 |
Variations On A Theme Of Frank Bridge (No. 4) |
|
| 64 |
Elsewhere, Britten Uses The Same High Register To Create A Very Different Mood. |
|
| 65 |
Four Sea Interludes (Dawn) From 'Peter Grimes' |
|
| 66 |
To End This Outing With The Violins, A Charming Little Elfin Dance |
|
| 67 |
Elfenreigen |
|
| The Instruments of the Orchestra - Disc 3 |
|
| 01 |
Introduction To The Viola |
|
| 02 |
Viola Concerto (Mvt 1) |
|
| 03 |
Khatchaturian Gets A Very Different Sound From It: Fuller, Fruitier, More Exotic. |
|
| 04 |
Gayane Suite No.1 (Armen's Solo) |
|
| 05 |
Very Nearly The Whole Of The Violin's Upper Register Is Also Available To The Viola. |
|
| 06 |
Passacaglia, Op.33b From 'Peter Grimes' |
|
| 07 |
The Viola Can Bring A Special, Rich Twanginess To Pizzicato That The Violins Lack./Don Quixote/Berlioz Drew Sounds From It That Retain Their Metallic Strangeness Even Today. |
|
| 08 |
Harold In Italy (Mvt 4) |
|
| 09 |
The Muted Viola: Intimate, Gentle, Poignant In Dvork |
|
| 10 |
Cypresses (No.9) |
|
| 11 |
The Massed Violas Of The Modern Symphony Orchestra In Mahler |
|
| 12 |
Symphony No.4 (Mvt 3) |
|
| 13 |
The 'Period' Viola In Bach |
|
| 14 |
Brandenburg Concerto No.6 (Last Mvt) |
|
| 15 |
The Cello: A Voice Of Unique Nobility |
|
| 16 |
Suite No.1 For Unaccompanied Cello (Prelude) |
|
| 17 |
Brahms And The 'Soul' Of The Cello |
|
| 18 |
Piano Concerto No.2 In B Flat Major (Mvt 3) |
|
| 19 |
Most Orchestral Composers Tend To Emphasize The Cello's Lower Register. |
|
| 20 |
Cantata 'Herz Und Mund Und Tat Und Leben', BWV 147 (Soprana Aria: Bereite Dir, Jesu) |
|
| 21 |
In The Time Of Beethoven The Cello Remained As Fundamental As Ever. |
|
| 22 |
Symphony No.3 'Eroica' (Finale) |
|
| 23 |
But The Cello Is Not Condemned To Spend Its Life In The Basement. |
|
| 24 |
Elfentanz, Op.39 |
|
| 25 |
Not Only In Recital Showpieces Like That Is The Cello Is Used In Its Highest Register. |
|
| 26 |
The Protecting Veil (Opening) |
|
| 27 |
A Cello With An Identity-Crisis: The Pizzicato Flamencan |
|
| 28 |
Flamenco |
|
| 29 |
Double-Stopping In The Lower Reaches Of The Cello's Range |
|
| 30 |
Solo Suiet For Cello And Piano (Sardana) |
|
| 31 |
It's In The Middle Register That The Cello Really Comes Into Its Own. |
|
| 32 |
Oriental Dance, Op.2 No.2 |
|
| 33 |
It Was To The Cellos That Beethoven Gave Two Of His Most Famous Themes./Symphony No.5 (Mvt 2)/Still More Famous Than That Theme Is This One From The Ninth Symphony. |
|
| 34 |
Symphony No.9 (Finale) |
|
| 35 |
Introduction To The Double-Bass |
|
| 36 |
The Carnival Of The Animals (The Elephant) |
|
| 37 |
But The Double-Bass Can Be Intensely Expressive And Graceful. |
|
| 38 |
Elegy No.1 In D Major |
|
| 39 |
The Range Of The Double-Bass Is The Greatest Of All The String Instruments/Allegro Di Concerto, 'Alla Mendelssohn'/And It's Also Capable Of Very Considerable Virtuosity. |
|
| 40 |
Capriccio Di Bravura |
|
| 41 |
Double-Bass Solos In Orchestral Scores Are Rare But Often Memorable./Symphony No.1 'Titan' (Mvt 3)/In His Third Symphony Mahler Makes A Very Different Use Of The Instrument./Symphony No.3 (Mvt 1) |
|
| 42 |
The Double-Bass Muted In Prokofiev/Lieutenant Kije Suite (Kije's Wedding)/In Another Work Prokofiev Uses The Double-Bass To Enhance The Winds./Romeo And Juliet (Act III)/And He Combines The Bass Clarinet With A Shivering Tremolo From The Double-Basses.... |
|
| 43 |
Symphony No.5 (Mvt 3)/So Much For The Strings/On Now To The Winds |
|
| The Instruments of the Orchestra - Disc 4 |
|
| 01 |
The Antiquity And Magic Of The Flute |
|
| 02 |
Prelude A L'Apres-Midi D'Un Faune |
|
| 03 |
The Versatility And Agility Of The Flute |
|
| 04 |
Orchestral Suite No.2 In B Minor (Badinerie) |
|
| 05 |
The Flute In Fifteenth-Century Spain |
|
| 06 |
Sa'Dawi |
|
| 07 |
Other Flutes: The Bass And Alto |
|
| 08 |
Chamber Music No.II |
|
| 09 |
The Piccolo - Aptly Named |
|
| 10 |
La Naissance D'Osiris (Mvt 6) |
|
| 11 |
From A Piccolo Of The Eighteenth Century To One Of Its Descendants In The Twentieth |
|
| 12 |
Suite No.1 For Small Orchestra (Valse) |
|
| 13 |
A Variety Of Techniques |
|
| 14 |
Chamber Music No.II |
|
| 15 |
Flutter-Tonguing. But Tchaikovsky Got There Eighty Years Before. |
|
| 16 |
The Nutcracker (Act II, No.2: Scene) |
|
| 17 |
From The Transverse To The Vertical: The Baroque Recorder |
|
| 18 |
Recorded Suite In A Minor (Menuet II) |
|
| 19 |
An Unfamiliar, Early Vision Of The Instrument |
|
| 20 |
Naelden, Naelden |
|
| 21 |
The Bachian Oboe |
|
| 22 |
Cantata 'Ein Feste Burg Ist Unser Gott', BWV 80 (No.7: Duetto) |
|
| 23 |
Introduction To The Cor Anglais Or 'English Born' |
|
| 24 |
Symphony No.9 'From The New World' (Mvt 2) |
|
| 25 |
The Loneliness Of The Cor Anglais |
|
| 26 |
The Swan Of Tuonela |
|
| 27 |
The Cor Anglais Joins The French Horn In Haydn. |
|
| 28 |
Symphony No.22 'The Philosopher' (Opening) |
|
| 29 |
Introduction To The Oboe D'Amore, Beloved Of Bach - But Also Of Ravel |
|
| 30 |
Bolero |
|
| 31 |
The Clarinet Family: Boxing The Compass, From The Depths Of The Bass Clarinet.../The Egyptian (Violence)/...To The Raucous And Squealy.../Taras Bulba (The Death Of Ostap)/...To The Shrill And Complaining... |
|
| 32 |
Petrushka (No.8: Peasant With Bear)/...To The High Sprits Of A Playful Puppy./Symphonie Fantastique (Last Mvt)/And To The Downright Jazzy/Romeo And Juliet (Act II) |
|
| 33 |
As The High Clarinets Tend To Be Loud, So The Bass Tends To Be Soft: |
|
| 34 |
Gayane Suite No. 1 (Mvt 5) |
|
| 35 |
The Bass Clarinet Is Used By Most Composers Mainly As A Colouring Agent.../Petrushka (No.4: The Blackamoor)/...But It Does Occasionally Get A Whole Tune To Itself./Iberia (Almeria). |
|
| 36 |
The Range Of The Normal Clarinet Parts Goes Quite High... |
|
| 37 |
The Snow Maiden (Scene 5: Melodrama) |
|
| 38 |
...And Quite Low. |
|
| 39 |
Peter And The Wolf (The Cat) |
|
| 40 |
The Clarinet As Concerto Soloist |
|
| 41 |
Clarinet Concerto In A Major (Rondo) |
|
| 42 |
But That's Not The Instrument Mozart Wrote It For; This Is: |
|
| 43 |
Clarinet Concerto In A Major (Rondo) |
|
| 44 |
Introduction To The Saxophone |
|
| 45 |
Hary Janos Suite (Mvt 4) |
|
| 46 |
The Soprano Saxophone Has Quite A Different Feel To It. |
|
| 47 |
L'Arlesienne Suite No.1 (Minuet) |
|
| 48 |
The Little Sopranino Sax Goes Even Higher. |
|
| 49 |
Bolero |
|
| 50 |
The Most Famous Use Of The Saxophone Is In An Orchestration By Ravel. |
|
| 51 |
Pictures At An Exhibition (The Old Castle) |
|
| 52 |
The Saxophone Can Be Quite Contagiously Good-Humoured. |
|
| 53 |
Sax-O-Phun |
|
| 54 |
The Puffa-Puffa Image Of The Bassoon |
|
| 55 |
Peter And The Wolf (Grandfather) |
|
| 56 |
The Bachian Bassoon, In Accompanimental Mode |
|
| 57 |
Cantata 'Weichet Nur, Betrubte Schatten' ('Wedding Cantata'), BWV 202 (Aria No.1) |
|
| 58 |
Bizet Leaves The Puffa-Puffa Image Out, Allowing The Bassoon To Sing./Carmen Suite No.1 (Les Dragons D'Alcala) |
|
| 59 |
And Ravel, Also In Spanish Mode, Does Likewise. |
|
| 60 |
Bolero |
|
| 61 |
The Bassoon As A Voice Of High Seriousness, Indeed Desolate Loneliness |
|
| 62 |
Symphony No.3 (Opening) |
|
| 63 |
The Eerie Bassoon In Its Highest Register |
|
| 64 |
The Rite Of Spring (Opening) |
|
| 65 |
Stravinsky Now Draws On Its Lowest Register, Lonely And Melancholy. |
|
| 66 |
The Firebird Suite (1919, Berceuse) |
|
| 67 |
The Bassoon As Concerto Soloist, Avoiding All Exaggeration |
|
| 68 |
Bassoon Concerto In G Minor (Finale) |
|
| 69 |
The Deep-Voiced Contra-Bassoon, As A Fairy-Tale Beast |
|
| 70 |
Ma Mere L'Oye - Mother Goose (Beauty And The Beast) |
|
| 71 |
The French Horn Under Its Woodwind Hat |
|
| 72 |
Wind Quintet, Op.43 (Last Mvt) |
|
| 73 |
Now A More Prominent Role, In A Woodwind Quintet From An Earlier Era |
|
| 74 |
Wind Quintet In A Minor, Op.100 No.5 (Mvt 2) |
|
| 75 |
The Horn In Harmonious Blend With Strings In Another Quintet |
|
| 76 |
Horn Quintet, K.407 (Finale) |
|
| The Instruments of the Orchestra - Disc 5 |
|
| 01 |
The Trumpet As Virtuoso Soloist |
|
| 02 |
Brandenburg Concerto No.2 (Last Mvt) |
|
| 03 |
The Special Brillance Of Paired Trumpets |
|
| 04 |
Concerto In C For Two Trumpets, RV537 (Mvt 1) |
|
| 05 |
The Ceremonial Trumpet |
|
| 06 |
Fanfare For The Common Man |
|
| 07 |
Trumpets And Drums - An Incomparable Alliance |
|
| 08 |
Messiah (The Trumpet Shall Sound) |
|
| 09 |
The Versatility Of The Trumpet, From The Most Public To The Most Lonely |
|
| 10 |
Piano Concerto In F (Slow Mvt) |
|
| 11 |
The Trumpet As The Voice Of The City/An American In Paris/The Trumpet As Recruitment Officer/The Soldier's Tale (The March)/The Trumpet As Swaggerer |
|
| 12 |
Carmen Suite No.2 (Habanera) |
|
| 13 |
The Trumpet As The Voice Of Strength And Courage |
|
| 14 |
Carmet Suite No.2 (Toreador's Song) |
|
| 15 |
The Trumpet Muted/Petrushka (No.4: The Blackamoor)/Lieutenant Kije Suite (Opening)/The Trumpet As The Voice Of Weariness |
|
| 16 |
Billy The Kid |
|
| 17 |
The Trumpet As Character Actor |
|
| 18 |
Pictures At An Exhibition (No.6) |
|
| 19 |
The Trumpet As The Voice Of God |
|
| 20 |
Mass In B Minor ('Et Exspecto') |
|
| 21 |
The Birth Of The Trombone |
|
| 22 |
Aenmerckt Nu Hier |
|
| 23 |
The Birth Of The Brass As A Family |
|
| 24 |
Canzon 12 In Double Echo |
|
| 25 |
The Trombone In The Eighteenth Century |
|
| 26 |
Trombone Concerto In B Flat Major (Finale) |
|
| 27 |
The Tone Of The Tenor Trombone/Romance For Trombone And Organ/The Memorable Voice Of The Bass Trombone/Requiem (Mvt 2)/But The Bass Trombone Is More Than An Instrumental Bullfrog. |
|
| 28 |
Hosannah |
|
| 29 |
The Trombones Become Part Of The Orchestra. |
|
| 30 |
Symphony No.5 (Finale) |
|
| 31 |
The Wagnerian Trombone:/Overture To 'Tannhauser' |
|
| 32 |
The Trombone As Caricaturist |
|
| 33 |
Pulcinella (No.19: Vivo) |
|
| 34 |
The Trombone As Raspberry/Concerto For Orchestra (Intermezzo) |
|
| 35 |
The Horn And The Hunt |
|
| 36 |
Horn Concerto No.4 In E Flat, K.495 (Finale) |
|
| 37 |
The Challenging Horn Of The Baroque |
|
| 38 |
Abaris Ou Les Boreades (Menuet) |
|
| 39 |
The Scarcity Of First-Rate Players In Handel's Time |
|
| 40 |
Walter Music (Minuet 1) |
|
| 41 |
The Horn As Magician/The Firebird Suite (1919, Finale) |
|
| 42 |
Horns And The Sound Of Nobility |
|
| 43 |
Overture To 'Tannhauser' (Opening) |
|
| 44 |
The Special Sound Of The Horn In Its Higher Register |
|
| 45 |
Mass In B Minor ('Quoniam Tu Solus Sanctus') |
|
| 46 |
The Trumpet-Like Sound Of Massed Horns |
|
| 47 |
Symphony No.3 (Mvt 1, Opening) |
|
| 48 |
The Tuba - Unfairly Maligned? |
|
| 49 |
Symphony No.6 (Mvt 3) |
|
| 50 |
The Tuba Perfectly Cast By Ravel |
|
| 51 |
Pictures At An Exhibition (Bydlo) |
|
| The Instruments of the Orchestra - Disc 6 |
|
| 01 |
Introduction. And We Begin With A Bang. |
|
| 02 |
Fanfare For The Common Man/The Bass Drum On The Battlefields/Wellington's Victory, Op.91 (Opening) |
|
| 03 |
At The Opposite Extreme Is The Triangle. |
|
| 04 |
Piano Concerto No.1 In E Flat (Scherzo) |
|
| 05 |
Categories Of Percussion: Tuned And Untuned. The Side Drum |
|
| 06 |
Overture To 'La Gazza Ladra' - The Thieving Magpie (Opening) |
|
| 07 |
The Side Drum In An Effective But Unexpected Role/Clarinet Concerto (Mvt 1) |
|
| 08 |
The Tambourine. One Of The Oldest Instruments In The World |
|
| 09 |
Den Hoboecken Dans |
|
| 10 |
Even Older Is The Originally Oriental Gong. |
|
| 11 |
Ma Mere L'Oye - Mother Goose (Laideronette) |
|
| 12 |
No Single Instrument Can Match The Gong In Evoking The Breaking Of Waves./Passacaglia, Op.33b From 'Peter Grimes'/But Gongs Don't Have To Be Struck To Be Effective. |
|
| 13 |
Gymnopedie No.2 |
|
| 14 |
The Cymbals Are Generally Discovered Early In Life./The Sanguine Fan/And They Do More Than Clash Together Loudly. They Can Be Clashed Together Softly./Studio Example: But They Needn't Be Clashed Together At All/Studio Example: They Can Be Lightly... |
|
| 15 |
Other Untuned Percussion Instruments Include The Whip.: Piano Concerto In G Major (Opening)/And Here Are No Fewer Than Twenty, Cracked By Tchaikovsky: The Nutcracker (Act I, Scene 5) |
|
| 16 |
More Versatile Than The Whip Are The Wood Blocks.../Studio Example/...Which Crop Up All Over The Place In Twentieth-Century American Music. |
|
| 17 |
Rodeo (Hoe-Down) |
|
| 18 |
Related To The Wood Blocks, By Sound, Are The Castanets./Jota Aragonesa/But The Castanets Were Also Used By Monteverdi Back In The Seventeenth Century. |
|
| 19 |
Scherzi Musicali (Damigella Tutta Belle) |
|
| 20 |
A Still Earlier Example From Fifteenth-Century Spain |
|
| 21 |
Yo M'Enamori D'Un Aire |
|
| 22 |
The Birth Of The Bongo |
|
| 23 |
Symphonic Dances From 'West Side Story' |
|
| 24 |
From The Streets Of New York To The Blacksmith's Shop/Il Trovatore ('Anvil Chorus') |
|
| 25 |
Desert-Island Decibels: Grand Canyon Suite (On The Trail)/Arcana |
|
| 26 |
From One Vegetable To Another: The Humble Squash, Or Marrow/Huapango |
|
| 27 |
Onwards To The Tuned Percussion. First, The Timpani |
|
| 28 |
Also Sprach Zarathustra (Introduction) |
|
| 29 |
But The Drum Roll Can Be More Effectively Frightening Than The Big Bang.: Symphony No.2 'Resurrection' (Mvt 3) |
|
| 30 |
Not One Drum Roll, But Many/Grand Canyon Suite (Sunrise)/Symphonie Fantastique (Last Mvt) |
|
| 31 |
Taking Advantage Of Tunability |
|
| 32 |
Music For Strings, Percussion And Celeste (Mvt 2) |
|
| 33 |
The Russian Composer Rodion Shchedrin Takes A Downward Turn./Carmen Suite (Changing Of The Guard)/Tuned, Yes; But For The Truly Melodic We Must Look Elsewhere. |
|
| 34 |
Introducing The Glockenspiel/Carmen Suite (Carmen's Entrance And Habanera) |
|
| 35 |
Saint-Saens And The Xylophone |
|
| 36 |
The Carnival Of The Animals (Fossils) |
|
| 37 |
Ravel And The Xylophone |
|
| 38 |
Ma Mere L'Oye - Mother Goose (Laideronette) |
|
| 39 |
Introducing The Marimba/Carmen Suite (First Intermezzo) |
|
| 40 |
Introducing The Vibraphone |
|
| 41 |
The Treasure Of The Sierra Madre (Narange Dolce) |
|
| 42 |
The Vibraphone Goes Russian.../Carmen Suite (Carmen's Entrance And Habanera)/...And Is Joined By The Marimba./Carmen Suite (Carmen's Entrance And Habanera) |
|
| 43 |
Introducing The Hungarian Cimbalom |
|
| 44 |
Folk Dances |
|
| 45 |
The Cimbalom And The Symphony Orchestra |
|
| 46 |
Hary Janos Suite (Mvt 3) |
|
| 47 |
Introducing The Tubular Bells |
|
| 48 |
Hary Janos Suite (Viennese Musical Clock) |
|
| 49 |
A More 'Up-Front' Approach From Rodion Shchedrin |
|
| 50 |
Carmen Suite (Introduction) |
|
| 51 |
But The Bells Can Also Make The Sinister Even More Sinister./Symphony No.7 'Sinfonia Antartica' (Mvt 1) |
|
| 52 |
Introducing The Celeste |
|
| 53 |
The Nutcracker (Dance Of The Sugar Plum Fairy) |
|
| 54 |
Magic, In The Use Of Collective Percussion |
|
| 55 |
Miroirs (La Vallee Des Cloches) |
|
| 56 |
Plucked Instruments: The 'Undercover Percussion'/Carmen Suite (Scene) |
|
| 57 |
A Prime Case In Point Is The Harp, Irresistible To The Romantics./The Nutcracker (Act II, No.1: Scene)/The Non-Solo Harp As An Integral Part Of The Orchestra/Hungarian Rhapsody No.1 |
|
| 58 |
The Traditionally Subservient Role Of The Harpsichord In The Baroque Orchestra |
|
| 59 |
Brandenburg Concerto No.2 (Slow Mvt) |
|
| 60 |
The Piano: King Of The Tuned Percussion/Symphony No.3 'Organ' (Mvt 3)/And A Quarter Of A Century After That: |
|
| 61 |
Petrushka (Russian Dance) |
|
| 62 |
The Anti-Romantic Piano As An Integral Part Of The Orchestra |
|
| 63 |
Music For Strings, Percussion And Celeste (Last Mvt) |
|
| The Instruments of the Orchestra - Disc 7 |
|
| 01 |
Keyboard Instruments In The Orchestra - The Most Powerful Of Them All: |
|
| 02 |
Symphony No.3 'Organ' (Finale) |
|
| 03 |
But Things In Handel's Day Were Very Different. |
|
| 04 |
Organ Concerto In B Flat, Op.4 No.3 (Last Mvt) |
|
| 05 |
The Organ Is Difficult To Classify. |
|
| 06 |
An Unexpected, Organ-related Guest |
|
| 07 |
Concerto Pour Zampogna (Last Mvt) |
|
| 08 |
Peasant-Fancying... And A Touch Of The Roaming Cowboy |
|
| 09 |
Les Miserables (Drink With Me) |
|
| 10 |
Outside Artefacts And The Power Of Association |
|
| 11 |
Mahler's Sleighbells |
|
| 12 |
Symphony No.4 (Opening) |
|
| 13 |
A Roll-Call Of Some Unusual Guests/The Typewriter/Parade |
|
| 14 |
Chains, And More/Integrales/An American In Paris/Sandpaper Ballet |
|
| 15 |
Purpose-Built Oddities: Wind Machines/Symphony No.7 'Sinfonia Antartica' (Opening) |
|
| 16 |
Don Quixote (Variation VIII) |
|
| 17 |
National Calling Cards: The Guitar For Spain/Concierto De Aranjuez (Finale) |
|
| 18 |
And The Guitar's Poor American Relative, The Banjo/Washington Breakdown |
|
| 19 |
And Poorer Still, The Mouth Organ/The Treasure Of The Sierra Madre (Packing Up) |
|
| 20 |
The Balalaika For Russia/Romeo And Juliet (Act II: No.14) |
|
| 21 |
The Maracas For Mexico/The Treasure Of The Sierra Madre (El Desayuno) |
|
| 22 |
The Bongos And Congas And A Whole Wealth Of Other Drums For Africa And Central America/Studio Example |
|
| 23 |
The Sitar Of India/Evening Raga: Bhapoli |
|
| 24 |
The Accordion For France (Especially Paris)/Paris Canaille |
|
| 25 |
The Zither For Vienna/The Third Man (Theme) |
|
| 26 |
The Cimbalom For Hungary/Folk Dances |
|
| 27 |
The Guitar As An Integral Part Of The Orchestra/Rondena |
|
| 28 |
There Are Whole Orchestras Of Balalaikas./Sveit Mesiats |
|
| 29 |
The Effect Of The Wordless Human Voice, Used Purely As An Instrument/Symphony No.7 'Sinfonia Antartica' (Mvt 1) |
|
| 30 |
Nocturnes |
|
| 31 |
Instruments And the Imitation Of Nature. The Clarinet As Cuckoo |
|
| 32 |
The Carnival Of The Animals (The Cuckoo) |
|
| 33 |
The Flute As An All-purpose Aviary |
|
| 34 |
The Carnival Of The Animals (The Aviary) |
|
| 35 |
The Oboe As Duck |
|
| 36 |
Peter And The Wolf (The Duck) |
|
| 37 |
The Recording Of Reality. Does It Work As Well? |
|
| 38 |
The Pines Of Rome (The Pines Of The Janiculum) |
|
| 39 |
The Recording Of Reality Electronically Reborn In New Guises |
|
| 40 |
Cantus Articus - Concerto For Birds And Orchesra (Mvt 2) |
|
| 41 |
Beethoven Turns Avian: Cuckoo, Nightingale, And Quail |
|
| 42 |
Symphony No.6 'Pastoral' (Andante Molto Mosso) |
|
| 43 |
Some Improbable Casting: The Violin As Braying Donkey |
|
| 44 |
The Carnival Of The Animals (Persons With Long Ears) |
|
| 45 |
A Truly Orchestral Hee-haw To Be Reckoned With |
|
| 46 |
Overture To 'A Midsummer Night's Dream' |
|
| 47 |
A Thunderstorm In A Million |
|
| 48 |
Symphony No.6 'Pastoral (Allegro-Allegretto) |
|
| 49 |
the Instrumental Depiction Of A Silent World |
|
| 50 |
The Carnival Of The Animals (The Aquarium) |
|
| 51 |
Saint-Saens' Menagerie Takes A Curtain Call. |
|
| 52 |
The Carnival Of The Animals (Finale) |
|
