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Piano Quintet (Trout): Introduction to Schubert
- By Jeremy Siepmann
- Release 21/01/2003
- Media Format CD
- - Disc 1 -
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1 Introduction, Origins
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2 Imagery, Analogy and the Shape of the Things to Come; the Opening Flourish
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3 The Unusual Presence of the Double-Bass
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4 A Palette of Tone Colours and the Emergence of a Theme
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5 Trouble Getting Off the Ground, But the Key Is Not in Doubt
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6 Jumping the Quene: Schubert Takes a Lesson from Mozart
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7 Mozart Demonstrates a Traditional Transition
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8 Destination Clarified
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9 Mozart Confirms Our Arrival
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10 A Schubertian Shocker from a Later Work
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11 Rejoining the "Trout", with a Reminder
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12 The Piano Joins the Strings with Yet a Third Variant of the Theme
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13 A Rhythmic Motto: The "Triplet Motif"
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14 We Get It Here
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15 We Get It There
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16 We Find It Everywhere, Even in the Double-Bass
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17 The Strings' Answer to the Piano's Opening Flourish
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18 The Two-Part Structure of the 'Answering Motif'
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19 ... But Scarcely Ever the Same Way Twice
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20 The Piano and Strings Now Share the Material for the First Time
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21 Conversation As the First Principle of Chamber Music
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22 Opening (Introductory) Section Heard Complete
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23 The Violin and Double-Bass in Partnership
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24 The Violin and Piano Swap Roles
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25 Transition to Second Main Theme; Triplets Now Everywhere
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26 On the Threshold of the New Theme
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27 Second Main Theme (A 'Love Duet'), Shared By Cello and Viola
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28 The Abandonment of Octaves in the Piano Changes the Tone Colour
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29 A Surprising Change of Tone and a Premonition
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30 A Return to Lyricism, But the Cello Jumps the Gun
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31 A Buoyant, Skipping New Theme Is Given to the Solo Piano
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32 Re-Entry of the Strings As the Violin Takes Up the New Theme
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33 A Transitional Theme, and Another Schubertian Key-Jump
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34 We Sense the Imminent Arrival of the Closing Theme
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35 A Sudden, Hushed Key-Change Introduces Part Two of the Closing Theme
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36 The Exposition Comes to An End
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37 Cue to Complete Exposition
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38 Expositon Complete
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39 Introduction to the Development; the Genetic Code of "Key"
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40 The Contrasting Aural Properties of Piano and Violin
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41 The Ponderous Double-Bass Is Featured in the First Main Theme
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42 The Strings Are Liberated from Servitude, But Are a Long Way from Home
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43 A Joyful Conversation and a Change of Pace in the Piano
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44 The Piano Takes the Melodic Lead Again
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45 A Conversation Between Violin and Piano Leads to the Exposition
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46 ... But Schubert Gets It "Wrong"
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47 First Movement (Complete)
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48 Introduction to Second Movement
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49 The Violin Now Takes Theme One
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50 The Piano Regains the Theme
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51 The Violin and Piano Round Off First Section with the New "Closing" Theme
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52 A Major Change of Tone: A Passing Cloud and a Dark New Key
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53 The Piano Abandons It's Octaves, But Not It's Triplets, in the New "Hungarian" Theme
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54 The Sun Returns with a New Theme, in Two Contrasting Parts
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55 An Evaporating Dialogue Between Violin and Piano
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56 A Major Mood Change As Twilight Falls
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57 Cue to Whole Movement
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58 Second Movement (Complete)
- - Disc 2 -
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1 Introduction to the Scherzo - and a Clear Four-Bar Phrase
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2 ..."Answered" By Two Two-Bar Phrases
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3 A Disconcerting "Echo"
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4 Expectation, Frustration and Surprise
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5 The Phrase Length Expands from Nine to Fourteen Bars
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6 The Beginning of the Second Half
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7 ... Or Should It Go from G minor to D Major?
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8 Doubts Are Sown As the Tonality Becomes Elusive
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9 A Varied Reprise of Part One, and the End of the Scherzo Proper
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10 A Conversational Start to the Trio Section
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11 Another Schubertian Phrase Extension
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12 Two Overlapping Phrases Add Up to a Single Theme
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13 The Piano Adds a Third Phrase to the Overlap
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14 The Overlaps Continue As the Key Drifts Downwards
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15 Another Schubertian Key-Jump, Now to B Flat
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16 A Dramatic Transformaton of Mood
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17 Awakening from a Dream: The Main Theme's Return
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18 Cue to Complete Scherzo
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19 Third Movement (Complete)
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20 Enter the Trout, at Last; a Meeting with the Original
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21 Back to the Quintet: The Strings, Headed By the Violin, Introduce the Theme
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22 The First Variation
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23 The Second Variation
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24 The Third Variation
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25 The Fourth Variation, Part One
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26 The Fourth Variation, Part Two
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27 The Fifth Variation
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28 The Final Variation, Part One: Violin and Piano Alone Introduce the Theme
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29 The Final Variation, Part Two: The Cello Takes the Tune
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30 The Final Variation, Part Three: Piano and Violin Return As a Duo.
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31 The Final Variation, Part Four:... As Do the Viola and Cello
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32 The Final Variation, Part Five: The Entire Ensemble Is Reunited
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33 Fourth Movement (Complete)
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34 Introduction to the Finale: Schubert As Wizard of Repetition
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35 Easily Overlooked: The Accompaniment from Cello and Double-Bass
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36 Contrasts of Timbre and Register
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37 A Repetition, and Yet Not a Repetition
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38 A Journey Begun: The Phenomenon of Musical Gravity
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39 The Journey Completed
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40 The Source of Musical Gravity
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41 The Pianists (Excerpt)
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42 A Scale of Shifting Tensions
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43 Finale (Excerpt)
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44 Back to Schubert
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45 The Piano Embellishes a Scalewise Descent
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46 A Retrospective Moment
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47 Repetition More Apparent Than Real
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48 A Taste of Phrase Rhythm
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49 Shifting Patterns of Accentuation
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50 The Section Reviewed
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51 An Increasingly Sophisticated Texture As Parts Interact
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52 More Phrase Rhythm
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53 A Repetition from the Strings
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54 ...And An Answer from the Piano
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55 In Transition to the Secondary Key
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56 The Orgin of the Second Theme
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57 The Second Main Theme
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58 The Closing Section Begins, with a Question Answered
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59 The Question Repeated, a Slightly Different Answer
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60 First Theme of Closing Section Reviewed
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61 Remembrance of Things Past
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62 The Piano and Strings Argue Over the Harmony
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63 Emergence of the Final Theme
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64 An Unexpected Thunderstorm
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65 The Sound of Silence
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66 Cue to Complete Finale
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67 Finale (Complete)
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