Tracks
1.1 1st MVT. a Quiet Beginning, Sorrow, Syncopation, and Sequence 1.2 1st MVT. Instrumental Colour As a Prime Element: Clarinets and Bassoons, An Outburst By the French 1.3 1st MVT. the Opening Tune Again, with Different Instrumental Colouring: Now Flutes and Oboes 1.4 1st MVT. the First Big Surprise: Strings, Shattering Drumbeats, Shrieks from Flutes, Oboes, and Cla 1.5 1st MVT. Cellos and Basses Take Us Into a New Key While Flutes and Oboes Dance in Syncopation 1.6 1st MVT. Horns, Violas, and Cellos Introduce a New Idea, Soon to Evolve Into the Main Theme 1.7 1st MVT. a Tiny Detail from the Opening Culminates in a Wild Drumming That Heralds a Major Event 1.8 1st MVT. Introduction Complete 1.9 1st MVT. a Solo Horn Introduces the Main Theme, Perkily Answered By Bassoons and Horns 1.10 1st MVT. the Theme Moves to G Major; Answering Phrase from Flutes, Oboes, Bassoons; the Main Theme 1.11 1st MVT. Long Crescendo, Tremolo Strings, Back to Tonic and Biggest Statement Yet of the Main Theme 1.12 1st MVT. Transition to the Secondary Theme Through the Use of Sequence. Sonata Form; Stability and 1.13 1st MVT. Three-Bar Groupings and Again the Use of Sequence, Spelling Out a Chord 1.14 1st MVT. The Sequence Continues to Rise, and the Four-Bar Phrase Returns As the Standard Unit 1.15 1st MVT. the First Violins Start Off the Next Phrase, But the Melodic Shape Is More Compact 1.16 1st MVT. the Violins Fall Silent; the Violas and Cellos Answer with a New Figure, a Variation of TH 1.17 1st MVT. So Now We Have a Two-Bar Group, Made Up of Statement and Answer 1.18 1st MVT. The Same Thing Again (Through Not Quite the Same) 1.19 1st MVT. Transition Complete. the Secondary Theme Arrives, with French Horns As 'Bagpipes' 1.20 1st MVT. The 'Bagpipe Drone' Is Taken Over By Cellos with Their Insistently Repeated G and D 1.21 1st MVT. the Tune Is Taken Up By Cellos and Double-Basses, 'Shadowed' By the Second Violins; a Fanf 1.22 1st MVT. the Violins Continue a Patterns of Steady Pairs, and the Cellos and Basses Introduce a New 1.23 1st MVT. Unexpectedly, We Find Ourselves Back with the Secondary Theme. A New Idea Emerges 1.24 1st MVT. Again We Hear the Shortened Version of the Secondary Theme, Followed By Mounting Instabili 1.25 1st MVT. The Suspense Is Heightened As Everything Slows Down; a Soft, Still Variant of the 'Interru 1.26 1st MVT. This Beautiful Flute Tune Is Said to Resemble 'Swing Low, Sweet Chariot' 1.27 1st MVT. a Big Crescendo Leads to a Final Statement of the Closing Theme, Bringing the Exposition T 1.28 1st MVT. the Development Section Begins with a Conversation Between Cellos, Double-Basses, and Viol 1.29 1st MVT. The Beginning of the Closing Theme Is Taken Up in Turn By the Horn, Piccolo, and Trumpet 1.30 1st MVT. Sequential Chirping from the Oboes Based on the 'Answering' Part of the Main Theme, Now in 1.31 1st MVT. Much of the Development Comes from a Diminution of the Closing Theme from the Exposition 1.32 1st MVT. a Tiny Detail Becomes a Major Ingredient, Giving An Agitated Quality to An Originally Sunn 1.33 1st MVT. Through a Sequence of Keys So Quickly That It Is Hard to Keep Track of Them: There Is a de 1.34 1st MVT. the Main Theme from Massed Cellos and Double-Basses, Topped By Two Trumpets Over Tremolo V 1.35 1st MVT. After That Major Climax, We Arrive at the Threshold of the Recapitulation, Courtesy of Win 1.36 1st MVT. Dvorã¡K Flouts Tradition By Setting the Secondary Theme and the Closing Theme in Unexpected 1.37 1st MVT. the Tumultuous Convulsion of the Coda Brings the First Movement to It's Epic Close 1.38 1st MVT. Humpty Dumpty: Putting the Bits Back Together Again 1.39 1st MVT. First Movement (Complete) 1.40 2nd MVT. the Very Opening Chords Unmistakably Herald the Arrival of Something Special 1.41 2nd MVT. the Role of Instrumentation in Setting the Scene 1.42 2nd MVT... And in Enhancing the Quality of One of the Most Famous Tunes in Symphonic History 1.43 2nd MVT. the Cor Anglais Is Joined By the Clarinet, C
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