Mehr
    Konto anlegen

    Classics Explained:Schubert/Forellenquintett

    Classics Explained:Schubert/Forellenquintett
    2 CDs
    CD (Compact Disc)

    Herkömmliche CD, die mit allen CD-Playern und Computerlaufwerken, aber auch mit den meisten SACD- oder Multiplayern abspielbar ist.

    Bewertung:
    Nur noch 1 Stück am Lager. Danach versandfertig innerhalb einer Woche (soweit verfügbar beim Lieferanten)
    -66%
    EUR 17,99**
    EUR 5,99*

    Der Artikel Classics Explained:Schubert/Forellenquintett wurde in den Warenkorb gelegt.

    Ihr Warenkorb enthält nun 1 Artikel im Wert von EUR 5,99.

    Zum Warenkorb Weiter einkaufen
    Versandkosten (United States): EUR 12,99
    • Eine Werkeinführung in englischer Sprache mit einem 120-seitigen Booklet. Autor & Sprecher: Jeremy Siepmann
    • Künstler: Jando, Toth, Kodaly Quartett
    • Label: Naxos, DDD, 01
    • Bestellnummer: 6207701
    • Erscheinungstermin: 14.10.2002
    • Tracklisting
    • Mitwirkende

    Disk 1 von 2

    1. 1 Introduction, origins
    2. 2 Imagery, analogy and the shape of the things to come; the opening flourish
    3. 3 The unusual presence of the double-bass
    4. 4 A palette of tone colours and the emergence of a theme
    5. 5 Trouble getting off the ground, but the key is not in doubt.
    6. 6 Jumping in queue: Schubert takes a lesson from Mozart.
    7. 7 Mozart demonstrates a traditional transition.
    8. 8 Destinarion clarified
    9. 9 Mozart confirms our arrival.
    10. 10 A Schubertian shocker from a later work
    11. 11 Rejoining the "Trout"; with a reminder
    12. 12 The piano joins the strings with yet a third variant of the theme.
    13. 13 A rhythmic motto: The "triplet motif"
    14. 14 We get it here.
    15. 15 We get it there.
    16. 16 We find it everywhere, even in the double-bass.
    17. 17 The strings' answer to the piano's opening flourish
    18. 18 The two-part structure of the "answering motif"...
    19. 19 ... but scarcerely ever the same way twice
    20. 20 The piano and strings now share the material for the first time.
    21. 21 Conversation as the first principle of chamber music
    22. 22 Opening (indrocutory) section heard complete
    23. 23 The violin and double-bass in partnership
    24. 24 The violin and piano swap roles.
    25. 25 Transition to second main theme; triplets now everywhere
    26. 26 On the threshold of the new theme
    27. 27 Second main theme (a "love duet"), shared by cello and viola
    28. 28 The abandonment of octaves in the piano changes the tone colour.
    29. 29 A surprising change of tone and a premonition
    30. 30 A return to lyricism, but the cello jumps the gun
    31. 31 A buoyant, skipping new theme is given to the solo piano.
    32. 32 Re-entry of the strings as the violin takes up the new theme
    33. 33 A transitional theme, and another Schubertian key-jump
    34. 34 We sense the imminent arrival of the closing theme.
    35. 35 A sudden, hushed key-change introduces part two of the closing theme.
    36. 36 The exposition comes to an end.
    37. 37 Cue to complete exposition
    38. 38 Music: Exposition complete
    39. 39 Introduction to the development; the genetic code of "key"
    40. 40 The contrasting aural properties of piano and violin
    41. 41 The ponderous double-bass is deatured in the first main theme
    42. 42 The strings are liberated from servitude, but are a long way from home.
    43. 43 A joyful conversation and a change of pace in the piano
    44. 44 The piano takes the melodic lead again.
    45. 45 A conversation between violin and piano leads to the exposition
    46. 46 ... But Schubert gets it "wrong".
    47. 47 Music: First movement (Complete)
    48. 48 Introduction to second movement
    49. 49 The violin now takes theme one.
    50. 50 The piano regains the theme.
    51. 51 The violin and piano round off first section with the new "closing" theme.
    52. 52 A major change of tone: A passing cloud and a dark new key
    53. 53 The piano abandons its octaves, but not its triplets, in the new "Hungarian" theme.
    54. 54 The Sun returns with a new theme, in two contrasting parts.
    55. 55 An evaporating dialogue between violin and piano
    56. 56 A major mood change as twilight falls
    57. 57 Cue to whole movement
    58. 58 Music: Second movement (Complete)

    Disk 2 von 2

    1. 1 Introduction to the Scherzo - and a clear four-bar phrase...
    2. 2 ... "Answered" by two two-bar phrases
    3. 3 A disconcerting "echo"
    4. 4 Expectation, frustration and surprise
    5. 5 The phrase lenght expands from nine to fourteen bars
    6. 6 The beginning of the second half...
    7. 7 ... Or should it go from g minor to D major?
    8. 8 Doubts are sown as the tonality becomes elusive.
    9. 9 A varied reprise of part one, and the end of the Scherzo proper
    10. 10 A conversational start to the Trio section
    11. 11 Another Schubertian phrase extension
    12. 12 Two overlapping phrases add up to a single theme.
    13. 13 The piano adds a third phrase to the overlap.
    14. 14 The overlaps continue as the key drifts downwards.
    15. 15 Another Schubertian key-jump, now to B flat
    16. 16 A dramatic transformation of mood
    17. 17 Awakening from a dream: The main theme's return
    18. 18 Cue to complete Scherzo
    19. 19 Music: Third movement (Complete)
    20. 20 Enter the trout, at last; a meeting with the original
    21. 21 Music: "Die Forelle"
    22. 22 Back to the Quintet: The strings, headed by the violin, introduce the theme.
    23. 23 The first variation
    24. 24 The second variation
    25. 25 The third variation
    26. 26 The fourth variation, part one
    27. 27 The fourth variation, part two
    28. 28 The fifth variation
    29. 29 The final variation, part one: Violin and piano alone introduce the theme.
    30. 30 The final variation, part two: The cello takes the tune.
    31. 31 The final variation, part three: Piano and violin return as a duo...
    32. 32 The final variation, part four: ... As do the viola and cello.
    33. 33 The final variation, part five: The entire ensemble is reunited.
    34. 34 Music: Fourth movement (Complete)
    35. 35 Introduction to the finale: Schubert as wizard of repetition
    36. 36 Easily overlooked: The accompaniment from cello and double-bass
    37. 37 Contrasts of timbre and register
    38. 38 A repetition, and yet not a repetition
    39. 39 A journey begun; the phenomenon of musical gravity
    40. 40 The journey completed
    41. 41 The source of musical gravity
    42. 42 Music: Saint-Saëns - The Carnival of the Animals "The Pianists"
    43. 43 A scale of shifting tensions
    44. 44 Music: Beethoven, Symphony No. 1 (Finale)
    45. 45 Back to Schubert
    46. 46 The piano embellishes a scalewise descent.
    47. 47 A retrospective moment
    48. 48 Repetition more apparent than real
    49. 49 A taste of phrase rhythm
    50. 50 Shifting patterns of accentuation
    51. 51 The section reviewed
    52. 52 An increasingly sophisticated texture as parts interact
    53. 53 More phrase rhythm
    54. 54 A repetition from the strings...
    55. 55 ... And an answer from the piano
    56. 56 In transition to the secondary key
    57. 57 The origin of the second theme
    58. 58 The second main theme
    59. 59 The closing section begins, with a question answered.
    60. 60 The question repeated, a slightly different answer
    61. 61 First theme of closing section reviewed
    62. 62 Remembrance of things past
    63. 63 The piano and strings argue over the harmony.
    64. 64 Emergence of the final theme
    65. 65 An unecpected thunderstorm
    66. 66 The sound of silence
    67. 67 Cue to complete finale
    68. 68 Music: Finale (Complete)