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    Einführung in die Musik: Classics Explained:Schubert/Forellenquintett

    Classics Explained:Schubert/Forellenquintett
    2 CDs
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    • 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

    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 the quene: Schubert takes a lesson from Mozart
    7. 7 Mozart demonstrates a traditional transition
    8. 8 Destination 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 scarcely 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 (introductory) 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 Expositon 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 featured 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 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 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 length 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 transformaton of mood
    17. 17 Awakening from a dream: the main theme's return
    18. 18 Cue to complete Scherzo
    19. 19 Third movement (complete)
    20. 20 Enter the trout, at last; a meeting with the original
    21. 21 Back to the Quintet: the strings, headed by the violin, introduce the theme
    22. 22 The first variation
    23. 23 The second variation
    24. 24 The third variation
    25. 25 The fourth variation, part one
    26. 26 The fourth variation, part two
    27. 27 The fifth variation
    28. 28 The final variation, part one: violin and piano alone introduce the theme
    29. 29 The final variation, part two: the cello takes the tune
    30. 30 The final variation, part three: piano and violin return as a duo...
    31. 31 The final variation, part four:...as do the viola and cello
    32. 32 The final variation, part five: the entire ensemble is reunited
    33. 33 Fourth movement (complete)
    34. 34 Introduction to the Finale: Schubert as wizard of repetition
    35. 35 Easily overlooked: the accompaniment from cello and double-bass
    36. 36 Contrasts of timbre and register
    37. 37 A repetition, and yet not a repetition
    38. 38 A journey begun: the phenomenon of musical gravity
    39. 39 The journey completed
    40. 40 The source of musical gravity
    41. 41 The Pianists (Excerpt)
    42. 42 A scale of shifting tensions
    43. 43 Finale (Excerpt)
    44. 44 Back to Schubert
    45. 45 The piano embellishes a scalewise descent
    46. 46 A retrospective moment
    47. 47 Repetition more apparent than real
    48. 48 A taste of phrase rhythm
    49. 49 Shifting patterns of accentuation
    50. 50 The section reviewed
    51. 51 An increasingly sophisticated texture as parts interact
    52. 52 More phrase rhythm
    53. 53 A repetition from the strings...
    54. 54 ....and an answer from the piano
    55. 55 In transition to the secondary key
    56. 56 The orgin of the second theme
    57. 57 The second main theme
    58. 58 The closing section begins, with a question answered
    59. 59 The question repeated, a slightly different answer
    60. 60 First theme of closing section reviewed
    61. 61 Remembrance of things past
    62. 62 The piano and strings argue over the harmony
    63. 63 Emergence of the final theme
    64. 64 An unexpected thunderstorm
    65. 65 The sound of silence
    66. 66 Cue to complete Finale
    67. 67 Finale (complete)