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Classics Explained: Beethoven - Symphony No. 6, 'Pastoral': Jeremy Siepmann; 앱에서 듣기

CD1
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Symphony No. 6 in F Major, Op. 68, "Pastoral", I. Awakening of Cheerful Feelings on Arriving in the Country: On Beethoven's Openings

Jeremy Siepmann
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Symphony No. 6 in F Major, Op. 68, "Pastoral", I. Awakening of Cheerful Feelings on Arriving in the Country: Opening phrase of the 'Pastoral': Ood, Symbolism and Musical Function

Jeremy Siepmann
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Symphony No. 6 in F Major, Op. 68, "Pastoral", I. Awakening of Cheerful Feelings on Arriving in the Country: Musical Acorns: The outline of melody; the shape of a question

Jeremy Siepmann
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Symphony No. 6 in F Major, Op. 68, "Pastoral", I. Awakening of Cheerful Feelings on Arriving in the Country: The 'question' in the 'Pastoral' repeated...

Jeremy Siepmann
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Symphony No. 6 in F Major, Op. 68, "Pastoral", I. Awakening of Cheerful Feelings on Arriving in the Country: ...And answered

Jeremy Siepmann
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Symphony No. 6 in F Major, Op. 68, "Pastoral", I. Awakening of Cheerful Feelings on Arriving in the Country: The opening phrase ends on a note full of pregnant expectation

Jeremy Siepmann
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Symphony No. 6 in F Major, Op. 68, "Pastoral", I. Awakening of Cheerful Feelings on Arriving in the Country: Starting with a stop

Jeremy Siepmann
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Symphony No. 6 in F Major, Op. 68, "Pastoral", I. Awakening of Cheerful Feelings on Arriving in the Country: The rhythmic profile of the opening phrase; a two-part construction

Jeremy Siepmann
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Symphony No. 6 in F Major, Op. 68, "Pastoral", I. Awakening of Cheerful Feelings on Arriving in the Country: Phrase One, Pt. One

Jeremy Siepmann
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Symphony No. 6 in F Major, Op. 68, "Pastoral", I. Awakening of Cheerful Feelings on Arriving in the Country: Phrase One, Pt. Two

Jeremy Siepmann
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Symphony No. 6 in F Major, Op. 68, "Pastoral", I. Awakening of Cheerful Feelings on Arriving in the Country: The properties of rhythmic ambiguity; the 'question' of Phrase One answered

Jeremy Siepmann
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Symphony No. 6 in F Major, Op. 68, "Pastoral", I. Awakening of Cheerful Feelings on Arriving in the Country: Phrase Two: From meander to march

Jeremy Siepmann
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Symphony No. 6 in F Major, Op. 68, "Pastoral", I. Awakening of Cheerful Feelings on Arriving in the Country: The makings of a conversation: Contrast and variation

Jeremy Siepmann
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Symphony No. 6 in F Major, Op. 68, "Pastoral", I. Awakening of Cheerful Feelings on Arriving in the Country: Repetition as A Major factor, but It's never mere repetition; each time something new Is added

Jeremy Siepmann
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Symphony No. 6 in F Major, Op. 68, "Pastoral", I. Awakening of Cheerful Feelings on Arriving in the Country: From soft to loud and back again; instrumental enrichment from horns and double-basses

Jeremy Siepmann
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Symphony No. 6 in F Major, Op. 68, "Pastoral", I. Awakening of Cheerful Feelings on Arriving in the Country: Mega-repetition: Violins play exactly the same little fragment ten times in a row

Jeremy Siepmann
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Symphony No. 6 in F Major, Op. 68, "Pastoral", I. Awakening of Cheerful Feelings on Arriving in the Country: But no two repetitions Are quite the same; varieties of contrast

Jeremy Siepmann
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Symphony No. 6 in F Major, Op. 68, "Pastoral", I. Awakening of Cheerful Feelings on Arriving in the Country: More variation: Pitch rises; violins joined frist by the clarinet, then by the oboe

Jeremy Siepmann
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Symphony No. 6 in F Major, Op. 68, "Pastoral", I. Awakening of Cheerful Feelings on Arriving in the Country: Return to opening idea, but with new instrumentation and articulation

Jeremy Siepmann
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Symphony No. 6 in F Major, Op. 68, "Pastoral", I. Awakening of Cheerful Feelings on Arriving in the Country: Clarinets, horns, bassoons and flutes now join expansive variation

Jeremy Siepmann
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Symphony No. 6 in F Major, Op. 68, "Pastoral", I. Awakening of Cheerful Feelings on Arriving in the Country: 'New' insistent rhythm derived from the first four notes of the piece

Jeremy Siepmann
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Symphony No. 6 in F Major, Op. 68, "Pastoral", I. Awakening of Cheerful Feelings on Arriving in the Country: With the dawn chorus, a whole forest Is waking up; feelings of rapture

Jeremy Siepmann
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Symphony No. 6 in F Major, Op. 68, "Pastoral", I. Awakening of Cheerful Feelings on Arriving in the Country: First violins play a derivative of the opening figure, joined by wind and strings

Jeremy Siepmann
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Symphony No. 6 in F Major, Op. 68, "Pastoral", I. Awakening of Cheerful Feelings on Arriving in the Country: Sudden change of key, from the home key (tonic) to the dominant

Jeremy Siepmann
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Symphony No. 6 in F Major, Op. 68, "Pastoral", I. Awakening of Cheerful Feelings on Arriving in the Country: Arrival at the hightly contrasting second main theme

Jeremy Siepmann
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Symphony No. 6 in F Major, Op. 68, "Pastoral", I. Awakening of Cheerful Feelings on Arriving in the Country: Unusual properties of second main theme

Jeremy Siepmann
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Symphony No. 6 in F Major, Op. 68, "Pastoral", I. Awakening of Cheerful Feelings on Arriving in the Country: Rhythmic clash between simultaneous groups of three beats and groups of two

Jeremy Siepmann
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Symphony No. 6 in F Major, Op. 68, "Pastoral", I. Awakening of Cheerful Feelings on Arriving in the Country: Winds fall selent as the violins and violas interrupt with a new theme

Jeremy Siepmann
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Symphony No. 6 in F Major, Op. 68, "Pastoral", I. Awakening of Cheerful Feelings on Arriving in the Country: Winds answer with the same morse-like rhythm but at half the speed

Jeremy Siepmann
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Symphony No. 6 in F Major, Op. 68, "Pastoral", I. Awakening of Cheerful Feelings on Arriving in the Country: Crescendo leads to strings' acceleration of the pace with no increase in tempo

Jeremy Siepmann
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Symphony No. 6 in F Major, Op. 68, "Pastoral", I. Awakening of Cheerful Feelings on Arriving in the Country: Beginning of coda, directly based on morse-like rhythm of the main theme

Jeremy Siepmann
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Symphony No. 6 in F Major, Op. 68, "Pastoral", I. Awakening of Cheerful Feelings on Arriving in the Country: Strings reiterate small fragment of the new theme 13 times in a row

Jeremy Siepmann
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Symphony No. 6 in F Major, Op. 68, "Pastoral", I. Awakening of Cheerful Feelings on Arriving in the Country: A simple, rising violin phrase leads to a repeat of the Exposition

Jeremy Siepmann
34

Symphony No. 6 in F Major, Op. 68, "Pastoral", I. Awakening of Cheerful Feelings on Arriving in the Country: The nature and function of the Development section in sonata form; 'harmonic' rhythm explained

Jeremy Siepmann
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Symphony No. 6 in F Major, Op. 68, "Pastoral", I. Awakening of Cheerful Feelings on Arriving in the Country: The nature of harmonic rhythm illustrated

Jeremy Siepmann
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Symphony No. 6 in F Major, Op. 68, "Pastoral", I. Awakening of Cheerful Feelings on Arriving in the Country: A typically Beethovenian exercise in the frustration of expectation

Jeremy Siepmann
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Symphony No. 6 in F Major, Op. 68, "Pastoral", I. Awakening of Cheerful Feelings on Arriving in the Country: Repetitiousness and magic effected largely through instrumental colour

Jeremy Siepmann
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Symphony No. 6 in F Major, Op. 68, "Pastoral", I. Awakening of Cheerful Feelings on Arriving in the Country: Then come four, almost identical bars

Jeremy Siepmann
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Symphony No. 6 in F Major, Op. 68, "Pastoral", I. Awakening of Cheerful Feelings on Arriving in the Country: Even greater magic, with sudden switch of key and tone colour

Jeremy Siepmann
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Symphony No. 6 in F Major, Op. 68, "Pastoral", I. Awakening of Cheerful Feelings on Arriving in the Country: Entire Development section up to This point

Jeremy Siepmann
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Symphony No. 6 in F Major, Op. 68, "Pastoral", I. Awakening of Cheerful Feelings on Arriving in the Country: The Development continued

Jeremy Siepmann
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Symphony No. 6 in F Major, Op. 68, "Pastoral", I. Awakening of Cheerful Feelings on Arriving in the Country: Increased unease and suspense as harmonic rhythm accelerates

Jeremy Siepmann
43

Symphony No. 6 in F Major, Op. 68, "Pastoral", I. Awakening of Cheerful Feelings on Arriving in the Country: Arrival at the point of Recapitulation; back to the beginning, as a reminder

Jeremy Siepmann
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Symphony No. 6 in F Major, Op. 68, "Pastoral", I. Awakening of Cheerful Feelings on Arriving in the Country: Beginning of Recapitulation

Jeremy Siepmann
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Symphony No. 6 in F Major, Op. 68, "Pastoral", I. Awakening of Cheerful Feelings on Arriving in the Country: More Beethovenian frustrations of expectations which he himself has just set up

Jeremy Siepmann
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Symphony No. 6 in F Major, Op. 68, "Pastoral", I. Awakening of Cheerful Feelings on Arriving in the Country: Harmonic rhythm speeds up, giving the impression of an accent on every beat

Jeremy Siepmann
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Symphony No. 6 in F Major, Op. 68, "Pastoral", I. Awakening of Cheerful Feelings on Arriving in the Country: Prevailing mood restored; new theme from clarinets and bassoons

Jeremy Siepmann
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Symphony No. 6 in F Major, Op. 68, "Pastoral", I. Awakening of Cheerful Feelings on Arriving in the Country: Violins and violas take up theme; horns, cellos, double-basses accompany

Jeremy Siepmann
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Symphony No. 6 in F Major, Op. 68, "Pastoral", I. Awakening of Cheerful Feelings on Arriving in the Country: A hush falls, followed by a return of the movement's most familiar tag in strings

Jeremy Siepmann
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Symphony No. 6 in F Major, Op. 68, "Pastoral", I. Awakening of Cheerful Feelings on Arriving in the Country: Clarinet takes up the running triplet figures of the main closing theme

Jeremy Siepmann
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Symphony No. 6 in F Major, Op. 68, "Pastoral", I. Awakening of Cheerful Feelings on Arriving in the Country: First violins take up the opening phrase again, accompanied by double-basses

Jeremy Siepmann
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Symphony No. 6 in F Major, Op. 68, "Pastoral", I. Awakening of Cheerful Feelings on Arriving in the Country: Beethoven slips in one last surprise; cue to complete movement

Jeremy Siepmann
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Symphony No. 6 in F Major, Op. 68, "Pastoral", I. Awakening of Cheerful Feelings on Arriving in the Country: First movement (complete)

Jeremy Siepmann
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Second Movement, Scene by the Brook: General introduction; the birth of a melody

Jeremy Siepmann
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Second Movement, Scene by the Brook: Brook music quickens; syncopated horns; theme changes hands; evocation of birdsong

Jeremy Siepmann
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Second Movement, Scene by the Brook: The 'motto' theme introduced by violins and treated to round-like overlappings

Jeremy Siepmann
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Second Movement, Scene by the Brook: Transitional 'bridge' theme sets off for new key group. But Is It? And does It?

Jeremy Siepmann
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Second Movement, Scene by the Brook: Will he, or won't he? Beethoven keeps us guessing

Jeremy Siepmann
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Second Movement, Scene by the Brook: The run-up to the Second Group

Jeremy Siepmann
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Second Movement, Scene by the Brook: Arrival at the Second Group; but where Is the actual Second Subject?

Jeremy Siepmann
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Second Movement, Scene by the Brook: A new tune Is introduced by the bassoon

Jeremy Siepmann
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Second Movement, Scene by the Brook: Tune Is repeated three times

Jeremy Siepmann
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Second Movement, Scene by the Brook: ...Which the full orchestra now takes up in varied form

Jeremy Siepmann
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Second Movement, Scene by the Brook: Theme carried by flutes and first violins in a charmingly waltz-like development

Jeremy Siepmann
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Second Movement, Scene by the Brook: A reminder of precedent

Jeremy Siepmann
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Second Movement, Scene by the Brook: Back to the prevailing triple-metre with violins, bassoons and flutes

Jeremy Siepmann
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Second Movement, Scene by the Brook: Another reminder of precedent...

Jeremy Siepmann
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Second Movement, Scene by the Brook: ...And a cue to some unexpected departures

Jeremy Siepmann
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Second Movement, Scene by the Brook: The transformational magic of Beethoven's 'tone-painting' - And a new varation

Jeremy Siepmann
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Second Movement, Scene by the Brook: Conversation of clarinet, flute and oboe on the way to the Development

Jeremy Siepmann
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Second Movement, Scene by the Brook: Harmonic movement emphasised by violins; oboe takes up the First Subject

Jeremy Siepmann
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Second Movement, Scene by the Brook: Flute and oboe discuss the First Subject, before arriving together at the Transition

Jeremy Siepmann
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Second Movement, Scene by the Brook: Gains in volume and intensity lead to a new key-change

Jeremy Siepmann
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Second Movement, Scene by the Brook: More thematic transformation through the agency of tone-colour

Jeremy Siepmann
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Second Movement, Scene by the Brook: Harmonic fluideity - Instability - As the central engine of the Development section

Jeremy Siepmann
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Second Movement, Scene by the Brook: Harmonic instability, thematic dissolution increase, then lessen with approach of Recapitulation

Jeremy Siepmann
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Second Movement, Scene by the Brook: Recap. And transformation: Key and material Are right, but what a change of presentation!

Jeremy Siepmann
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Second Movement, Scene by the Brook: Just when we know what's coming, Beethoven changes the rules (or at least the harmony)

Jeremy Siepmann
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Second Movement, Scene by the Brook: Transformation by reorchestration; switch to long sustained chords; then everything stops

Jeremy Siepmann
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Second Movement, Scene by the Brook: The silence Is broken by voices of nightingale (flute), quail [oboe] and cuckoo [clarinet]

Jeremy Siepmann
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Second Movement, Scene by the Brook: First violins bring back motto theme

Jeremy Siepmann
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Second Movement, Scene by the Brook: Cue to complete movement on CD 2

Jeremy Siepmann
CD2
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Second movement (complete)

Jeremy Siepmann
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Symphony No. 6 in F Major, Op. 68, "Pastoral", III. Merry Gathering of Country Folk: Beethoven and the Scherzo. An introduction; Pt. One of opening phrase taken by the strings

Jeremy Siepmann
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Symphony No. 6 in F Major, Op. 68, "Pastoral", III. Merry Gathering of Country Folk: Immediate response; Pt. One Is answered by a march more singing, continuous legato

Jeremy Siepmann
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Symphony No. 6 in F Major, Op. 68, "Pastoral", III. Merry Gathering of Country Folk: Entire orchestra gives out opening theme, This time fortissimo and with powerful accents

Jeremy Siepmann
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Symphony No. 6 in F Major, Op. 68, "Pastoral", III. Merry Gathering of Country Folk: A mustical ball game. The contrast of This and the first two movements could hardly be greater

Jeremy Siepmann
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Symphony No. 6 in F Major, Op. 68, "Pastoral", III. Merry Gathering of Country Folk: After quietly teasing suspense, Beethoven mocks village band, first the oboe, then the bassoon

Jeremy Siepmann
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Symphony No. 6 in F Major, Op. 68, "Pastoral", III. Merry Gathering of Country Folk: Clarinet joins in, then horn takes the tune - The dance no longer boisterous but lyrical

Jeremy Siepmann
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Symphony No. 6 in F Major, Op. 68, "Pastoral", III. Merry Gathering of Country Folk: Strings sweep the village musicians aside and hurtle us into the new, boisterous 'Trio' section

Jeremy Siepmann
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Symphony No. 6 in F Major, Op. 68, "Pastoral", III. Merry Gathering of Country Folk: The air Is alive with the sound of (mock) bagpipes, tambourines and fifes

Jeremy Siepmann
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Symphony No. 6 in F Major, Op. 68, "Pastoral", III. Merry Gathering of Country Folk: Coda; begins as the movement itself begins, but soon diverges in harmony and instrumentation

Jeremy Siepmann
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Symphony No. 6 in F Major, Op. 68, "Pastoral", III. Merry Gathering of Country Folk: Original layout compressed; order of events Is changed nd Beethoven springs a big surprise

Jeremy Siepmann
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Symphony No. 6 in F Major, Op. 68, "Pastoral", III. Merry Gathering of Country Folk: Third movement (complete)

Jeremy Siepmann
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Symphony No. 6 in F Major, Op. 68, "Pastoral", IV. Thunderstorm: Unparalled portrait of nature's power over humanity, with some stupendous orchestration

Jeremy Siepmann
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Symphony No. 6 in F Major, Op. 68, "Pastoral", IV. Thunderstorm: Self-generating form and terror of total unpredictability; 'anxiety motif' from the violins

Jeremy Siepmann
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Symphony No. 6 in F Major, Op. 68, "Pastoral", IV. Thunderstorm: The 'lashing rain' motif - Downward-driving arpeggios from the first violins and violas

Jeremy Siepmann
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Symphony No. 6 in F Major, Op. 68, "Pastoral", IV. Thunderstorm: The 'lightning' motif, and its recurrnece later in the movement

Jeremy Siepmann
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Symphony No. 6 in F Major, Op. 68, "Pastoral", IV. Thunderstorm: 'Rain' motif, derived from descending scale pattern from the violins at the outest

Jeremy Siepmann
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Symphony No. 6 in F Major, Op. 68, "Pastoral", IV. Thunderstorm: Shivering tremolandos from the strings and increasingly eerie harmonies from the wind

Jeremy Siepmann
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Symphony No. 6 in F Major, Op. 68, "Pastoral", IV. Thunderstorm: Steady crescendo in strings; terrifying, downward spelling-out of chords in the violins

Jeremy Siepmann
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Symphony No. 6 in F Major, Op. 68, "Pastoral", IV. Thunderstorm: Extremes of dynamic contrasts; the unsettling, disturbing, undermining effects of chromaticism

Jeremy Siepmann
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Symphony No. 6 in F Major, Op. 68, "Pastoral", IV. Thunderstorm: Abandonment of melody, and most traces even of rhythm; sustained, discordant harmony

Jeremy Siepmann
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Symphony No. 6 in F Major, Op. 68, "Pastoral", IV. Thunderstorm: Storm dispersed, the sun reappears, bathing sodden earth below with its life-giving rays

Jeremy Siepmann
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Symphony No. 6 in F Major, Op. 68, "Pastoral", IV. Thunderstorm: Cue to complete preformance of Fourth Movement

Jeremy Siepmann
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Symphony No. 6 in F Major, Op. 68, "Pastoral", IV. Thunderstorm: Fourth movement (complete)

Jeremy Siepmann
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Fifth Movement, Shepherd's Song - Happy and Thankful Feelings After the Storm: 'Yodelling' figure from clarinet, then horn, the violins, who introduce the main theme

Jeremy Siepmann
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Fifth Movement, Shepherd's Song - Happy and Thankful Feelings After the Storm: Details of instrumental magic in the interplay of horns, cellos, clarinets and bassoons

Jeremy Siepmann
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Fifth Movement, Shepherd's Song - Happy and Thankful Feelings After the Storm: Main theme heard three times in a row - And yet never the same way twice

Jeremy Siepmann
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Fifth Movement, Shepherd's Song - Happy and Thankful Feelings After the Storm: Now we get the whole orchestra, playing full out, with violins all double-stopping

Jeremy Siepmann
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Fifth Movement, Shepherd's Song - Happy and Thankful Feelings After the Storm: Transition to the next section, based on the last two notes of the main theme

Jeremy Siepmann
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Fifth Movement, Shepherd's Song - Happy and Thankful Feelings After the Storm: The rhythmic basis of new transition theme, first in violas, then takes up by first violins

Jeremy Siepmann
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Fifth Movement, Shepherd's Song - Happy and Thankful Feelings After the Storm: Another rhythmic details of extended transition comes increasingly into the foreground

Jeremy Siepmann
32

Fifth Movement, Shepherd's Song - Happy and Thankful Feelings After the Storm: ...And Is then heard in expanded version, taken in sequence by the strings, from the top down

Jeremy Siepmann
33

Fifth Movement, Shepherd's Song - Happy and Thankful Feelings After the Storm: New phrase, introduced by violins, brings us resoundingly back to the opening material

Jeremy Siepmann
34

Fifth Movement, Shepherd's Song - Happy and Thankful Feelings After the Storm: Main theme, re-orchestrated; unexpected drift into another key and a new, gently flowing theme

Jeremy Siepmann
35

Fifth Movement, Shepherd's Song - Happy and Thankful Feelings After the Storm: Hints of a return to main theme; long 'pedal point'; running commentary from the violins

Jeremy Siepmann
36

Fifth Movement, Shepherd's Song - Happy and Thankful Feelings After the Storm: Main theme returns, but significantly altered, and not entirely intact

Jeremy Siepmann
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Fifth Movement, Shepherd's Song - Happy and Thankful Feelings After the Storm: Running commentary now heard in the middle, with alternating pizzicatos both above and below

Jeremy Siepmann
38

Fifth Movement, Shepherd's Song - Happy and Thankful Feelings After the Storm: Pt. Three of main theme given to entire orchestra, leading to final appearance of Theme two

Jeremy Siepmann
39

Fifth Movement, Shepherd's Song - Happy and Thankful Feelings After the Storm: Extended coda; overlapping variations of main theme, rather in the manner of a round

Jeremy Siepmann
40

Fifth Movement, Shepherd's Song - Happy and Thankful Feelings After the Storm: Suddenly the scene changes. A variation of the 'running commentary' cited in Tracks 34 and 36

Jeremy Siepmann
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Fifth Movement, Shepherd's Song - Happy and Thankful Feelings After the Storm: The crowning glory, as the Shepherd's Song of Thanksgiving takes on a 'heavenly' magnificence

Jeremy Siepmann
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Fifth Movement, Shepherd's Song - Happy and Thankful Feelings After the Storm: Cue into complete performance of Fifth Movement through the 'gateway' of the Fourth

Jeremy Siepmann
43

Fifth Movement, Shepherd's Song - Happy and Thankful Feelings After the Storm: Fourth and Fifth movements (complete)

Jeremy Siepmann

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