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Download 48.48. The Changes In Scoring Are Just Beginning music track (mp3 song)

Antonín Dvořák

From album Jeremy Siepmann - An Intoduction To Dvorak Symphony No 9 - Antonín Dvořák

Listen and download 48.48. The Changes In Scoring Are Just Beginning by Antonín Dvořák

You can listen and download track 48.48. The Changes In Scoring Are Just Beginning. This song is in collection named "Jeremy Siepmann - An Intoduction To Dvorak Symphony No 9". Track 48.48. The Changes In Scoring Are Just Beginning belongs to the genre Classical, Symphonic. To download mp3 you may to listen 48.48. The Changes In Scoring Are Just Beginning audio mp3 file first. After listening you will able to download track 48.48. The Changes In Scoring Are Just Beginning. To get this file you may click on "download mp3" and you will download mp3 file with bitrate 320 and size 9.8 Mb.

Year of release 2002

Genre list Classical, Symphonic

Bitrate 320

File size 9.8 Mb

Duration 2:35

Other tracks in album

01.1. A Quiet Beginning: Sorrow Syncopation And Sequence
 
2:38
02.2. Instrumental Colour As A Prime Element: Clarinets And Bassoons An Outburs...
 
0:57
03.3. The Opening Tune Again With Different Instrumental Colouring Now Flutes...
 
0:32
04.4. The First Big Surprise: Strings Shattering Drumbeats Shrieks From Flutes...
 
0:37
05.5. Cellos And Basses Take Us Into A New Key While Flutes And Oboes Dance In S...
 
0:32
06.6. Horns Violas And Cellos Introduce A New Idea Soon To Evolve Into The Ma...
 
0:31
07.7. A Tiny Detail From The Opening Culminates In A Wild Drumming That Heralds...
 
0:43
08.8. Introduction Complete
 
2:05
09.9. A Solo Horn Introduces The Main Theme Perkily Answered By Bassoons And Horns
 
0:39
10.10. The Theme Moves To G Major Answering Phrase From Flutes Oboes Bassoons...
 
0:33
11.11. Long Crescendo Tremolo Strings Back To Tonic And Biggest Statement Yet...
 
0:39
12.12. Transition To The Secondary Theme Through The Use Of Sequence. Sonata For...
 
1:36
13.13. Three-Bar Groupings And Again The Use Of Sequence Spelling Out A Chord
 
0:34
14.14. The Sequence Continues To Rise And The Four-Bar Phrase Returns As The St...
 
0:18
15.15. The First Violins Start Off The Next Phrase But The Melodic Shape Is Mor...
 
0:21
16.16. The Violins Fall Silent The Violas And Cellos Answer With A New Figure...
 
0:09
17.17. So Now We Have A Two-Tear Group Made Up Of Statement And Answer
 
0:07
18.18. The Same Thing Again Though Not Quite The Same
 
0:05
19.19. Transition Complete. The Secondary Theme Arrives With French Horns As B...
 
1:00
20.20. The Bagpipe Drone Is Taken Over By Cellos With Their Insistently Repea...
 
0:19
21.21. The Tune Is Taken Up By Cellos And Double-Basses Shadowed By The Secon...
 
0:57
22.22. The Violins Continue A Pattern Of Steady Pairs And The Cellos And Basses...
 
0:33
23.23. Unexpectedly We Find Ourselves Back With The Secondary Theme. A New Idea...
 
0:26
24.24. Again We Hear The Shortened Version Of The Secondary Theme Followed By M...
 
0:33
25.25. The Suspense Is Heightened As Everything Slows Down A Soft Still Varian...
 
0:25
26.26. This Beautiful Flute Tune Is Said To Resemble Swing Low Sweet Chariot
 
0:47
27.27. A Big Crescendo Leads To A Final Statement Of The Closing Theme Bringing...
 
1:16
28.28. The Development Section Begins With A Conversation Between Cellos Double...
 
1:09
29.29. The Beginning Of The Closing Theme Is Taken Up In Turn By The Horn Picco...
 
0:18
30.30. Sequential Chirping From The Oboes Based On The Answering Part Of The M...
 
0:18
31.31. Much Of The Development Comes From A Diminution Of The Closing Theme From...
 
0:19
32.32. A Tiny Detail Becomes A Major Ingredient Giving An Agitated Quality To A...
 
0:31
33.33. Through A Sequence Of Keys So Quickly That It Is Hard To Keep Track Of Th...
 
0:37
34.34. The Main Theme From Massed Cellos And Double-Basses Topped By Two Trumpe...
 
1:46
35.35. After That Major Climax We Arrive At The Threshold Of The Recapitulation...
 
1:04
36.36. Dvorak Flouts Tradition By Setting The Secondary Theme And The Closing Th...
 
1:10
37.37. The Tumultuous Convulsion Of The Coda Brings The First Movement To Its Ep...
 
3:09
38.38. Humpty Dumpty: Putting The Bits Back Together Again
 
0:20
39.39. First Movement Complete
 
11:36
40.40. The Very Opening Chords Unmistakably Herald The Arrival Of Something Special
 
1:06
41.41. The Role Of Instrumentation In Setting The Scene
 
1:10
42.42. And In Enhancing The Quality Of One Of The Most Famous Tunes In Symphonic...
 
1:29
43.43. The Cor Anglais Is Joined By The Clarinet Creating A Fascinating Change...
 
1:08
44.44. For The Closing Part Of The Tune There Is Another New Sonority: Cor Angl...
 
0:24
45.45. The Closing Bar Is Repeated By Clarinets And Bassoons The Horn Adding A...
 
0:28
46.46. Back To The Start To Hear The Whole Of The Story So Far This Time Withou...
 
2:24
47.47. A Change Of Scoring: The Slow Opening Chords Return This Time Played By...
 
1:14
49.49. The Flutes And Oboes Introduce A New Tune Over Hushed Tremolo Strings
 
1:05
50.50. A Memorable Combination Of Continuous Asymmetrical Melody With Steady M...
 
1:28
51.51. Back In That Woodland Glade The Light And Shadows Have Changed Revealin...
 
1:33
52.52. The Next Section Is New And Forward-Looking Yet Also A Kind Of Dream-Rec...
 
1:30
54.54. Subjectivity And Expertise Sourek And Tovey Disagree Onwards Into The...
 
5:14
55.55. Cue To Whole Movement
 
0:10
56.56. Second Movement Complete
 
12:00
01.01. Dvorak Beethoven And The Scherzo Dvorak Purposely Confuses The Listene...
 
1:54
02.02. Using A Little Fanfare Dvorak Further Builds Up Expectation Before Revea...
 
0:21
03.03. When The Theme Is Revealed We Find That It Is Not Exactly A Tune
 
0:36
04.04. Two Little Bursts Of Rhythm Provide The Seeds From Which Much Of The Move...
 
0:24
05.05. It Is The Second Half Of The Theme That Dominates
 
0:22
06.06. Back To The Beginning To Hear The Whole Of This Opening Section
 
0:48
07.07. Without Ever Being Remotely Academic Or Intellectual There Is Much C...
 
0:20
08.08. Dvorak S Very Czech Love Of Combining Conflicting Rhythms Sometimes Metres
 
2:31
09.09. A Clearly Transitional Passage Obsessed With The Rhythmic Tag That Both...
 
0:30
10.10. Sooner Than We May Have Expected We Seem To Have Arrived At The Trio Sec...
 
1:07
11.11. A New Kind Of Tone Quality Sheds A Subtly Different Light On The Theme
 
0:35
12.12. The Flutes And Oboes Now Chime In With An Answering Variant Of The Opening
 
0:21
13.13. And The Cellos And Bassoons Take Up The Original Version Of The Theme.
 
0:43
14.14. A False Alarm: It Was Not The Traditional Trio Section At All But Rather...
 
0:52
15.15. Soon After A Very Rapid Build The Scherzo Proper Does Reach Its Final Phase
 
1:13
16.16. The Orchestral Texture Thins Dramatically And We Approach What This Time...
 
1:28
17.17. The Trio Section Is Reminiscent More Of The Old World Than The New
 
0:50
18.18. In The Second Half Of The Trio A New Tune Emerges A Kind Of Slavonic Waltz
 
1:00
19.19. The Main Theme Of The Trio Returns Against A Much Fuller Orchestral Backg...
 
0:36
20.20. Then It Is All A Matter Of Repeats Until We Reach The Coda Which Ends W...
 
1:15
21.21. Third Movement Complete
 
8:07
22.22. Like The First Movement The Fourth Begins Not With Its Main Theme But Wi...
 
0:47
23.23. The Main Theme: An Imposing March Introduced By Trumpets And Trombones...
 
0:48
24.24. The Main Theme Part Two. A Codetta-Like Passage Closes Off The March And...
 
1:01
25.25. The Transitional Theme While Outwardly Contrasting Is Actually A Hidd...
 
0:53
26.26. A Point Of Future Obsession
 
0:16
27.27. The Second Half Of This Transitional Theme Is Given To The Winds As Soo...
 
0:16
28.28. The Obsession Takes Root With A Ten-Fold Repetition Before The Arriva...
 
0:57
29.29. The Hidden Traps In Sonata-Form Terminology: Second Main Theme Vs. Sec...
 
2:31
30.30. The Unexpected Entry And Subsequent Ubiquity Of Three Blind Mice
 
1:23
31.31. We Meet The Mice Again Now In The Cellos And Double-Basses Where They P...
 
0:36
32.32. More Three Blind Mice Material
 
0:30
33.33. The Mice Return To The Basement Where The Bassoons Have Joined The Cello...
 
0:19
34.34. Next They Are Back With The Clarinets Now Joined By Pizzicato Violas W...
 
0:18
35.35. Now They Return To The High Winds Delicately Trilling
 
0:15
36.36. Relief At Last: The Mice Back Off Making Way For A Reminder Of The Main...
 
0:34
37.37. The Mice Yield To Woodpeckers Clarinets The Main Theme Or Its Opening...
 
1:07
38.38. The Triplets Of The Transitional Theme Are Now Handed Down Through Stri...
 
0:23
39.39. Reminders Of Past Movements Begin To Fly By Thick And Fast Sometimes Ve...
 
0:28
40.40. In Fact There Are Three Bits Of Quotation Going On Here Simultaneously
 
0:23
41.41. The Violas React Every Time The Goin Home Theme Is Quoted By The Winds
 
0:13
42.42. The Rhythm Of The Opening Of The Goin Home Theme Dominates Transforme...
 
0:35
43.43. The March Theme Reappears As A Mendelssohnian Fairy The Main Theme From...
 
1:55
44.44. We Reach An Interesting Point: Have We Heard The Beginning Of The Recapit...
 
1:05
45.45. Perhaps This Is It? Back For A Reminder Of The Theme Proper As We First...
 
1:41
46.46. Tovey Places The Start Of The Recapitulation Here
 
1:27
47.47. The Main Theme Recast In Pathetic Rather Than Heroic Terms - And With Mag...
 
1:51
48.48. This Unexpected Crisis In Confidence Plays A Major Role In The Overall Dr...
 
1:49
49.49. The Main Theme Returns - Not Complete But Chopped Up Into Shorter And Sh...
 
1:30
50.50. A Glorious Thematic Stew High Drama A Powerful Build-Up... But Then?
 
0:56
51.51. The Dramatic Highpoint Of The Movement An Astonishing Transformation Bu...
 
1:26
52.52. The Same Chords Again This Time Blasted Out By The Entire Wind And Brass...
 
1:09
53.53. Now We Are Into The Finishing Stretch But The Surprises Continue To The...
 
1:42
54.54. Summary Context And Cue Into The Whole Movement
 
1:05
55.55. Fourth Movement Complete
 
11:05