Title: Instruments of the Orchestra / Various
Artist: Instruments of the Orchestra / Various
Label: Naxos
Product Type: COMPACT DISCS
UPC: 636943804025
Genre: Books on Tape/Cd, Classical Composers



Tracks:
1.1 Overture to 'Tannhauser'
1.2 Domna, Pos Vos Ay Chausida
1.3 We Don't Merely Use Instruments, We Play on Them. And They Play on Us
1.4 Hungarian Dance No.7
1.5 The Violin Is One of the Most Tender and Beautiful Instruments Ever Invented
1.6 Violin Concerto in D Major (Adagio)
1.7 But for a Long Time It Was Seen As the Instrument of the Devil
1.8 The Soldier's Tale: Triumphal March of the Devil
1.9 The Manipulative Seductiveness of the Gypsy Violin
1.10 Csardas Music
1.11 The Violin and the Initiation of Nature
1.12 The Four Seasons (Spring, MVT 1)
1.13 Birds Are Again Evoked in the Second Concerto, Especially Music's Natural Favourite
1.14 The Four Seasons (Summer, MVT 1)
1.15 Like the Devil, the Violin Is a Master of Disguise
1.16 Old Viennese Dance No.3 'Schon Rosmarin'
1.17 The Menacing Sensuality of Ravel's Tzigane: A Very Different Side of the Violin:
1.18 Tzigane
1.19 Do We Now Have the True Measure of This Instrument? Not Just Yet
1.20 Caprice No.24
1.21 The Many Effects of the String Tremolando: Brandenburg Concerto No.4 (Last MVT)/From Joy to Fright/Quartettsatz in C Minor/The String Tremolo Practically Spells the World Agitato
1.22 Variations on a Theme of Frank Bridge (No.7)
1.23 Prokofiev's Tremolo in Romeo and Juliet Should Not Be Heard Just Before Bedtime
1.24 Romeo and Juliet: Act IV
1.25 Vivaldi Use It to Illustrate the Shivering of Travellers Crossing the Ice
1.26 The Four Seasons (Winter, MVT 1)
1.27 The Violin Muted
1.28 Clair de Lune
1.29 The Gentleness of Muted Strings Persists Even When a Whole Orchestra Plays
1.30 Piano Concerto No.21 in C Major, K.467 (Slow MVT)
1.31 The Pizzicato Violin
1.32 Pizzicato Polka
1.33 In Prokofiev's Second Violin Concerto, the Accompaniment Is Pizzicato
1.34 Violin Concerto No.2 in G Minor (Slow MVT)
1.35 Varieties of Pizzicato: Colas Breugnon (The People's Feast)/Now a Drier, Leaner, Hungrier Pizzicato. There's Not a Lot of Comfort Here./Capriol Suite (Tordion)/The Use of Pizzicato As 'Percussion'/Romeo and Juliet (Act I)/Mahler Used Pizzicato
1.36 The Planets (Mars - the Bringer of War)
1.37 The Technique of Double-Stopping Enables the Violin to Play Duets with Itself./Sonata No.3 in C Major for Unaccompanied Violin (Fugue)/Now a Later Example of the Same Technique
1.38 Hungarian Dance No.4
1.39 Double-Stopping Is a Standard Feature of a Lot of Folk Music
1.40 The Four Seasons (Autumn, MVT 1)
1.41 Now the Same Technique, But the Sound Might Have Come from Another World
1.42 Bolero
1.43 Double-Stopping Can Only Approximate the Sound of a Real Violin Duet
1.44 Cadenza to the Violin Concerto By Brahms
1.45 Now Compare That with a Real Violin Duet
1.46 Forty-Four Duos (No. 1: Teasing Song)
1.47 Another Duo By Bartok, Demonstrating the Violin's Rich Lower Register
1.48 Forty-Four Duos (No.2: Maypole Dance)
1.49 And Now What May Be the Most Beautiful Accompanied Violin Duet in History
1.50 Concerto in D Minor for Two Violins (Largo)
1.51 The Soul of the Violin Is in Song; But What About This Weird Passage?
1.52 Violin Concerto No.1 in D Major (MVT 2)
1.53 The Use of Harmonies in the Orchestra Can Be Both Magical and Unsettling
1.54 Symphony No.1 'Titan' (MVT 1, Opening)
1.55 Tchaikovsky's Use of Harmonics in the Sleeping Beauty Is Both Strange and Darling
1.56 The Sleeping Beauty (Act II, No.15: Entr'acte)
1.57 Ravel's Harmonics in Mother Goose Effect a Magical Transformation
1.58 Ma Mere L'oye - Mother Goose (Beauty and the Beast)
1.59 Stravinsky's Harmonics in the Firebird Transport Us Almost Into Another World./The Firebird (Introduction)
1.60 The Natural Upper Notes of the Violins Have a Unique Emotional 'Grab'
1.61 Also Sprach Zarathustra (Of the Afterworldsmen)
1.62 Still in Their Upper Register, the Violins Unleash the Energy of a Young Colt
1.63 Variations on a Theme of Frank Bridge (No. 4)
1.64 Elsewhere, Britten Uses the Same High Register to Create a Very Different Mood
1.65 Four Sea Interludes (Dawn) from 'Peter Grimes'
1.66 To End This Outing with the Violins, a Charming Little Elfin Dance
1.67 Elfenreigen
2.1 Introduction to the Viola
2.2 Viola Concerto (MVT 1)
2.3 Khatchaturian Gets a Very Different Sound from It: Fuller, Fruitier, More Exotic
2.4 Gayane Suite No.1 (Armen's Solo)
2.5 Very Nearly the Whole of the Violin's Upper Register Is Also Available to the Viola
2.6 Passacaglia, Op.33B from 'Peter Grimes'
2.7 The Viola Can Bring a Special, Rich Twanginess to Pizzicato That the Violins Lack./Don Quixote/Berlioz Drew Sounds from It That Retain Their Metallic Strangeness Even Today
2.8 Harold in Italy (MVT 4)
2.9 The Muted Viola: Intimate, Gentle, Poignant in Dvork
2.10 Cypresses (No.9)
2.11 The Massed Violas of the Modern Symphony Orchestra in Mahler
2.12 Symphony No.4 (MVT 3)
2.13 The 'Period' Viola in Bach
2.14 Brandenburg Concerto No.6 (Last MVT)
2.15 The Cello: A Voice of Unique Nobility
2.16 Suite No.1 for Unaccompanied Cello (Prelude)
2.17 Brahms and the 'Soul' of the Cello
2.18 Piano Concerto No.2 in B Flat Major (MVT 3)
2.19 Most Orchestral Composers Tend to Emphasize the Cello's Lower Register
2.20 Cantata 'Herz Und Mund Und Tat Und Leben', BWV 147 (Soprana Aria: Bereite Dir, Jesu)
2.21 In the Time of Beethoven the Cello Remained As Fundamental As Ever
2.22 Symphony No.3 'Eroica' (Finale)
2.23 But the Cello Is Not Condemned to Spend it's Life in the Basement
2.24 Elfentanz, Op.39
2.25 Not Only in Recital Showpieces Like That Is the Cello Is Used in It's Highest Register
2.26 The Protecting Veil (Opening)
2.27 A Cello with An Identity-Crisis: The Pizzicato Flamencan
2.28 Flamenco
2.29 Double-Stopping in the Lower Reaches of the Cello's Range
2.30 Solo Suiet for Cello and Piano (Sardana)
2.31 It's in the Middle Register That the Cello Really Comes Into It's Own
2.32 Oriental Dance, Op.2 No.2
2.33 It Was to the Cellos That Beethoven Gave Two of His Most Famous Themes./Symphony No.5 (MVT 2)/Still More Famous Than That Theme Is This One from the Ninth Symphony
2.34 Symphony No.9 (Finale)
2.35 Introduction to the Double-Bass
2.36 The Carnival of the Animals (The Elephant)
2.37 But the Double-Bass Can Be Intensely Expressive and Graceful
2.38 Elegy No.1 in D Major
2.39 The Range of the Double-Bass Is the Greatest of All the String Instruments/Allegro Di Concerto, 'Alla Mendelssohn'/And It's Also Capable of Very Considerable Virtuosity
2.40 Capriccio Di Bravura
2.41 Double-Bass Solos in Orchestral Scores Are Rare But Often Memorable./Symphony No.1 'Titan' (MVT 3)/In His Third Symphony Mahler Makes a Very Different Use of the Instrument./Symphony No.3 (MVT 1)
2.42 The Double-Bass Muted in Prokofiev/Lieutenant Kije Suite (Kije's Wedding)/In Another Work Prokofiev Uses the Double-Bass to Enhance the Winds./Romeo and Juliet (Act III)/And He Combines the Bass Clarinet with a Shivering Tremolo from the Double-Basses
2.43 Symphony No.5 (MVT 3)/So Much for the Strings/On Now to the Winds
3.1 The Antiquity and Magic of the Flute
3.2 Prelude a L'apres-Midi D'un Faune
3.3 The Versatility and Agility of the Flute
3.4 Orchestral Suite No.2 in B Minor (Badinerie)
3.5 The Flute in Fifteenth-Century Spain
3.6 Sa'dawi
3.7 Other Flutes: The Bass and Alto
3.8 Chamber Music No. II
3.9 The Piccolo - Aptly Named
3.10 La Naissance D'osiris (MVT 6)
3.11 From a Piccolo of the Eighteenth Century to One of It's Descendants in the Twentieth
3.12 Suite No.1 for Small Orchestra (Valse)
3.13 A Variety of Techniques
3.14 Chamber Music No. II
3.15 Flutter-Tonguing. But Tchaikovsky Got There Eighty Years Before
3.16 The Nutcracker (Act II, No.2: Scene)
3.17 From the Transverse to the Vertical: The Baroque Recorder
3.18 Recorded Suite in a Minor (Menuet II)
3.19 An Unfamiliar, Early Vision of the Instrument
3.20 Naelden, Naelden
3.21 The Bachian Oboe
3.22 Cantata 'Ein Feste Burg Ist Unser Gott', BWV 80 (No.7: Duetto)
3.23 Introduction to the Cor Anglais or 'English Born'
3.24 Symphon