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Classics Explained DVORAK Symphony No 9 From the New World Album Free Download

Title: Classics Explained DVORAK Symphony No 9 From the New World
Artist: Jeremy Siepmann
Genre: Spoken Word
Total Track: 111
Release Date: July 1, 2002
Download on iTunes

Classics Explained DVORAK Symphony No 9 From the New World is one of the gorgeous album of Jeremy Siepmann . Album's primary genre is Spoken Word , it was released on July 1, 2002 and contains 111 tracks of duration 56 minutes and 59 seconds with a soft, smooth, and pleasant sound.. .

To preview any song, mouse over the Play button and click Play. Click to Download button to download mp3. .

Track List:

1

A Quiet Beginning Sorrow Syncopation and Sequence by Jeremy Siepmann

2

Instrumental Colour As a Prime Element Clarinets and Bassoons an Outburst By the French Horn by Jeremy Siepmann

3

The Opening Tune Again With Different Instrumental Colouring Now Flutes and Oboes by Jeremy Siepmann

4

The First Big Surprise Strings Shattering Drumbeats Shrieks from Flutes Oboes and Clarinets by Jeremy Siepmann

5

Cellos and Basses Take Us Into a New Key While Flutes and Oboes Dance In Syncopation by Jeremy Siepmann

6

Horns Violas and Cellos Introduce a New Idea Soon to Evolve Into the Main Theme by Jeremy Siepmann

7

A Tiny Detail from the Opening Culminates In a Wild Drumming That Heralds a Major Event by Jeremy Siepmann

8

Introduction Complete by Jeremy Siepmann

9

A Solo Horn Introduces the Main Theme Perkily Answered By Bassoons and Horns by Jeremy Siepmann

10

The Theme Moves to G Major Answering Phrase from Flutes Oboes Bassoons by Jeremy Siepmann

11

Long Crescendo Tremolo Strings Back to Tonic and Biggest Statement Yet of the Main Theme by Jeremy Siepmann

12

Transition to the Secondary Theme Through the Use of Sequence Sonata Form Satability and Flux by Jeremy Siepmann

13

Three bar Groupings and Again the Use of Sequence Spelling Out a Chord by Jeremy Siepmann

14

The Sequence Continues to Rise and the Four bar Phrase Returns As the Standard Unit by Jeremy Siepmann

15

The First Violins Start Off the Next Phrase But the Melodic Shape Is More Compact by Jeremy Siepmann

16

The Violins Fall Silent the Violas and Cellos Answer With a New Figure by Jeremy Siepmann

17

So Now We Have a Two bar Group Made Up of Statement and Answer by Jeremy Siepmann

18

The Same Thing Again Though Not Quite the Same by Jeremy Siepmann

19

Transition Complete the Secondary Theme Arrives With French Horns As bagpipes by Jeremy Siepmann

20

The bagpipe Drone Is Taken Over By Cellos With Their Insistently Repeated G and D by Jeremy Siepmann

21

The Tune Is Taken Up By Cellos and Double basses shadowed By the Second Violins by Jeremy Siepmann

22

The Violins Continue a Pattern of Steady Pairs and the Cellos and Basses Introduce a New Idea by Jeremy Siepmann

23

Unexpectedly We Find Ourselves Back With the Secondary Theme a New Idea Emerges by Jeremy Siepmann

24

Again We Hear the Shortened Version of the Secondary Theme by Jeremy Siepmann

25

The Suspense Is Heightened As Everything Slows Down by Jeremy Siepmann

26

This Beautiful Flute Tune Is Said to Resemble Swing Low Sweet Chariot by Jeremy Siepmann

27

A Big Crescendo Leads to a Final Statement of the Closing Theme by Jeremy Siepmann

28

The Development Section Begins With a Conversation Between Cellos Double bases and Violins by Jeremy Siepmann

29

The Beginning of the Closing Theme Is Taken Up In Turn By the Horn Piccolo and Trumpet by Jeremy Siepmann

30

Sequential Chirping from the Oboes Based On the answering Part of the Main Theme Now In the Major by Jeremy Siepmann

31

Much of the Development Comes from a Diminution of the Closing Theme from the Exposition by Jeremy Siepmann

32

A Tiny Detail Becomes a Major Ingredient Giving an Agitated Quality to an Originally Sunny Tune by Jeremy Siepmann

33

Through a Sequence of Keys So Quickly That It Is Hard to Keep Track of Them by Jeremy Siepmann

34

The Main Theme from Massed Cellos and Double basses Topped By Two Trumpets Over Tremolo Violas by Jeremy Siepmann

35

After That Major Climax We Arrive At the Threshold of the Recapitulation by Jeremy Siepmann

36

Dvorak Flouts Tradition By Setting the Secondary Theme and the Closing Theme In Unexpected Keys by Jeremy Siepmann

37

The Tumultuous Convulsion of the Coda Brings the First Movement to Its Epic Close by Jeremy Siepmann

38

Humpty Dumpty Putting the Bits Back Together Again by Jeremy Siepmann

39

First Movement Complete by Jeremy Siepmann

40

The Very Opening Chords Unmistakably Herald the Arrival of Something Special by Jeremy Siepmann

41

The Role of Instrumentation In Setting the Scene by Jeremy Siepmann

42

and In Enhancing the Quality of One of the Most Famous Tunes In Symphonic History by Jeremy Siepmann

43

The Cor Anglais Is Joined By the Clarinet Creating a Fascinating Change In the Timbre by Jeremy Siepmann

44

For the Closing Part of the Tune There Is Another New Sonority Cor Anglais Plus Bassoon by Jeremy Siepmann

45

The Closing Bar Is Repeated By Clarinets and Bassoons the Horn Adding a New Touch by Jeremy Siepmann

46

Back to the Start to Hear the Whole of the Story So Far This Time Without Commentary by Jeremy Siepmann

47

A Change of Scoring The Slow Opening Chords Return This Time Played By the Winds Alone by Jeremy Siepmann

48

The Changes In Scoring Are Just Beginning by Jeremy Siepmann

49

The Flutes and Oboes Introduce a New Tune Over Hushed Tremolo Strings by Jeremy Siepmann

50

A Memorable Combination of Continuous Asymmetrical Melody With Steady March like Counterpoint by Jeremy Siepmann

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