The instruments of the orchestra : Woodwind / Jeremy Siepmann, written and narrated [grabación sonora]

By:

Siepmann, Jeremy

Publication details: [s.l.] HNH International Ltd. 2002Description: 1 CD sonISBN:

1843790424

Subject(s):

DDC classification:

CD781.68 S572i

Contents:

Instruments of the Orchestra, Siepmann, Jeremy 1. The antiquity and magic of the flute 2. Debussy: Prelude a l'apres - midi d'un faune 3. The versatility and agility of the flute 4. Bach: Orchestral Suite No. 2 in B minor: VII. Badinerie 5. The flute in fifteenth - century Spain 6. Anonymous: Sa'dawi 7. Other flutes: the bass and alto 8. Sallinen: Chamber Music II 9. The Piccolo - aptly named 10. Rameau: La Naissance d'Osiris: VI. Premier et deuxieme tambourin 11. From a piccolo of the eighteenth century to one of its descendants in the twentieth 12. Stravinsky: Suite No. 2 for Small Orchestra: II. Valse 13. A variety of techniques 14. Sallinen: Chamber Music II 15. Flutter - tonguing. But Tchaikovsky got there eighty years before. 16. Tchaikovsky: The Nutcracker: Act II, No. 2: Scene 17. From the transverse to the vertical: the Baroque recorder 18. Telemann: Recorder Suite in A minor: Menuet II 19. An unfamiliar, early vision of the instrument 20. Baston: Naelden, Naelden 21. The Bachian oboe 22. Bach: Ein feste Burg ist unser Gott, BWV 80: Duetto: Wie selig sind doch die 23. Introduction to the cor anglais or 'English horn' 24. Dvorak: Symphony No. 9, "From the New World": II. Largo 25. The loneliness of the cor anglais 26. Sibelius: The Swan of Tuonela 27. The cor anglais joins the French horn in Haydn. 28. Haydn: Symphony No. 22, "The Philosopher": I. Adagio 29. Introduction to the oboe d'amore, beloved of Bach - but also of Ravel 30. Ravel: Bolero 31. Herrmann: The Egyptian: Violence / Janacek: Taras Bulba: The Death of Ostap 32. Stravinsky: Petrushka: Peasant with Bear / Berlioz: Symphonie fantastique: V. Songe d'une nuit / Prokofiev: Romeo and Juliet: Act II 33. As the high clarinets tend to be loud, so the bass tends to be soft 34. Khachaturian: Gayane Suite No. 1: V. Gayane's Solo 35. Stravinsky: Petrushka: The Blackamoor / Albeniz: Iberia: Almeria 36. The range of the normal clarinet parts goes quite high... 37. Tchaikovsky: The Snow Maiden: Scene 5: Melodrama 38. ... .and quite low. 39. Prokofiev: Peter and the Wolf: The Cat 40. The clarinet as concerto soloist 41. Mozart: Clarinet Concerto in A major: III. Rondo 42. But that's not the instrument Mozart wrote it for; this is: 43. Mozart: Clarinet Concerto in A major: III. Rondo 44. Introduction to the saxophone 45. Kodaly: Hary Janos Suite: IV. The Battle and Defeat of Napoleon 46. The soprano saxophone has quite a different feel to it 47. Bizet: L'Arlesienne Suite No. 1: II. Minuet 48. The little sopranino sax goes even higher 49. Ravel: Bolero 50. The most famous use of the saxophone is in an orchestration by Ravel 51. Mussorgsky: Pictures at an exhibition: The Old Castle 52. The saxophone can be quite contagiously good - humoured. 53. Wiedoeft: Sax - o - phun 54. The puffa - puffa image of the bassoon 55. Prokofiev: Peter and the Wolf: Grandfather 56. The Bachian bassoon, in accompanimental mode 57. Bach: Weichet nur, betrubte Schatten, BWV 202, "Wedding Cantata": Aria No. 1 58. Bizet: Carmen Suite No. 1: V. Les Dragons d'Alcala 59. And Ravel, also in Spanish mode, does likewise 60. Ravel: Bolero 61. The bassoon as a voice of high seriousness, indeed desolate loneliness 62. Bax: Symphony No. 3: I. Lento moderato 63. The eerie bassoon in its highest register 64. Stravinsky: The Rite of Spring: opening 65. Stravinsky now draws on its lowest register, lonely and melancholy. 66. Stravinsky: The Firebird Suite (1919): Berceuse 67. The bassoon as concerto soloist, avoiding all exaggeration 68. Molter: Bassoon Concerto in G minor: III. 69. The deep - voiced contra - bassoon, as a fairy - tale beast 70. Ravel: Ma Mere l'oye (Mother Goose): IV. Beauty and the Beast 71. The French Horn under its woodwind hat 72. Nielsen: Wind Quintet, Op. 43: III. Praeludium - Tema con variazioni 73. Now a more prominent role, in a woodwind quintet from an earlier era 74. Reicha: Wind Quintet in A minor, Op. 100, No. 5: II. Andante con variazioni 75. The horn in harmonious blend with strings in another quintet 76. Mozart: Horn Quintet in E flat major, K. 407: III. Rondeau

Summary: Instruments of the orchestra, yes. But not just instruments in the orchestra. This is a set of portraits in depth, featuring individual instruments in many contexts (orchestral, chamber, folk, solo, operatic, cinematic, even jazz and avant-garde music) and in pieces from the Middle Ages to the present. Joining regular orchestra members are such exotic visitors as the eerie ondes martenot, the wind machine, banjos, bagpipes, coconuts, typewriters, six-shooters, taxi horns, and migrating swans - and the hundreds of examples range from illustrative snippets to entire movements. The first CD is devoted entirely to the violin, and the last to the greatest instrument of all, the orchestra itself. This intoxicating, energetic, and remarkably informative survey of musical instruments is unprecedented in its scope and achievement. All the lively descriptions are followed by striking musical examples, of which there are over 200, spanning all eras, styles, and genres. As well as a full transcript of the text, the comprehensive booklet contains clear illustrations and background historical information on each instrument.

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Holdings
Item type	Current library	Collection	Call number	Copy number	Status	Date due	Barcode
Compact Disc	Biblioteca Centro Cultural Gabriela Mistral	Audiovisuales CD	CD781.68 S572i 2002 v.3	c.1	Not for loan (Préstamo en Sala)		35628000065422

Instruments of the Orchestra, Siepmann, Jeremy

1. The antiquity and magic of the flute
2. Debussy: Prelude a l'apres - midi d'un faune
3. The versatility and agility of the flute
4. Bach: Orchestral Suite No. 2 in B minor: VII. Badinerie
5. The flute in fifteenth - century Spain
6. Anonymous: Sa'dawi
7. Other flutes: the bass and alto
8. Sallinen: Chamber Music II
9. The Piccolo - aptly named
10. Rameau: La Naissance d'Osiris: VI. Premier et deuxieme tambourin
11. From a piccolo of the eighteenth century to one of its descendants in the twentieth
12. Stravinsky: Suite No. 2 for Small Orchestra: II. Valse
13. A variety of techniques
14. Sallinen: Chamber Music II
15. Flutter - tonguing. But Tchaikovsky got there eighty years before.
16. Tchaikovsky: The Nutcracker: Act II, No. 2: Scene
17. From the transverse to the vertical: the Baroque recorder
18. Telemann: Recorder Suite in A minor: Menuet II
19. An unfamiliar, early vision of the instrument
20. Baston: Naelden, Naelden
21. The Bachian oboe
22. Bach: Ein feste Burg ist unser Gott, BWV 80: Duetto: Wie selig sind doch die
23. Introduction to the cor anglais or 'English horn'
24. Dvorak: Symphony No. 9, "From the New World": II. Largo
25. The loneliness of the cor anglais
26. Sibelius: The Swan of Tuonela
27. The cor anglais joins the French horn in Haydn.
28. Haydn: Symphony No. 22, "The Philosopher": I. Adagio
29. Introduction to the oboe d'amore, beloved of Bach - but also of Ravel
30. Ravel: Bolero
31. Herrmann: The Egyptian: Violence / Janacek: Taras Bulba: The Death of Ostap
32. Stravinsky: Petrushka: Peasant with Bear / Berlioz: Symphonie fantastique: V. Songe d'une nuit / Prokofiev: Romeo and Juliet: Act II
33. As the high clarinets tend to be loud, so the bass tends to be soft
34. Khachaturian: Gayane Suite No. 1: V. Gayane's Solo
35. Stravinsky: Petrushka: The Blackamoor / Albeniz: Iberia: Almeria
36. The range of the normal clarinet parts goes quite high...
37. Tchaikovsky: The Snow Maiden: Scene 5: Melodrama
38. ... .and quite low.
39. Prokofiev: Peter and the Wolf: The Cat
40. The clarinet as concerto soloist
41. Mozart: Clarinet Concerto in A major: III. Rondo
42. But that's not the instrument Mozart wrote it for; this is:
43. Mozart: Clarinet Concerto in A major: III. Rondo
44. Introduction to the saxophone
45. Kodaly: Hary Janos Suite: IV. The Battle and Defeat of Napoleon
46. The soprano saxophone has quite a different feel to it
47. Bizet: L'Arlesienne Suite No. 1: II. Minuet
48. The little sopranino sax goes even higher
49. Ravel: Bolero
50. The most famous use of the saxophone is in an orchestration by Ravel
51. Mussorgsky: Pictures at an exhibition: The Old Castle
52. The saxophone can be quite contagiously good - humoured.
53. Wiedoeft: Sax - o - phun
54. The puffa - puffa image of the bassoon
55. Prokofiev: Peter and the Wolf: Grandfather
56. The Bachian bassoon, in accompanimental mode
57. Bach: Weichet nur, betrubte Schatten, BWV 202, "Wedding Cantata": Aria No. 1
58. Bizet: Carmen Suite No. 1: V. Les Dragons d'Alcala
59. And Ravel, also in Spanish mode, does likewise
60. Ravel: Bolero
61. The bassoon as a voice of high seriousness, indeed desolate loneliness
62. Bax: Symphony No. 3: I. Lento moderato
63. The eerie bassoon in its highest register
64. Stravinsky: The Rite of Spring: opening
65. Stravinsky now draws on its lowest register, lonely and melancholy.
66. Stravinsky: The Firebird Suite (1919): Berceuse
67. The bassoon as concerto soloist, avoiding all exaggeration
68. Molter: Bassoon Concerto in G minor: III.
69. The deep - voiced contra - bassoon, as a fairy - tale beast
70. Ravel: Ma Mere l'oye (Mother Goose): IV. Beauty and the Beast
71. The French Horn under its woodwind hat
72. Nielsen: Wind Quintet, Op. 43: III. Praeludium - Tema con variazioni
73. Now a more prominent role, in a woodwind quintet from an earlier era
74. Reicha: Wind Quintet in A minor, Op. 100, No. 5: II. Andante con variazioni
75. The horn in harmonious blend with strings in another quintet
76. Mozart: Horn Quintet in E flat major, K. 407: III. Rondeau

Instruments of the orchestra, yes. But not just instruments in the orchestra. This is a set of portraits in depth, featuring individual instruments in many contexts (orchestral, chamber, folk, solo, operatic, cinematic, even jazz and avant-garde music) and in pieces from the Middle Ages to the present. Joining regular orchestra members are such exotic visitors as the eerie ondes martenot, the wind machine, banjos, bagpipes, coconuts, typewriters, six-shooters, taxi horns, and migrating swans - and the hundreds of examples range from illustrative snippets to entire movements. The first CD is devoted entirely to the violin, and the last to the greatest instrument of all, the orchestra itself.

This intoxicating, energetic, and remarkably informative survey of musical instruments is unprecedented in its scope and achievement. All the lively descriptions are followed by striking musical examples, of which there are over 200, spanning all eras, styles, and genres. As well as a full transcript of the text, the comprehensive booklet contains clear illustrations and background historical information on each instrument.

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